Monday, October 31, 2016

Journals Due! Slam Poem Draft: Day 2 (Due)

Your journals are due today. Please make sure your name is on your journal and turn in after announcements. I will return your journals today by the end of class.

LAB:

TASK ONE: First off, today in class, please read the article at this link about how to create a poem. Then believe it.

Please complete a draft of your slam poem. Use the examples and models I showed you last class. Use imagery to enhance the power of your words!

If you need help or ideas getting started/continuing, check this website: How to Write Slam Poetry (from Power Poetry)

TASK TWO: Read some poems/respond. Choose 3 poems from this site. Note: there are 9 pages of poems. Feel free to choose ones that look interesting to you. Choose the next page # at the bottom of the web page.

In the COMMENT section below for this post, please name the 3 poems and the author of the poems you chose to read. 

  • Identify the SPEAKER (who is telling the 'story' or 'speaking' in the poem), 
  • what is the situation or CONFLICT occurring in the poem? (Hint: look at the title and setting of the poem & consider why the speaker may be speaking and to whom...); and, finally, 
  • identify 1 example of imagery occurring in the poem: visual, sound, gustatory, kinesthetic/tactile, olfactory, olfactory. (Hint: metaphor, simile, allusion, personification, onomatopoeia, rhyme, alliteration, assonance, consonance, or various uses of diction and figurative language). 
If you finish early, spend your time in the lab doing one of the following:

A. If you have work you have not finished, finish it. Turn in late for minimal credit.
B. Write a second or third poem for your portfolio.
C. Read more poems. The more you read, the better at writing poetry you will become. Promise. That's how it's done.

HOMEWORK: None.

Thursday, October 27, 2016

Word Bank Poem; Imagery; Introduction to Slam Poetry

Please turn in your word bank poem (see previous post's homework!) before the end of class today.

POETRY SKILLS:
To IMPROVE your poetry, you all need to use IMAGERY. Imagery is the backbone of contemporary poetry. Without it, a poem often fails.

But what is it?
IMAGERYIs the careful use of vivid or figurative language (metaphors, similes, personification, allusion, etc.) to represent objects, actions, or ideas that are otherwise abstract (love, death, sorrow, freedom, etc.) This representation is often VISUAL, for it helps create a picture in a listener or reader's mind. The only way to create a visual picture is to be specific with your noun usage or to compare something unknown with something known.

Imagery can also be auditory (sound) with the use of alliteration, assonance, consonance, and other techniques like rhyme and rhythm.
Please examine some examples of imagery:
  • On a starry winter night in Portugal, where the ocean kissed the southern shore...
Descriptive words: starry, winter, southern
Specific NOUNS: night, Portugal, ocean, shore
Personification: ocean kissed the southern shore... 

More examples (similes):
  • He fumed and charged like an angry bull.
  • He fell like an old tree falling down in a storm.
And another example (metaphor):
  • Her blue eyes were the sky in summer.
Imagery can also use the literary devices of figurative language and allusion. Check out these examples of figurative language and allusion. Learn what these devices are so you can use them in your writing.

Imagery is an attempt to describe something with the five senses. We've already discussed visual and auditory imagery. Other types of imagery include gustatory (taste), olfactory (smell), and kinesthetic (touch). These are harder to create, but with careful diction (word choice) a sense can be described. It is an author's job to notice and be able to describe sensations and events effectively to an audience.

NOTE: YOU MUST USE IMAGERY IN YOUR POETRY! Otherwise it may be terrible as an Egyptian plague. Imagery is a tool. Use it!

5-minute journal exercise: Alone or with a partner, try writing some examples of imagery in your journal. Write lines that use each of the five types of imagery. Try to get at least 3 examples of each type. If you still have time remaining in this exercise, add more examples until the bell rings.

A Brief Guide to Slam Poetry

Taken from Poets.org.
"One of the most vital and energetic movements in poetry during the 1990s, slam has revitalized interest in poetry performance. Poetry began as part of an oral tradition, and movements like the Beats and the poets of Negritude were devoted to the spoken and performed aspects of their poems. This interest was reborn through the rise of poetry slams across America; while many poets in academia found fault with the movement, slam was well received among young poets and poets of diverse backgrounds as a democratizing force. This generation of spoken word poetry is often highly politicized, drawing upon racial, economic, and gender injustices as well as current events for subject manner.

