Fences Project; Portfolio

In the lab today: 

Choose one of the following:

• write an ode in the voice of a character from Fences. What would Troy, for example, praise about his son? What would Gabriel praise about his trumpet? What would Rose praise about Lyons or Troy?
• write an ode in your own voice for one of the characters in this play, or praise August Wilson's writing. 
• write a short scene between two of the characters in the play years later. 
• write a short scene between two of the characters that takes place during or before the action of the play. What were the scenes between the years that Wilson presents to us in this play? Write one of them.

When you have attended to the task above, you may begin working on compiling your semester portfolio. Follow the instructions below to get your portfolio ready. It is due (along with your journals) next Friday, Jan. 23.

Semester Portfolio - Final "Exam"

1. Examine your work collected in your portfolio. (You may print out anything you haven't yet printed out and place a copy in your portfolio). You may print anything out you have written in either Ms. Gamzon or my class.

2. Revise:
• Nouns: Nouns should be specific and concrete; avoid blatant abstract or vague nouns always in your writing.

 One way to make an abstract concept (like love or death or pain or sadness) concrete is by creating a metaphor or simile. (Ex. Love is a blind dove fluttering at your window)--use metaphor and simile in your writing to strengthen abstraction and turn it into concrete and specific writing! 

 If you can’t hold it in your hand, touch it, smell it, taste it, hear it, then it’s not concrete. If you can’t see it or touch it, it’s not specific.

• Verbs: Verbs should be active.

 Do not write in the passive voice – let your subject do the action.
 Avoid excessive use of the verb TO BE. Instead, use strong active verbs
 Do not shift tense. Make sure all your verbs are either in the past or present. Try not to switch between tenses.

• Modifiers: Adjectives, prepositions, adverbs, conjunctions, interjections. These parts of speech help describe your characters, settings, and plot events.

 The thing to remember about modifiers is that they are not necessary. Overusing them is a great mistake in writing! Be concise!
 Make sure your stories and poems describe the images you expect the reader to see. Don’t forget about WHERE your characters are or WHAT they are doing while they are talking or acting.
 Adverbs should be used sparingly.
 Try to avoid overusing conjunctions. This is a sure sign of a run-on sentence.

• Plot, character, setting, conflict, theme, dialogue, form: Find places in your stories and poems to expand your ideas. Complicate your plots, make them longer, more character driven, more descriptive. Use dialogue to develop your characters histories and backgrounds. Choose your words with care. Try to make a point. Remember your reader!
• Spell check and proofread your work! Reading your work out loud can help!
• It is sometimes helpful to get feedback from friends, teacher, or enemies about your writing.

Remember: this is a writing portfolio (and you have taken Grammar and Style), so you should check and correct any grammar or formatting errors in your work.

3. After you review and revise your portfolio, write a 1-3 page typed reflection essay about your progress this far in your creative writing courses.  Since you did one of these last quarter, feel free to update it. Answer the seven questions below somewhere in your reflective response. In your essay, you should:

 Talk about the work you include in your portfolio:
What pieces did you most enjoy, which were difficult for you and why? Which pieces show off your talent? What did writing these pieces help you understand in writing? 

 Talk about your strengths and weaknesses as a writer: what are you still doing well? what do you still need help or assistance with in regards to your writing?

 Talk about the reading we did and your skill at being a reader. What pieces did you most enjoy/which pieces or texts were difficult for you? Why? 

 Talk about specific writing problems you have faced (and overcome) 

 Talk about Ms. Gamzon’s and Mr. Craddock’s class – what parts did you most enjoy, which parts did you least enjoy? What might we be able to do to provide a better learning environment for you? 

NOTE: do not complain for the sake of complaining, but actively examine what you felt you did and learned in these classes in the past semester. Complain to your family and friends, not in your self-evaluation. 

 Make a goal. What would you like to work on in the next semester? 

Finally, grade yourself. What grade would you give YOURSELF as a writer this semester? Why? Defend your answer.

Use the lab today to complete this work. If you do not finish today in class, please complete next class.

HOMEWORK: None. You may work on preparing your journals and/or your portfolio. 

