Created by:

Claire Imrie
Rebbecca Lloyd
Chantel Martin
Megan Tidman
Vince Ricci

1. Curriculum Connection and Rationale & Context

2. Budget and Unit Outline
3. Lesson Plan 1: Intro to Playwriting
4. Lesson Plan 1: Intro to Playwriting
5. Lesson Plan 2: Effective Dialogue
6. Lesson Plan 2: Effective Dialogue
7. Lesson Plan 2: Effective Dialogue
8. Lesson Plan 3: Working with Dialogue
9. Lesson Plan 3: Working with Dialogue
10.Lesson Plan 4: Script Analysis
11.Lesson Plan 4: Script Analysis
12.Lesson Plan 5: Guest Speaker
13.Lesson Plan 6: Character Building
14.Lesson Plan 6: Character Building
15.Lesson Plan 6: Character Building
16.Lesson Plan 6: Character Building
17.BLM 1.1 Handouts for Lesson Plan 3
18.BLM 1.1 Handouts for Lesson Plan 3
19.BLM 1.1 Handouts for Lesson Plan 3
20.BLM 1.1 Handouts for Lesson Plan 3
21.BLM 1.1 Assignment One
22.BLM 1.2 Assignment Two
23.BLM 1.3 Assignment Two Rubric
24.BLM 1.3 Assignment Two Rubric

Creating and Presenting:

Elements and Conventions: use a variety of drama conventions to establish a distinctive

context or role in original or adapted works
Elements and Conventions: highlight selected elements of drama and subordinate others
to achieve specific purposes
The Creative Process: select and use appropriate drama forms to present a variety of
adapted or original drama works
Reflecting, Responding and Analyzing:

The Critical Analysis Process: analyse and evaluate the aesthetic and technical aspects of
drama works of diverse genres and styles
The Critical Analysis Process: 2 analyse drama works to determine how they communicate
ideas about issues, culture, and society
Drama and Society: identify ways in which drama can influence personal growth,
relationships with others, and aesthetic judgment
Foundations:

Context and Influences: locate, synthesize, and communicate information about scripts,
performance spaces, and theatre traditions from different periods and cultures
Concepts and Terminology: identify and describe the forms, elements, conventions, and
techniques used in a variety of drama styles, and explain how

A Rationale:
To
To
To
To
To
To
To
To
Context:

fulfill Ontario Curriculum Guidelines

develop creativity
build a stronger understanding of culture
foster communication skills
hone the ability to make relevant connections
demonstrate a command of language, ideas, and form
foster an understanding of the greater community and social justice issues
demonstrate an awareness of and appreciation for the importance of drama in society

Students will follow the complete cycle of the creative process; beginning with a
challenge or inspiration in a particular context and ending with producing a final product
and reflecting on their approach to the process.
The grade 11-playwriting unit would take place towards the end of the school year.

This unit will be able to mainly utilize resources that are assumed to be in the classroom or
school. The resources we consider in this regard are: paper, pens, pencils, markers, erasers,
scissors, tape, stapler/staples.
Item

Cost

Cue Cards x 100

$2.00

Guest Speaker x 1

$175.00

Estimated Total:

$ 177.00

Monday

Tuesday

Wednesday

Thursday

Friday

Introduction to
Playwriting.

What makes
effective
dialogue?

How to:
Dialogue
Writing with
stage
directions.

Script Analysis
and
Playwriting
Conventions.

Monday

Tuesday

Wednesday

Thursday

Guest
speaker:
Judith
Thompson,
Kingston
based
playwright.
Friday

Creating
Character
Experiment.

Peer Editing
Session.

Writing Period.

Writing Period.
Plays due at
start of next
class.

Group
Discussion
Day to
Breakdown
the writing
process.