A slam itself is simply a poetry competition in which poets perform original work alone or in teams before an audience, which serves as judge. The work is judged as much on the manner and enthusiasm of its performance as its content or style, and many slam poems are not intended to be read silently from the page. The structure of the traditional slam was started by construction worker and poet Marc Smith in 1986 at a reading series in a Chicago jazz club. The competition quickly spread across the country, finding a notable home in New York City at the Nuyorican Poets CafĂ©."
Slam Poetry often uses topics or themes that are politically or emotionally charged. Slam poets often write with a social comment to make or share with an audience.

How can you be a poet for social change?

Brainstorming: Start with your journal. Make a list of things you believe, things that make you mad, or things that you feel go unnoticed by others, things that are important to you. Write for 5 minutes. Try to fill a page.

Let's view a few examples from some slam poets. As you watch notice the effective vocal and performance skills the authors use to enhance their performance.

CLASSWORK: For each poet, please write your reaction to their performances, identify some of the key themes and messages or morals that the authors present to us (what is their poetry trying to teach us?) Use your journal to record your reaction/observations. After each poet, use your notes about what you noticed to say something about what you learned or noticed about the poet's performance style and effectiveness.

Saul Williams
  • One (from the film: Slam)
Taylor Mali
Derrick Brown
Now it's your turn. Let's go to the lab and begin a slam poem draft. If you complete your poem draft today, please save it. I hope we will have printing capabilities by next class.

HOMEWORK: Various. Feel free to begin writing your own slam poem from the exercises we did today. Write your drafts in your journal. Use imagery. Complete any missing work. Prepare your journals for Tuesday (they are due Nov. 1!)

Tuesday, October 25, 2016

500 Word Short Story Project; Journal Tasks

LAB:

Today's class is all about writing. You will be asked to complete a variety of writing assignments. Use your time in the lab effectively. Don't get in the habit of putting off your writing. You're here. You have time to write. Use your time to write. No excuses. You've used all the good ones already. Now it's just you and the writing process. Get to know it. Go for it. Write.

Task 1: Today watch at least 3 500-word stories (see link below) and summarize each story in 1 sentence. Write your 1-sentence premise (summary) in your journals. Then, add to this journal list with some of your own 1-sentence premises. Try to add at least 3 of your own premises.
Premises are usually 1-sentence summaries of what your story is about. Complete this statement:
This story is about...

Task 2: Then choose one of the 25 Insights on Becoming a Better Writer (see below) and in your journal, write this insight word for word (they're short) and what you think of it. Why did you pick it?
Next:

Task 3: today in the lab please write a draft of a 500 word story. The draft is due by the end of class today. See the handout for help setting up your story draft.
    • Come up with a short story that should be exactly 500 words in length.
    • Subject and genre is completely up to you!
    • Use the handout advice to get you started.
    • Use the advice from the videos and the 25 insights to help you as well.
  • Write. Drafts of your stories will be due at the end of class. 
When you have completed your 500 word short story, proofread and turn in.

If you finish early (before the end of class) please move on to your homework assignment:

WORD BANK POEM DRAFT ASSIGNMENT:

Creating a word bank for poetry.

Go to the following website:

http://www.loc.gov/poetry/180

  • Read poems #1-7. 
  • As you read, choose 3 words from EACH poem and make a list. (The best way to do this is either in your journal – where you will get credit; or you may keep a word document open and minimized on the bottom of your screen to collect the words).
  • Choose interesting or “powerful” words—words that draw YOUR attention; the best 3 single words in the poem. Avoid phrases.

Once you have a list with 21 words, use your word bank to create a poem of your own.
• You DO NOT have to use all 21 words in your poem.
• Your poem should make sense. Try to avoid sentence fragments. (Consider your character, setting, theme, conflict, etc. to help write a story...yes, even poetry has a story.)
• You may include as many OTHER words as you’d like.
HOMEWORK:

Complete the Word Bank Poem Draft for homework if you did not complete it today in the lab. Past due assignments include the Glass Menagerie Scrapbook Project & the Coming of Age Memory Play Script. Complete these and turn in if you have not yet done so.

Sunday, October 23, 2016

Short Stories; 500 Word Short Story Project

Short stories:

Students often ask: "How long should my story be?" instead of realizing that any story needs to have a beginning, middle, and end. This sort of open ended question really has no answer. How long should a story be? Well, traditionally, short stories are shorter than novels. That's a good place to begin.

Short stories are shorter than novels, and are usually not as complex or involved. Short stories were originally meant to be read in one sitting. As our culture has sped ahead, and we don't have much free time, short stories have become as short as a sentence or two and as long as the traditional short stories, fewer than 20,000 words. A short novel is about 50,000 words. Most publishers want novels that are anywhere from 75,000 to 100,000 words or more.