Fences: Act 2

When an author develops a character, he/she relies on characterization. Characterization is based on four distinct things:

• What a character says or thinks about him/herself
• What another character says or thinks about the character
• What the character does (the actions the character does and the choices he/she makes)
• The details or physical description the author or narrator gives us. In this case, what is revealed in the STAGE DIRECTIONS of the play script. 

Let's take the first 10-15 minutes of today's class please take a look at these scenes from Fences. In the first clip, we'll see two different versions played first by James Earl Jones and then by Denzel Washington. Compare/contrast the two versions. Note the reaction by the audience as well as the performance.

• Act One, Scene Three
• Act Two, Scene One
• Fighting Death (Act One) & Mr. Death & the fence (Act Two)

1. With a partner, compare what you're seeing with the image you had of the play from reading the script. What are some differences you note? Discuss these differences. Talk to each other please.

2. How do plays like Fences increase the dramatic tension of a situation? What are some things you learned about writing plays from watching these clips? Please discuss, then write brief comments on the index card provided to you in class. You and your partner may turn in one card for both of you.

3. Let's continue our class reading of the play. Please follow along as we read Act Two.

4. HOMEWORK: working alone:

• Finish reading the play, if we have not finished in class.
• Choose one of the characters in the play Fences: Troy, Bono, Rose, Gabriel, Cory, Raynell, or Lyons.
• Draw a character sketch of that character on a index card. (You may also find an appropriate picture on-line, if you'd like.) 
• Print the picture out, cut the picture out, and paste on the paper; or draw your own interpretation of your chosen character. (You may decide to draw a symbol of that character instead, if you'd prefer.) Feel free to be creative with this depiction. 
• You should be able to explain your choices to others in the class. 
• On the other side as the "picture" of your character, please describe the character's characterization (see notes above for details). Indicate lines and words (with page #'s) from the play's text that helps describe and characterize the character you chose.
• Finally, choose one of the following:
• write an ode in the voice of a character from Fences. What would Troy, for example, praise about his son? What would Gabriel praise about his trumpet? What would Rose praise about Lyons or Troy?
• write an ode in your own voice for one of the characters in this play, or praise August Wilson's writing. 

HOMEWORK: See above. Homework is due Friday, January 16. 

Fences: Act 1, Scenes 2-?

Please turn in your homework (see previous post for details)!

Please continue to read (and perhaps finish) Fences today reading as a whole class. We left off on Act 1, Scene 2.

HOMEWORK: None.

Setting Research; Fences Act 1, Scene 1

RESEARCH: Start class off today by researching the following items. In your journal, write down your answers. You should be able to relate the research to Fences.

Please research and find information about:

In 1918 when Troy Maxson is your age (about 14), he leaves the South for Pittsburgh. His father was a sharecropper. What is a sharecropper? What was life like for a sharecropper in the South? How did the system of sharecropping entrap people? How could a person escape that life? Read about sharecropping here.

Troy also was involved with the Negro League when he was younger. What is that? Look here to find out! Then also, find out who Jackie Robinson and Satchel Paige were. Why might they be important role models for us today?

• The Negro League
• Jackie Robinson & Satchel Paige

The setting of this play is 1957. Please research and find some information about this time period. Some questions to help guide your research are:

• What were the social, economic, political and educational expectations and opportunities for African Americans at this time?
• What advances had been made in civil rights?
• What significant changes will occur in America during the years between 1957 and 1965?

Some links to help you answer this question are posted here:

Images of the civil rights movement
Images of “the children’s crusade" of the civil rights movement
Timeline of the civil rights movement

After 20-25 minutes of research online and taking notes in your journal, please join up with the partners you chose last class and discuss what you found out about:
1. The Negro League
2. Sharecroppers
3. 1957 and the civil rights movement.

THEN: After discussing what you found with your group, please continue reading Act 1, Scene 1 today in class. When you have completed this scene together in your reading groups, please stop and do the following activities:
A. Before you sketch, discuss with your group what you learned about the SETTING of this play (the research you did today), and some of the important events that might shape the characters in this play. Which characters seem most affected?
B.  Then alone (but with the support and help of your group members), complete this task in class:

1. Choose one of the characters in scene one: Troy, Bono, Rose, or Lyons.
2. Sketch a character portrait or character sketch of your chosen character on one of the index cards given to you today.
3. Indicate lines and words from scene one that help describe and characterize the character you chose. Your peers can help you find examples of this in the script, if you need assistance.