Aims: To have students explore a social justice oriented theme through script work; to have
students understand how to write effective dialogue; to have students understand what makes a
good character: to have students understand that plays can be an effective way to discuss issues
in their communities.
Assignments:

Comparison Chart for Script Analysis

Journal Entry

Script

LESSON PLAN #1
Lesson Plan Title / Subject:

Introduction to Playwriting

Date:

Class / Grade:

Grade 11 University Drama

Length of Class (minutes):

75 mins

LEARNING GOALS:
Learning Goal
C1: Concepts and
Terminology Demonstrate
an understanding of the
nature and functions of drama
forms, elements, conventions,
and techniques, including the
correct terminology for the
various components

Success Criteria
Identify and describe the
forms, elements, conventions,
and techniques used in a
variety of drama styles, and
explain how they help achieve
specific purposes and effects.
Use correct terminology for
the various components and
processes of their own and
others dramatic works

Coded Expectations
C1.1

C1.2

LEARNING SKILLS:
Responsibility
Self-regulation
Independent Work

Collaboration
Initiative
Organization

Notes:
** While the students are never truly working independently for this lesson, each student is still
expected to take initiative, act responsibly, and self-regulate themselves in order to ensure an
efficient and effective lesson. **

BRIEF DESCRIPTION

OF

OVERALL LESSON:

Within this lesson, students will be engaging with new material that is based off of previous
learning in the English curriculum. As the students review the basics of the plot graph/narrative
elements, they will also be encouraged to explore how these elements change or are
manipulated in a dramatic setting and context. After the new knowledge has been given to the
students, the teacher will then have the students take autonomy of their own learning as they
explore and experiment with the various cue cards in their learning activity.

Time
(minut
es)
7

Segment

Description

Hook/Warm-up

Assessment for
Learning:

30

Delivery of New
Ideas:

25

Assessment as
Learning/Learning
Activity:

Instructional

One Word Story warm-up

Teacher will break students into
groups of 5-7 and have them each
contribute one word at a time to
create a story.
Students will follow up the activity
with a group-share/debriefing
discussion as to what key narrative
elements go into an effective story.
Teacher will overview the critical
elements of a narrative plot
(exposition, inciting incident, rising
action, climax,
denouement/resolution) as well as a
brief history of
playwriting/playwrights, types of
plays, and playwriting conventions.
The teacher will have a brief
PowerPoint will all of the
introductory information included.
The teacher will have created
multiple decks of cue cards that have
the different critical moments in a
narrative plot (mentioned above).
Students will be required to organize
the cue cards in correct order within
their group of 3-5 from the warm up
activity.
Students will also have cue cards
with the plot points of a previously
studied play written on them. As a
group, students will have to decide
which plot point belongs to which
narrative element.
Think/pair/sha
Debate

Resources

USB with
PowerPoint

5 sets of
narrative
elements cue
cards

3 sets of
Romeo and
Juliet plot
point cue cards
2 sets of
Macbeth plot
point cue cards

7
Strategies:

re
Think/pair/dra
w

Notes on
Instructional
Strategies:

Cooldown/Assessment
of Learning

Rapid writing
Group work
Numbered heads
Direct teaching
Seminar panel
Hands-on activity

Four corners
Placemat
Gallery walk
Learning
centers
Demonstratio
n
- After a brief introductory PowerPoint
to review the necessary narrative
elements, this lesson plan is geared
toward the students taking autonomy
for their learning as they experiment
with the different
moments/conventions/structures of
dramatic works.
- Students will write an exit slip before they leave class that will ask them to
highlight/describe ONE concept of
playwriting from the day they didnt
know before and ONE challenge/fear
they want to work through in regards
to playwriting.

30 half-slips of
paper for
reflection

Vince Ricci

LESSON PLAN #2
Lesson Plan Title / Subject:

Playwriting- Writing Effective Dialogue

Date:
Class / Grade:

Grade 11 Academic Drama

Length of Class (minutes):

75 minutes

LEARNING GOALS:
Students will be able to identify key elements found within successful dialogue.
Students will be able to utilize the key elements found within successful dialogue.