Usually a short story focuses on only one event or incident. It usually has a single plot, a single setting, a small number of characters, and covers a short period of time. Most writing students start off writing short stories because they are manageable. But the form is tricky and hard to perfect. Many authors spend their whole lives learning the craft of writing short fiction.

Longer short stories usually contain elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event that introduces the conflict); rising action (development of the conflict), crisis (the decisive moment for the protagonist and her commitment to a course of action); climax (the point of highest tension and the point the protagonist faces her antagonist); resolution (the point when the conflict is resolved); and a sense of enlightenmentepiphany, or moral.

Short stories may or may not follow this pattern. Some do not follow patterns at all. Modern short stories only occasionally have an exposition. An abrupt beginning, with the story starting in the middle of the action (in media res) is more standard or typical.

Usually all short stories have a turning point and climax, but endings may be sudden or what is called "open"--leaving the story incomplete. As with all art forms, short stories will vary by author.

Let's read a few short stories this morning. As we read, notice the format and how each author uses dialogue, setting, description, language, sentences, a hook, plot elements, and conclusions. For each short story identify:

  • POV (1st, 2nd, or 3rd person POV)
  • Identify the speaker/protagonist
  • Identify the conflict/antagonist
  • Identify the setting
  • Identify the theme or message of the story. We might also call this the premise. What is the story about?
  • How does the title help make meaning or help focus the reader's attention?

LAB:
Watch at least 3 500-word stories (see link below) and summarize each story in 1 sentence. Write your 1-sentence premise (summary) in your journals. Then, add to this list with some of your own 1-sentence premises. Choose one of the 25 Insights on Becoming a Better Writer (see below) and in your journal, write this insight and what you think of it.
When you have completed your 500 word short story, proofread, print and turn in.

HOMEWORK: None.

Wednesday, October 19, 2016

Play Workshop; For Whom the Southern Belle Tolls

During period 3 you will be divided into three workshop groups.

Workshop Group A: Alquasia, Akhiyar, Victoria, Darnell, Jesziah, Britney
Workshop Group B: Ja'Miah, Joshua, Kemani, Isobel, Javant
Workshop Group C: Raeona, Kordae, Jenna, Turon, Ja'kiya, Pahz

Please read the workshop scripts and fill out the play comment sheets for each playwrights' work. Turn in your comment sheets by the end of your workshop period for participation credit. I will hand the workshop sheets over to the playwrights as soon as they are turned in and checked.

Some things to consider when revising or workshopping plays:
  • All plays should have a beginning, middle, and end. They can begin or end just like a poem or story (i.e., ending with a circular, surprise, summary, or open-ending, etc.)
  • All plays are written for the stage (not to just be read); they are meant to be performed live by live actors. To get good at this reading and watching plays is essential.
  • All plays are written in present tense (not past); all plays use a specific and distinct format
  • All plays are more powerful if they are tightly written. To be "tightly written" you should avoid using broad-sweeping plots, with many cinematic scene changes. It's a good idea to limit your scenes in short plays to no more than 2. 1 being preferred.
  • Give your characters a time limit. This heightens the dramatic potential of the scene.
  • A protagonist (major character) should change in some way by the end of the play.
  • Give your character a reason to talk to other characters. A character without a purpose should never enter the stage. If a character achieves his/her goal, that character can leave (unless there's a reason why they stay).
  • Don't interrupt the flow of your story by making the story too long or too short by moving the action of the plot to different scenes. Keep a unity of time, place, and action. A 10-minute play, for example, should cover about 10 minutes worth of time. 
  • Start your play close to your climax.
During period 4, or when you have completed your play workshop, please read Christopher Durang's comedy: "For Whom the Southern Belle Tolls".

What are the UNITIES?
Our short plays should adhere to what are called the unities:
1. The unity of time (plays should not span many years)
2. The unity of place (plays should concentrate action in one or few settings)
3. The unity of action (plays should limit their plots so they are not confusing)

All plays require conflict
  • Conflict should be balanced (in other words the struggle between protagonist and antagonist should be a fair fight); it is often better to have an antagonist who is slightly more powerful.
  • Characters often are antagonists to each other in plays.
Meaning (theme) in a play is tied to the action and conflict being presented on stage
  • All plays should be entertaining (and written to be performed)
  • All plays should communicate an idea (or belief about the human condition)
  • All plays are REPRESENTATIVE of real life. They are NOT real life.
  • Plays are NOT movies. The best way to learn how to write scripts is to read them and see play productions whenever possible. 
    HOMEWORK: None. 