WHY IS THIS IMPORTANT FOR WRITERS? 
When an author develops a character, he/she relies on characterization. Characterization is based on four distinct things:

• What a character says or thinks about him/herself
• What another character says or thinks about the character
• What the character does (the actions the character does and the choices he/she makes)
• The details or physical description the author or narrator gives us. In this case, what is revealed in the STAGE DIRECTIONS of the play script. 

On your picture, please make sure you have found words/description/lines from the text that support your examination of characterization. Please turn in your portrait by the end of class for participation credit OR complete as homework.

HOMEWORK: If your group did not finish reading Act 1, Scene 1 or you did not complete the character sketch assignment, please complete these tasks as homework and turn in next class. 

Dealing with Family Problems: Extemporaneous Speech; Fences by August Wilson

Warm-up Activity: 3rd period:

Part one: 5 minutes
In your journal, make a list of 10 common problems that people or families often face. You can draw from your own experience, from books, or films that you have seen for ideas. You may also use your imagination (which is what it's for...) Come up with 10 common problems and list these problems in your journal.

Part two: 15 minutes.
Choose one of the problems from your list. Write a very short speech about this problem (2-3 paragraphs in length is fine). Identify what the problem is, where it occurs or why it happens, use examples to help you explain what it is or how the problem affects families, then come up with at least 1-2 ways a person might be able to overcome this problem. End your very short speech with this advice. Your speech should have a nice hook to grab our attention, enough detail to identify and answer the questions posed above, and conclude with some advice about how to solve this common problem. End your speech with something for us to think about.

Part three: 10-15 minutes
Deliver your short extemporaneous speech to a small group of 2-4 peers. Take turns listening to each other's speeches. Conclude by giving some advice to each speaker about how they might improve their speech or public speaking skills.

Then, during period 4, or when you have completed your speech:

1. Please check out the link below on August Wilson.
2. In your journal take a few notes about how he got started writing plays and what he was attempting to do. What are his plays generally about?

Information about August Wilson can be found here. In the next room after we pick up the play, we will view this interview as well: August Wilson interview

3. We will be picking up the play Fences by August Wilson and beginning it today. When we return from the library, please get into the same groups you had while delivering your extemporaneous speeches. Please select parts and begin reading out loud in your groups today.

4. Read at least Act One, Scene One by the end of class today. If you do not complete this scene today, please complete your reading for next class. Bring your play scripts with you to next class.

HOMEWORK: Complete Act 1, scene 1 if you have not already done so during class. Turn in your extemporaneous speech note cards for participation credit. 

Film Terms to Learn

Camera: (helps create POV, just like in fiction!)
Shots: long shot, medium shot, close-up

• Long shots are often used to establish setting
• Medium shots are used during dialogue
• Close up shots are used to show reaction/expression of an actor, or an important detail

Angles: bird's eye angle, eye-line match, high angle, low angle

Lighting: (helps create tone/mood, just like in fiction!)
High key lighting (bright, full light, often warm)
Low key lighting (low light; shadowy and dark, very cool or cold)

Music/Sound FX: (helps create tone/mood, just like in fiction!)
Diegetic (sound/music that characters can hear)
Non-diegetic (sound/music that only the audience can hear; the characters in the world of the film do not hear or react to non-diegetic sound)

Character: (creates character)
Acting (acting is the skill of portraying a character believably; good actors are convincing as their characters)
Costumes (complimentary colors show compatibility; contrasting colors show opposition/conflict)

HOMEWORK: None. Have a nice holiday break!

Catch Up Day; Historical Fiction: Film

During period 3, please do any of the following tasks in the lab:

• Turn in your play draft to me if you have not yet done so. I'm missing a few groups. 
• For Ms. Gamzon: please complete your study guide
• For Ms. Gamzon: please complete your historical fiction draft
• For Ms. Gamzon: complete your iMovie projects
• Submit work to Scholastic (from yesterday)
• Spend your time writing in your portfolio

During 4th period, after I've assessed where we are, we'll head next door to discuss a few film terms, camera shots, and watch a historical fiction film.