Learning Goal
Use the elements and conventions of
drama effectively in creating
individual and ensemble drama works,

Success Criteria
1) Students can identify and select
appropriate forms to present an
identifies idea

Coded Expectations
Elements and Conventions 2.1

8
including works based on a variety of
sources.
Identify and describe the forms,
elements, conventions, and techniques
used in a variety of drama styles, and
explain how they help achieve specific
purposes and effects.

2) Students can adapt to a point of

view or voice of a specific character
1) Students can describe the elements
of an effective script.
2) Students can create an effective,
original script and explain how they
did so.

Concepts and Terminology 1.1

LEARNING SKILLS:
Responsibility
Self-regulation
Independent Work

Collaboration
Initiative
Organization

Notes: During this lesson students are encouraged to pair up as to facilitate the
sharing of ideas. Students will be encouraged to read work out loud to one another.

BRIEF DESCRIPTION

OF OVERALL LESSON: During this lesson students will share

conversations heard on the street. From there students will have a foundation for
understanding strong and weak dialogue, (entertaining and boring). From there,
students will work together in discussion to identify the elements of strong, successful
dialogue. After this students will be given the chance to work in pairs in order to
implement these new findings and create some dialogue themselves. Working in pairs
will provide them with a person to bounce ideas off of and read aloud to. Pairs will
become larger groups in order to share final products.
Time
(minut
es)
10

10

Segment

Hook

Assessment for
Learning:

Description

Have volunteers read their homework

assignment out loud (eavesdropping
and dictating the conversation of
strangers)
Discuss which examples were enjoyed
Discuss which was which (a successful
demonstration of engaging dialogue)
and why

15

Delivery of New
Ideas:

Discuss the following points on how to write good

dialogue:

Dialogue is a conversation between

Resources

Students Homework

20

Learning Tasks:

Divide students into pairs:

During

Assessment as
Learning:

Instructional
Strategies:

Show them a picture of people talking.

(Pictures involving a literary work they
are reading are most effective.)
Instruct pairs to invent a situation and
write a dialogue of at least 15 lines.
Encourage students to include
explanatory material and to write more
than just he saidshe said.
As students create their dialogue, write
the following functions for dialogue on
the board:

Students will be observed as they

complete the activity.
They will be given feedback as to
whether they are completing the
activity correctly.
If not, they will be guided towards
completing the activity successfully.

Think/pair/sha
re
Think/pair/dra
w

Paper and Pens

Provide Information
Describe a Place or Character
Create a Sense of Time
Create Suspense or Conflict
Move the Story Forward
Reveal a Characters Thoughts
Summarize What Has Happened
Create a Sense of Place

During

two or more people.

Dialogue is essential to fiction writing.
Dialogue brings characters to life and
adds interest.
Dialogue must do more than just
duplicate real speech.
Writing dialogue consists of the most
exciting, most interesting, most
emotional, and most dramatic words.
Brainstorm people that might have a
conversation and write them on the
board and what they might talk about.

Debate
Coding
importance
Inside/outside

for

10

15

Assessment of
Learning:

Four corners
circles
Graphic
Rapid writing
organizers
Individual/pair/gro
Placemat
up work
Jigsaw
Numbered heads
Gallery walk
Direct teaching
Graffiti
Role playing
Learning
Seminar panel
centres
Hands-on activity
Demonstratio
n
Students will get into larger groups to

Wrap Up/End of
class:

share completed work

Students will discuss effective and
ineffective elements
Students will participate in a physical
cool down (as we have no utilized our
bodies at all today!)
Example: Shake Down
Rebbecca Lloyd

LESSON PLAN #3
Lesson Plan Title / Subject:

Playwriting Working with Dialogue

Date:

Class / Grade:

Drama/11U

Length of Class (minutes):

75 minutes

LEARNING GOALS:

11

WILL BE ABLE TO UNDERSTAND THE RELATIONSHIP BETWEEN DIALOGUE, GENRE,

AND STAGE DIRECTIONS

WILL BE ABLE TO APPLY THIS KNOWLEDGE AND USE IT TO WRITE A SCRIPT

Coded Expectations
A2.2 use a variety of drama conventions to establish a distinctive context or role in original
or adapted works
B1.3 analyze and evaluate the aesthetic and technical aspects of drama works of diverse
genres and styles
C2.1 locate, synthesize, and communicate information about scripts, performance spaces,
and theatre traditions from different periods and cultures

LEARNING SKILLS:
Responsibility
Self-regulation
Independent Work

BRIEF DESCRIPTION

OF

Collaboration
Initiative
Organization

OVERALL LESSON:

THE PURPOSE OF THIS LESSON IS THE UNDERSTAND THE RELATIONSHIP BETWEEN

DIALOGUE AND PLAYWRITING. STUDENTS WILL BEGIN BY THINKING ABOUT
DIALOGUE IN RELATION TO GENRE (I.E. WHAT KINDS OF WORDS DO WE ASSOCIATE
WITH DIFFERENT GENRES) AND RELY ON THEIR PRIOR KNOWLEDGE OF STAGE
DIRECTIONS.

THE

MAIN ACTIVITY WILL HAVE STUDENTS WORKING IN GROUPS TO

WRITE A SCRIPT TO INCORPORATE A PRE-DECIDED SET OF STAGE DIRECTIONS. THE

FOCUS OF THIS EXERCISE IS TO HAVE STUDENTS CREATE DIALOGUE FOR A SCENE
WHICH MOTIVES THAT ACTIONS OF THE CHARACTERS AROUND THE STAGE. FOR
THIS LESSON, THESE SCRIPTS DO NOT HAVE TO BE PERFORMED HOWEVER; YOU
SHOULD KEEP THESE SCRIPTS FOR FUTURE USE AS THEY CAN BE A STARTING
GROUND FOR STUDENTS WORKING ON A UNIT IN DIRECTION.

Time
(minute
s)
5
10

Segment

Description

Hook

Assessment for
Learning:

Warm up!
o See attached
Discussion Questions
o Use talking points from
Warm Up
Recap lesson on Stage Directions

Resources

Paper, Pen

12
10

Delivery of New
Ideas:

40

Assessment as
Learning:

Instructional
Strategies:

Assessment of
Learning:
10

Wrap Up/End of
class:

Transition from the role of genre

to the role of dialogue
o How is dialogue used in
relationship to genre
(romantic language vs.
satirical language, for
example)
o How can dialogue be used
to provide motive for
movement?
Activity!
o In groups (no larger than 4)
create a script that using
dialogue as motivation for
movement around the set
o See attached handouts
think/pair/sha
Debate
re
Coding
for
think/pair/dra importance
w
Inside/outside
Four corners
circles
graphic
Rapid writing
organizer
Individual/pair/gro
Placemat
up work
Jigsaw
Numbered heads
Gallery walk
Direct teaching
Graffiti
Role playing
Learning
Seminar panel
centers
Hands-on activity
Demonstratio
n
Hand in rough drafts of scripts

Debrief
o Discuss the importance of
dialogue in relation to
playwriting
o How dialogue and stage
directions are connected
keep this in mind when
completed the final
assessment
Megan Tidman

LESSON PLAN #4

Handout

13

Lesson Plan Title / Subject:

Playwriting Script Analysis

Date:
Class / Grade:

Grade 11 Academic

Length of Class (minutes):75 Minutes

LEARNING GOALS:
Learning Goal
Recognize and understand the
conventions of scripts and
evaluate how drama works on
the same topic present it
differently

Evaluate scripts using

terminology pertinent to the
unit and support their creative
choices with evidence from
the script

Success Criteria
Recognize and explain and the
social justice issues expressed
by the playwright through
dramatic conventions,
techniques and dialogue, and
juxtapose the differing
messages and effects on an
audience.
Determine the perspective of
a playwright by examining the
conventions and techniques
used in the script.