    Monday, October 17, 2016

    Glass Menagerie Project Due

    LAB: Please complete your 3 creative tasks for the Glass Menagerie Project. These assignments are due by the end of today's class.

    If you have not yet turned in your play script, please do so. We will be holding a reading workshop next class.

    Check last post for details about this project. Remember to include 3-5 lines of dialogue from the play The Glass Menagerie to support your choices for your artistic design. In your short explanation of why you chose to write about what you did (at least a paragraph explanation) include at least 3-5 lines of dialogue from the text (with page #'s) to support your creative inspiration.

    Choose any three of the following creative tasks to complete for your chosen character's scrapbook project:
    • a journal entry (about a page or two)
    • a diary entry (about a page or two)
    • a series of tweets (at least 10 tweets)
    • a series of emails (at least 5 email entries--about a page or two)
    • a facebook page* (this should be designed to look like one, it doesn't have to be a real page, although you can set one up if you'd like)
    • a blog (with at least 3 entries or short posts)
    • a music-cd (of at least 3 songs, and a paragraph explanation about why each song is included on the CD; i.e., how does the song fit the character or situation in the play?)
    • a short documentary film (:30 seconds-2 minutes in length)
    • a film trailer (:30 seconds - 2 minutes in length)
    • a photo album (with at least 5 pictures with a short 1-3 sentence explanation about why these pictures are important or significant to that character--pictures can be from the internet or taken by your own cellphone/camera, etc.). 
    • a short home video (:30 seconds-2 minutes in length)
    • a sketch book (including at least 3 sketches) Each sketch should have some connection with the play script.
    • a drawing or comic book page (for example a page from Comic Life)
    • a podcast (:30 seconds-2 minutes in length)
    • an interview or magazine expose (make up the questions and the answers, although the answers should make sense in light of the play script)
    • a graphic design or flyer based on information in the play
    • other ideas (talk to me about your ideas!)
    IMPORTANTEach individual art project should have at least 3 lines of dialogue from the play that help define the choices you are making artistically for your character.

    If you're done, please learn more about the playwright and the following films. Things to know about Tennessee Williams. Please watch this short documentary student film about the playwright.

    Check out these other Williams' films:
    Most of Williams' plays (as well as his films) revolve around a central secret: something terrible or haunting or degenerate that a protagonist desperately tries to cover up. Williams' women are often unhappy, the men brutish and insensitive. Oh, where will it lead but to modern American drama!

    We can learn a lot about playwriting from Tennessee Williams. A character in pain or conflict lies at the  center of his plays. The use of a "secret" allows appropriate tension and rising conflict until a climactic scene reveals the truth. Learn from this.

    HOMEWORK: None.

    Friday, October 14, 2016

    Glass Menagerie Project

    LAB: Choose a character from the play: Amanda, Laura, Tom or Jim, the Gentleman Caller. Create three "scrapbook" entries for that character. Your scrapbook entries should be fiction, although they should be "inspired" by the play The Glass Menagerie. Use the text to support your artistic impulses.

    Find 3-5 lines of dialogue from the play to support your choices for your artistic design. In your short explanation of why you chose to write about what you did (at least a paragraph explanation) include at least 3-5 lines of dialogue from the text (with page #'s) to support your creative inspiration.

    Choose any three of the following creative tasks to complete for your chosen character's scrapbook project:
    • a journal entry (about a page or two)
    • a diary entry (about a page or two)
    • a series of tweets (at least 10 tweets)
    • a series of emails (at least 5 email entries--about a page or two)
    • a facebook page* (this should be designed to look like one, it doesn't have to be a real page, although you can set one up if you'd like)
    • a blog (with at least 3 entries or short posts)
    • a music-cd (of at least 3 songs, and a paragraph explanation about why each song is included on the CD; i.e., how does the song fit the character or situation in the play?)
    • a short documentary film (:30 seconds-2 minutes in length)
    • a film trailer (:30 seconds - 2 minutes in length)
    • a photo album (with at least 5 pictures with a short 1-3 sentence explanation about why these pictures are important or significant to that character--pictures can be from the internet or taken by your own cellphone/camera, etc.). 
    • a short home video (:30 seconds-2 minutes in length)
    • a sketch book (including at least 3 sketches) Each sketch should have some connection with the play script.
    • a drawing or comic book page (for example a page from Comic Life)
    • a podcast (:30 seconds-2 minutes in length)
    • an interview or magazine expose (make up the questions and the answers, although the answers should make sense in light of the play script)
    • a graphic design or flyer based on information in the play
    • other ideas (talk to me about your ideas!)
    IMPORTANTEach individual art project should have at least 3 lines of dialogue from the play that help define the choices you are making artistically for your character.