HOMEWORK: None.

Play Script Project: Day 3

Please complete your play script projects today in class. Use the time in the lab to complete your plays. Plays should:

• Be written in the standard playwriting format (see previous handouts)
• Have a title (your title goes on your 1st page or cover page with your name)
• Have 2-4 characters (characters should be identified on the cover page as a cast list)
• Have a short description of setting. A description of setting (location, time, and set) usually goes before dialogue starts in a script
• Include at least one monologue. Monologues can take the place of difficult scenes that would be hard to produce on stage (like driving in a car or being shot in a war) or to develop character by providing a backstory or history for the character.
• Your play should have a definite beginning, middle, and end. The ending of a play usually leaves the audience with an image or wraps up the major action of the play.
• Should be between 4-10 pages.

Rubric: 

A: Play is written in correct format with very minor or few errors. Creative idea supported by effective and specific language; author uses a variety of effective literary devices (metaphor, simile, symbol, theme, dynamic characters, conflict, alliteration, plot, etc.); includes all components from the bulleted list above; play is thought-provoking and produceable on stage.
B: Play is written in correct format, with some errors, but nothing that distracts the reader too much. Creative idea, but we may have seen this kind of thing before; language use is not as sharp as "A" but pretty good overall. Some grammar errors distract the reader; some literary devices are used but with uneven success; includes most of the requirements from the list above; play is produceable on stage. Script is an "A" but late.
C: Play attempts play format but format is incorrect or there are many errors making reading difficult. Idea is hackneyed or cliche: we've seen this sort of thing before and the author does not offer us a new or creative experience; theme or meaning may be missing; may attempt literary devices but there are gaps or problems; may be missing some of the requirements from the list above; may not be produceable or best for a stage play (may be too cinematic). Play is a "B" but late.
D: Play script is too short or unfinished. Otherwise like "C" above. Play is late.
F: Play script is not turned in or completed.

HOMEWORK: See previous post. If you did not finish your script, please do so. Go see Annie (extra credit).

Zoo Story; Short Play Project: Day 2

Please continue writing your play scripts.

For a visual representation of the format for plays, please refer to the handout this morning.

Each period (3 & 4), please try to write at least 2 pages. If you do, you will have the minimum length for your play script. We are aiming for about 10 pages in script format, with 7-8 being a good standard length.

--Your play requires a monologue (use monologues to develop characters or to remove difficult to stage scenes)
--Your play requires 2-4 characters. If you are writing with a partner, please "play" one or two characters, allowing your partner to "play" one or two characters. Share the responsibility of the writing.
--Limit your stage directions. Remember: you are not the director, designer, or actor--let these people use their knowledge, skill, and artistry to add to your really cool and effective dialogue. Your job as a writer is to create an interesting, creative play--not to direct.

HOMEWORK: For extra credit: please read Albee's The Death of Bessie Smith and the Sandbox as other examples of absurdist theatre. Be prepared to be a little shocked and confused. This is natural with Albee's work. See below:

The purpose of absurdist theatre is to metaphorically or figuratively comment on some aspect of the human condition in symbolic terms. Often, in absurd plays, the meaning reflects the existential philosophy of the playwright (which can be bleak sometimes).

Part of the fun of Absurdism is the dream-like quality of the story (which doesn’t always make sense at the moment). After reading these two plays, respond to them as a reader and writer. Consider what surprised or pleased you, what frustrated you with the style or characters, what you would do differently, what you understood and got out of the play, etc. Your response is extra credit and is also due on Thursday, Dec. 11. I'll even take it on Monday, Dec. 15 since that's my birthday. 

Play Script Project; The Zoo Story

This morning, please finish reading The Zoo Story if you did not do so already. If you did (and answered the questions--see the handout I gave you last class! & turn this in if it's complete)--you may pick a partner or work alone to complete the project below:

PLAY SCRIPT PROJECT (instructions: please READ!)