Coded Expectations
B 1.2

C 2.1

LEARNING SKILLS:
Responsibility
Self-regulation
Independent Work

Notes:

Collaboration
Initiative
Organization

Self-Regulation: Group work requires students to be able to manage their

conversation while working with their peers to maintain focus on the task at
hand
Collaboration: Group work also requires students to be able to be an effective
member of the group who communicates respectfully and carries their share of
the workload.
Organization: The comparison chart requires students to be able to complete
the organizational chart in an orderly fashion.

BRIEF DESCRIPTION

OF

OVERALL LESSON:

In small groups, students will analyze two scripts on the same issue using a
comparison chart handout that will also highlight some of the conventions of playwriting.
The chart will assist the students in determining the social justice issue being discussed,
and how the playwright chooses to portray it through characters and dialogue.

14

Students will also be reminded of the traditional story arch, and how integral these
components are in order to tell a successful story.
After examining the various scripts, students will spend the last part of the class in
a group meeting where they are required to determine the social justice issue they will
be exploring in their culminating assignment.
Time
(minut
es)
10 Mins

Segment

Warmup:

10 Mins

Delivery
of New
Ideas:

30 Mins

Learning
Task:

Description

Warm Up Game: First and Last

Lines
-Ask the students to get into pairs
- Tell the students they will be
improvising scenes for which you
will give them the first and last
line, and it is their job to
improvise a scene in which both
of these lines could be said
Class Discussion:
-Draw a typical story arch on the
board and ask the students to
label the parts (They should know
this)
- Ask the students to make a list
of dramatic forms and
conventions within a
play/character. Make sure you
quickly define the terms as you
go. (This should be mostly review,
and acts as a brainstorming
activity for the Comparison
Chart)
Comparison Chart:
-Start by reminding the students
about the importance of Social
Context by asking them how
women are portrayed in Leave to
Beaver, vs. how they are
portrayed in Gossip Girl, or
Pretty Little Liars, etc.
- Students will likely point out the
obvious difference in dress and
language, but they also need to
note status/power, ability, job etc.
(Make sure they name all of the
aspects on the Comparison Chart
handout)
-Once this has been discussed,
ask the students to break into
groups and complete the
Comparison Chart Handout
- They need to analyze these

Resources

- First and Last lines,

enough for each pair

- Chalkboard/Chart
Paper/Smart Board

- Enough scripts for all of

the groups
- Handout of Comparison
Chart ATTACHED

Notes on instructional
activities:
- Make sure your students
know how to be respectful of
other people opinions
- Depending on your
students, they should be
able to form their own
groups for this assignment.
OR you can pre-determine if
this is necessary

15

25 Mins

Work
Period:

scripts based on the criteria on

the handout and determine how/if
they represent the same issue
differently
Group Meeting:
-Student will meet with their
groups and determine a topic
that they will write about for
their play
- By the end of the class, they
need to determine their topic for
their script they will write
Claire Imrie

LESSON PLAN #5
Lesson Plan Title / Subject:
Date:
Class / Grade:

Playwriting Guest Speaker

Grade 11 Academic

Length of Class (minutes):75 Minutes

BRIEF DESCRIPTION

OF

OVERALL LESSON:

Following the warmup, Judith Thompson, a local playwright, is coming in to speak

with students about the writing process. She will explain the process that he goes
through when approaching a new project, as well as provide useful hints and techniques
to encourage creativity and ease writers block. Students will have the chance to ask
questions and participate in activities that will increase their productivity in their
culminating assignment.
Time
(minut
es)
10 Mins

Segmen
t

Description

Warmup
:

Warm Up Game:
Fortunately, Unfortunately.
- In a circle, start the game
by having 1 person make a
random statement. Ex:
Today is my birthday.