    Things to know about Tennessee Williams. Please watch this short documentary student film about the playwright.

    Check out these other Williams' films:
    Most of Williams' plays (as well as his films) revolve around a central secret: something terrible or haunting or degenerate that a protagonist desperately tries to cover up. Williams' women are often unhappy, the men brutish and insensitive. Oh, where will it lead but to modern American drama!

    We can learn a lot about playwriting from Tennessee Williams. A character in pain or conflict lies at the  center of his plays. The use of a "secret" allows appropriate tension and rising conflict until a climactic scene reveals the truth. Learn from this.

    HOMEWORK: None.

    Monday, October 10, 2016

    Glass Menagerie Character Scrapbook Project; Tennessee Williams & Quiz

    After our test on The Glass Menagerie, please go to the lab to work on the following assignments:

    A. Complete your memory play script.

    B. Choose a character from the play: Amanda, Laura, Tom or the Gentleman Caller. Create three "scrapbook" entries for that character. Your scrapbook entries should be fiction, although they should be "inspired" by the play The Glass Menagerie. Use the text to support your artistic impulses.

    Find 3-5 lines of dialogue from the play to support your choices for your artistic design. In your short explanation of why you chose to write about what you did (at least a paragraph explanation) include at least 3-5 lines of dialogue from the text (with page #'s) to support your creative inspiration.

    Choose any three of the following creative tasks to complete for your chosen character's scrapbook project:
    • a journal entry (about a page or two)
    • a diary entry (about a page or two)
    • a series of tweets (at least 10 tweets)
    • a series of emails (at least 5 email entries--about a page or two)
    • a facebook page* (this should be designed to look like one, it doesn't have to be a real page, although you can set one up if you'd like)
    • a blog (with at least 3 entries or short posts)
    • a music-cd (of at least 3 songs, and a paragraph explanation about why each song is included on the CD; i.e., how does the song fit the character or situation in the play?)
    • a short documentary film (:30 seconds-2 minutes in length)
    • a film trailer (:30 seconds - 2 minutes in length)
    • a photo album (with at least 5 pictures with a short 1-3 sentence explanation about why these pictures are important or significant to that character--pictures can be from the internet or taken by your own cellphone/camera, etc.). 
    • a short home video (:30 seconds-2 minutes in length)
    • a sketch book (including at least 3 sketches) Each sketch should have some connection with the play script.
    • a drawing or comic book page (for example a page from Comic Life)
    • a podcast (:30 seconds-2 minutes in length)
    • an interview or magazine expose (make up the questions and the answers, although the answers should make sense in light of the play script)
    • a graphic design or flyer based on information in the play
    • other ideas (talk to me about your ideas!)
    IMPORTANTEach individual art project should have at least 3 lines of dialogue from the play that help define the choices you are making artistically for your character.

    Things to know about Tennessee Williams. Please watch this short documentary student film about the playwright.

    Check out these other Williams' films:
    Most of Williams' plays (as well as his films) revolve around a central secret: something terrible or haunting or degenerate that a protagonist desperately tries to cover up. Williams' women are often unhappy, the men brutish and insensitive. Oh, where will it lead but to modern American drama!

    We can learn a lot about playwriting from Tennessee Williams. A character in pain or conflict lies at the  center of his plays. The use of a "secret" allows appropriate tension and rising conflict until a climactic scene reveals the truth. Learn from this.

    HOMEWORK: If you did not finish reading The Glass Menagerie, please do so.

    Wednesday, October 5, 2016

    Memory Play Project: Day 2; The Glass Menagerie (Reading)

    Memory Play Project:

    Continue writing your short MEMORY play draft. See previous posts for details about the 4 stages of the Coming of Age archetype and the 9 characteristics of a bildungsroman.

    By beginning of class you should have completed:

    1. A title page & cast list: with a short description of 2-6 characters that will appear in your play.
    2. A set description on the same page. Describe the setting. Remember setting is not just location, but may include time period, weather, season, and time of day. Your set description should appear on your title page for this project.
    3.  You should have identified a protagonist who is "coming of age" in some way. Look back and consider the 4 stages and 9 characteristics of a coming of age story for ideas for conflicts and complications to your plot or character design.