Read and follow the steps below to complete this project:

1. Plays are meant to be performed by live actors (the dead ones are not as animate).

2. Playwrights (play wright, as in wheel wright or crafter) craft their plays around intense CONFLICT.

3. As stated previously, there are four types of conflict:

a. Person versus Person
b. Person versus Self
c. Person versus Nature
d. Person versus Society or God (a force larger than themselves)

4. The best plays include conflict. Usually, characters often create problems or conflict for each other. But conflict in characters may also include conflict within themselves as they struggle with their own morals or beliefs about a situation, trying to work it out verbally in the presence of other characters. The most important point is that characters communicate this conflict. They must speak! At different times in the play, The Zoo Story includes many conflict types: A, B, and D, specifically. When we talk about conflict C (nature) we often mean HUMAN nature or how humans react to the natural world.

5. You are going to create your own short play following the standard playwriting format. The standard playwriting format is the following:

a. Stage directions are usually italicized and enclosed in (parenthesis).
b. A character who speaks a line has their name in CAPITAL LETTERS.
c. The character’s name is centered on the page.
d. Lines that are spoken (dialogue) are NOT centered.
e. A directional comment is placed in italics and parenthesis next to the name of the character speaking, if relevant. Many playwrights try to avoid these unless the dialogue is cryptic. Technically, the dialogue needs to indicate the emotion, not the stage direction.
f. Short actions or stage directions that indicate physical activity are enclosed in parenthesis and italicized when the action occurs during the spoken line (usually the beginning).
g. Long or complex actions that include technical information can either be off-set as its own stage direction (in parenthesis and italicized) or embedded in the line of dialogue.
h. Scripts are NOT double spaced. There is always a skipped blank line (one of these only) between lines of dialogue.

If you get lost or confused, take a look at the format in the book you are reading. Being observant helps.

6. Your “play” should be fewer than 10 pages and longer than 4. (7-8 is preferable, but for some of you I'll take what I can get.)

7. You should set your play in one setting only. Do not change scenes yet. In Zoo Story for example, there's only one setting: the park. Choose only one setting for your play! You may choose a single setting from your brainstorming done last class! Handy, ain't it?

8. Pick a setting that reflects your characters, their motivation or what they want or desire, the conflict (see #3), or the mood of your scene.

9. Include no more than four (4) characters. If you are writing with a partner, each of you should "play" these characters by writing the dialogue only for these 1-2 characters. You may also pick these from the pre-writing you did last class. Or start fresh. Just get on with it. Each character should have a name and an occupation or a main physical, mental, or social trait.

10. For each character you add, give a short description about them in the beginning of the script. See pg. 11 in The Zoo Story as an example.

11. Describe the initial action and situation of the play. What is happening when the lights go up or the curtain rises? Again an example of this can be found in the play you just read (The Zoo Story) on page 11-12.

12. Your play MUST include at least one monologue. Monologues are effective in developing characters. For a good example of this, see the story of 'Jerry and the Dog' (pages 36-44).

13. Due date is set for Thursday, Dec.11. Get writing today!

NOTE: I suggest saving your work on your Google Drive so that you can share your work with your partner or get your hands on it when you are not in school or in this lab! Good idea!

Homework: Please go ahead and read The Death of Bessie Smith and the Sandbox as other examples of absurdist theatre. Be prepared to be a little shocked and confused. This is natural with Albee's work. See below:

The purpose of absurdist theatre is to metaphorically or figuratively comment on some aspect of the human condition in symbolic terms. Often, in absurd plays, the meaning reflects the existential philosophy of the playwright (which can be bleak sometimes).

Part of the fun of Absurdism is the dream-like quality of the story (which doesn’t always make sense at the moment). After reading these two plays, respond to them as a reader and writer. Consider what surprised or pleased you, what frustrated you with the style or characters, what you would do differently, what you understood and got out of the play, etc. Your response is extra credit and is also due on Thursday, Dec. 11. I'll even take it on Monday, Dec. 15 since that's my birthday. 

Zoo Story

Read out loud, together.
Answer the questions on the sheet (individually)