Resources

16

40 Mins

Guest
Speaker

25 Mins

Work
Period:

- The person beside them

should add the story, but
their statement must include
the descriptor:
Fortunately, at the
beginning. Ex: Fortunately,
I bought myself an ice cream
cake.
-The next person should add
to the story with a statement
that begins with
Unfortunately. Ex:
Unfortunately, my freezer is
broken so the cake melted!
-The next statement should
begin with Fortunately,
and continue to alternate
each time until each person
has added to the story.
Guest Playwright will come
in to discuss the writing and
publishing process with the
students. There will be an
opportunity to ask questions,
as well as interactive
activities as determined by
the guest speaker.
Yesterday, each group
determined the Social
Justice issue they want to
discuss in their script. Today,
each group should use this
time to brainstorm ideas for
their characters and setting.

LESSON PLAN #6
Lesson Plan Title / Subject:

Playwriting- Character Building

Date:
Class / Grade:

Grade 11

Length of Class (minutes):

75 minutes

17

LEARNING GOALS:
Learning Goal
Will use stories they have heard from the
news about their community in order to
write about a social justice related issue.
Understand how to create relationships
between characters and to the setting.
Understand how to empathize with different
characters backstories and to approach
writing character through an unbiased lens.

Coded Expectations
A1.2 Select and use appropriate drama
forms to present a variety of adapted or
original drama works
A 2.1 Highlight selected elements of drama
and subordinate others to achieve specific
purposes
B2.2 Identify ways in which drama can
influence personal growth, relationships
with others, and aesthetic judgement

LEARNING SKILLS:
Self-regulation
Independent Work

Collaboration

LITERACY FOCUS:
Use oral/written communication
suitable for purpose and intended
audience

Read and interpret (orally or in

writing) visual forms
Think critically and respond to text or
oral work

Write with purpose and clarity

BRIEF DESCRIPTION

OF

OVERALL LESSON:

Students will work to create various characters throughout the lesson and will challenge the
stereotypes they currently hold about different types of people. They will experiment with
character profiles, relationships and dialogue. They will then be able to work in their groups to
continue writing their scripts and will have the opportunity to reflect on their learning and
experiences writing in a journal entry.

Time
(minute
s)
5

Segment

Hook

Description

Have pictures of memorable

characters from TV & movies pasted
on the board for when students enter

Resources

-Printed off photos

-tape
-blackboard

18

3-5

Assessment for
Learning:

45

Delivery of New
Ideas:
(what is you plan
for delivering the
content or new
ideas you want
students to learn)

the classroom to pique their interest

and get What makes a good
character? Brainstorm with the
students on the board.
Ask students what then makes a good
story checking for them to understand
the effectiveness of relationships and
tension between characters. Group
discussion to ensure what have they
learned so far about playwriting has
sunk in.

Create a Character Outline:

using the random character
generator
think of someone from your
past who still sticks out in
your mind. Write down what
made the person interesting.
turn an inanimate object into
a character.
Character Development:
Write 10 factual statements
about your character, 10 lies
and 10 bizarre statements
Share some interesting
things you learned about
your character with a small
group
Create a backstory:
Students must include the
following in you backstory and
hand it in to the teacher:
Gender
Race
Social class
How many siblings
Parents' relationship
Neighbourhood
Health/disability
Religion
Level of education
IQ
Special abilities

- http://
writingexercises.
co.uk
/character.php
-paper and pencil

-paper and pencil

-paper and pencil

-paper and pencil

-can make a
handout for this if
its easier

19

Age
Marital status
How many (if any) children
Sexuality
Political views
Appearance
Habits
Fears/ phobias
What s/he gets upset about
What s/he gets excited about
What s/he really dislikes in
other
People
What s/he admires in others

Relationships:
How would your character react to
the following people:
Boss
Mother
Father
Neighbour
Lover
Character Voice:
Students will write a letter to an
advice columnist in a magazine. They
will then hand the letter to the
teacher who will then redistribute the
letters amongst the class to a new
student. This new student will answer
the letter asking for advice as their
character. Once complete the original
student will get their letter back.