    Period 3:

    • Begin writing your scene once you have completed all prewriting steps (see post below for details!) Your play should be written and formatted as a play script. 
    • Your play should be between 5 - 10 pages in length (excluding your cast list and set description) 
    • Do NOT double space your play scripts. It is okay to skip a single line (one hard return) between lines. 
    • Names should be typed in upper case. 
    • Stage/acting directions should be written in parenthesis. Try to avoid over explaining or using stage directions. Let the actors and director do their own job. You should focus on really good dialogue writing. Try to get your characters to sound like different people.
    • Consider this format for your play: Page 1: exposition and inciting incident. Pages 2-6: development of plot, complications. Focus on the removal, challenge, and perhaps realization of your protagonist. Pages 7-9: Focus on the climax and reintegration of your protagonist. Page 10: wrap up the play. End the play with a strong visual image or good ending line.
    Period 4: 
    • Go to the library to pick up the memory play: The Glass Menagerie by Tennessee Williams.
    • When we return, we will read the beginning of this play together in class. 
    • Complete the reading of this play on your own over the break. Return with the play read by Oct. 12. Bring your scripts back with you to discuss and analyze the play.
    HOMEWORK: Complete your reading of The Glass Menagerie. As you read, take notes in your journal about how this play also follows the "coming of age" archetype. Tom is our protagonist, and is based loosely on Tennessee Williams himself. Bring your scripts back with you next class.

    Monday, October 3, 2016

    Memory Play Project

    Please turn in your analysis of Brighton Beach Memoirs (see post below for details if you need to refresh your memory). This is due.

    LAB PROJECT:

    Write a short MEMORY play in which your protagonist remembers a difficult event in his/her early life growing up. Include the 4 stages of the coming of age story plot, as well as the 9 characteristics of a coming of age story in your play draft. See previous posts for help identifying these elements.
    1. Start off by trying to recall a dramatic moment that you experienced (or that someone you know experienced--a family member, a neighbor, a friend, etc.)--recall who was involved and maybe what was said and by whom. What was the outcome? Jot down a list of details or make a mind-map of the details you can recall in your journal.
    2. Fictionalize the details. Change the names or genders or ages of the real people involved and create a fictional cast list of at least 3 characters. You can combine people you know. If you have 2 sisters, combine them into one personality. If you have 3 old wives, combine them into one grandmother. If you have 200 friends, combine them into 2 friends. You get the picture.
    3. Try to limit your cast to six characters or fewer.
    4. Create a cast list with a brief description of each character (see cast list in your Brighton Beach Memoirs play scripts).
    5. Describe a vivid setting for your play. Keep your play in one setting: a kitchen, a living room, a house like Brighton Beach Memoirs, a porch, etc. Base your setting on a place that you know well--although you can fictionalize this setting. Add details that are made up! See the set description at the beginning of the play Brighton Beach Memoirs for a model.
    6. Choose some coming of age conflicts that your characters might talk about. Use your journal or the play Brighton Beach Memoirs for ideas. Order these conflicts from minor to major dramatic events. One technique is to use post it notes or index cards to order these events. You always want the most serious/important conflict to be your climax.
    7. Begin writing your scene once you have completed all 6 steps before this one. 
    8. Your play should be written as a script. For now, you can use the form used in Brighton Beach Memoirs. We will not use this form for long, as it is not the proper format for writers.
    9. Your play should be between 5 - 10 pages in length (excluding your cast list and set description--see #4 & #5.) Include a title and number your pages in a header or footer. 
    10. Do NOT double space your play scripts. It is okay to skip a single line (one hard return) between lines. Names should be typed in upper case. Stage/acting directions should be written in parenthesis. 
    I will give you a specific deadline as I watch how much time you use in the lab. The more time you are on-task, the more time I will give you to complete this project. If you waste your time in the lab, I will give you an earlier deadline for your project.

    If you need a bit of a break, take a look at the film Brighton Beach Memoirs based on the stage play. Do not avoid your own short play writing, though. 

    Again, don't forget to turn in your "quiz"/analysis of Brighton Beach Memoirs.

    HOMEWORK: None. You may continue working on your play projects. If you have completed reading Brighton Beach Memoirs and have examined its format for your project, you may return the play script to the library. Either way, bring your play scripts or library books to next class please.

    The Graveyard Book - Discussion Questions

      In your discussion groups, please answer 5 of the 10 discussion questions. Choose a member of your group to record your answers. Make sure...