20

Assessment as
Learning:
Instructional
Strategies:

Group Work:
Students will get together with their
script writing groups to work for the
remainder of the period on their
assignments.
Check in with the students as they are
writing about their characters to
ensure that they are understanding all
of the facets of their character.
Demonstration
Direct teaching
Hands-on activity

-Paper and pencil

-can create a
longer list to get
students thinking
about their
character as much
as possible

-paper and pencil

-may need
computer lab time
booked here

Rapid writing
Individual/pair/gr
oup work

20
Notes on
Instructional
Strategies:
Assessment of
Learning:
Wrap Up/End of
class:

Most will be individual since the

students are working on creating
their own character so they
understand the process.
Students must write a journal entry to
be submitted at the beginning of the
next class.
Discussion on the difficulty level of
creating a character.

Chantel Martin

BLM 1.1

-BLM 1.2

21

22

23

BLM 1.2

24

Journal Response
Having looked at several different playwrights, and analyzing their works in terms of social
justice issues, consider the purpose behind the playwright.

Please answer the following questions:

Why do we write plays? Is it solely for entertainment or there more to it?

What are the advantages to writing plays? How is a playwright able to tackle issues of
social justice differently than an author or journalist?
Thinking about the final project did you choose the social justice issue you did?

BLM 1.3

25

Playwriting Culminating Assignment

In groups of 4-5, you will write a script on a social justice issue that contains the elements
discussed throughout this unit. The script that you write will not actually be performed; instead,
the focus is on demonstrating your understanding of the conventions and techniques used in
playwriting. We will discuss some potential social justice issues as a class, as well as provide you
with time in class to work with your group. However, this assignment may require you to
complete some work at home, and bring it to class the next day. This assignment will be marked
with a rubric that can be found below.

THE

SCRIPT THAT YOU WRITE SHOULD CONTAIN THE FOLLOWING:

1) Clear Plot Structure: Story Arch Beginning, Middle, End
2) Correct Formatting and Terminology: Italicised words, directors notes, stage
directions, entrances and exits etc.
3) Social Justice Issue: The issue you are discussing should be examined in detail so
that the audience is aware of differing outlooks on the issue.
i. One of the characters must reveal a personal perspective on the issue
(doesnt have to be YOUR actual perspective, it is how your character
feels!)
ii. The characters opinion is realistic and plausible in the given
circumstances
4) Conventions:
a. Characters: (Can be as many as you want, but they need to be developed!)
i. Characters remain consistent
ii. Relationships should be clearly established through conversation and
blocking
b. Dialogue:
i. Between at least two characters
ii. Language is appropriate to setting and character
iii. Demonstrates understanding of speech patterns: pacing, intonation,
subtext, dynamics, syntax
iv. Uses at least 1 example of monologue, repetition, unison or antiphonal
dialogue

Tomorrow, we will discuss various potential social justice issues that you could explore in
your scripts. I encourage you to think of this as an opportunity to explore issues that are
important to you, and express your opinions artistically. There will also be many opportunities to
refine your work with the help of your peers, as these scripts should be polished and complete.

Criteria:

Start writing no matter what.

The water does not flow until the faucet is turned on. Louis LAm
Level 4
Level 3
Level 2

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Plot Structure
-Beginning should
introduce characters &
issue
-Rising Action includes
details that tell the
audience: who, what,
where, when
-Climax: highest point of
dramatic action in the
scene
-Ending: appropriate to
the dramatic action, The
ending should either
provide closure, or let
the audience know that
something will be done.
Formatting and
Terminology
- Entrances and Exits
- Scenes
- Stage Directions
- Who the Dialogue is
intended to be directed
act (dialogue direction)
is noted if necessary
during asides and
conversations with
multiple people
- Stage directions are
purposeful and not
random
Social Justice Issue
-An issue is chosen as
the focus for the script
-the issue is personal to
one of the characters in
some way
-differing perspectives
on the issue are
provided so that the
audience is able to
understand it fully

The script presents a

clear beginning, rising
action and climax.
Details are included and
placed in a logical order
and the way they are
presented effectively
keeps the full interest of
the reader.
The ending resolves the
conflict or spurs the
character to action.

The script presents a

clear beginning, rising
action and climax.
Details are included
placed in order and
presented effectively.
The ending resolves the
conflict or spurs the
character to action.

The script presents a

beginning, rising action
and climax.
Details are included an
placed in order.
The ending resolves the
conflict or spurs the
character to action.

Scenes are delineated

and characters are
denoted.
The dialogue and stage
directions are clearly
marked and noninvasive.
Entrances and Exits
have been included.
All stage directions are
consistently formatted
correctly and increase
understanding of and
interest in the script.

Scenes are delineated

and characters are
denoted.
The dialogue and stage
directions are clearly
marked.
Entrances and Exits
have been included.
Stage directions are
formatted correctly and
increase understanding
of the script.

Scenes are delineated

and characters are
denoted.
The dialogue and stage
directions are marked.
Stage directions are
denoted correctly in the
script.

The playwright captures

the complicated nature
of the issue and brings it
to life by providing the
reader with several
contrasting perspectives
on it.
One character reveals a
personal opinion on the
topic that is realistic and
supported by the
dialogue in the script.

The playwright relates

the complicated issue by
providing the reader
with contrasting
perspectives on it.
One character reveals a
personal opinion on the
topic that is supported
by the dialogue in the
script.

The playwright provide

the reader with
contrasting perspective
on the issue.
One character reveals a
personal opinion on the
topic that is supported
by the dialogue in the
script.

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Characters
-At least two characters
are included
-Characters have a
connection to the social
justice issue
-Characters portray
emotional responses to
the issue that
demonstrate their depth
(doesnt have to be sad!
Could be understanding,
anger, resentment,
happiness, etc.)
-Relationships are
established through
blocking
-Relationships are
realistic to the setting

Dialogue
-At least two characters
are involved in
conversations
- Conversations are
realistic to the setting
and era
- Dialogue is purposeful
and advances the plot
-Consistency of
conventions (pacing,
intonation, syntax)
-one example of
monologue, aside,
repetition, unison or
antiphonal dialogue has
been included

NOTES:

Two or more well

developed and
believable characters
are portrayed.
At least one character
fully commits to
portraying vast
emotions and attitudes
that demonstrate their
characters depth.
Relationships between
the characters are
clearly and purposefully
established through
conversation and
blocking.
The relationships
between the characters
are realistic to the era
and locations in which
the script takes place.
Conversations contain
realistic language
considering the
characters personal
experiences, time
period, location and
relationship with other
people in the scene.
Dialogue clearly
advances the action and
meaning of the script.
Speech patterns are
smoothly distinctive and
consistent for each
character.
Convention is integrated
into the script naturally
so that it enhances the
dramatic tension or
action.

Two or more believable

characters are
portrayed.
At least one character
commits to portraying
emotions and attitudes
that demonstrate their
characters depth.
Relationships between
the characters are
established through
conversation and
blocking.
The relationships
between the characters
are realistic to the era
and locations in which
the script takes place.

Two or more believable

characters are
portrayed.
At least one character
commits to portraying
emotions and attitudes
Relationships between
the characters are
established through
conversation.
The relationships
between the characters
are realistic to the era
and locations in which
the script takes place.

Conversations contain
realistic language
considering the
characters personal
experience, time period
and relationships with
other people in the
scene.
Dialogue advances the
action and meaning of
the script.
Speech patterns are
consistent for each
character.
Convention is integrated
into the script naturally.

Conversations contain
realistic language
considering the
characters personal
experience and
relationships with other
people in the scene.
Dialogue advances the
action. Speech patterns
are consistent for each
character.
Convention is integrate
into the script.