Magister Yeats
Item List
WW3.01
The Character
How do we create a character?
BELL WORK
Journal: Who is your favorite character in book, game, or film? How would you describe them to someone who doesn't know anything about them? What do you like about them?
WE WILL
Review a variety of the kinds of questions we should ask when creating a character.
Describe why some elements of your character may stay hidden.
Discuss the difference between a flat character and a three-dimensional character.
YOU WILL
Practice creating your own character who you'd like to write about. Determine important details about them, as well as some minor details your audience may not need to know. Put in PLAYS/SCENES
IF YOU FINISH EARLY
Make a list of situations you'd be interested to find your character in.
WW3.02
Writing Plays and Space.
How do we structure a scene's location and the audience's gaze?
BELL WORK
Journal: 7-minute free write
WE WILL
Describe the different types of stages and their effect on the audience and the writing.
Watch a breakdown (5:12) of how controlling audience gaze is the job of a director (and a writer).
YOU WILL
In small groups, read this article about avoiding unnecessary details in your writing.
In your journal, write down the acronym DIME and its meaning. Put in your WRITING TOOLS.
IF YOU FINISH EARLY
Go back to our video from earlier today. What would you have made the camera (or your writing) focus on to make it better?
WW3.03
Conflict!
How do we raise the stakes?
BELL WORK
Journal: How does this comedy skit (CW: mild adult language) manage to create tension out of a man going to the bathroom?
WE WILL
Define the different types of conflict. Put our handout in WRITING TOOLS.
Discuss the use of the story arc as a means of resolving conflict. Put in WRITING TOOLS.
YOU WILL
Reflect on the writing you particularly like: What types of conflict appear in them? Is there a type of conflict that you usually don't like?
IF YOU FINISH EARLY
Read War of the Clowns by Mia Couto. How does it manage to create multiple crisis points in the story despite being so short?
WW3.04
Representation
How do we provide representation and avoid misrepresentation?
BELL WORK
Journal: How often do you see characters like you in the stories you read/watch/listen to? Do you feel like you have a lot of choices when it comes to seeing people like you in stories?
WE WILL
Discuss the following questions as a class:
Look for examples of films that pass the Bechdel Test.
Discuss limitations of the Bechdel Test.
YOU WILL
Read this article about how to include diverse characters--and characters different from you--in your narratives.
Homework: Make a 1-page transcript of a conversation you have/hear over the next 12 hours. Include the variety of interjections and pauses.
IF YOU FINISH EARLY
Reflect on the article. When are some times your identities impact your decisions? When are times when your identities impact your decisions less?
WW3.05
And action!
How do we make our characters speak?
BELL WORK
Journal: What kinds of stories do you like to see/read? What are the elements that make it so good? How can you put those in your writing?
WE WILL
Quickly review lessons 3.1-3.4 and yesterday's homework.
Go over scene formatting for ease of readers.
Describe the use of stage directions.
YOU WILL
Make a list of 3-5 ideas you might choose to write your first scene about.
IF YOU FINISH EARLY
Begin drafting your monologue.
WW3.06 A-B
A One-Person Show
What is the use of a monologue?
BELL WORK
(A) Watch a series of one-minute monologues (12:21).
WE WILL
(A) Do a quick check-in on progress and check for questions.
YOU WILL
(A-B) Spend the period drafting our first monologue piece.
IF YOU FINISH EARLY
Revise and edit your monologue with a peer prior to submission.
WW3.07
It Takes Two
How do we make characters engage with one another?
BELL WORK
Share out your monologue piece in small groups.
WE WILL
Choose a film to watch to analyze its structure.
Read a scene and analyze the characters, conflict, and what drives the characters.
YOU WILL
Make a list of ideas about what two-character scene you'll write.
IF YOU FINISH EARLY
Begin working on writing your two-character scene.
WW3.08 a-b
Drafting
Ready! Set! Write!
BELL WORK
(A) Watch a two-person scene without dialogue.
(B) Journal: When it comes to your writing in this class, what is going well? Are there any ways you think you have improved so far?
WE WILL
Individual check-ins with Mr. Yeats on how your work is going, troubleshooting, and feedback.
YOU WILL
(A-B) Work on drafting your two-person scene.
IF YOU FINISH EARLY
Work on revising your scene. If you have the final draft you're happy with, go back and reread your monologue. How do you feel about it now that some time has passed?
WW3.11
Peer Editing
Two characters and two heads may be better than one!
BELL WORK
Journal: What are the three biggest issues you feel your dialogue has? What is one thing you think about your dialogue that is really good?
WE WILL
Pass your paper in a square.
On sticky notes, leave comments for the author about what you like, what you were confused about, and what you think could make it even better.
YOU WILL
Go over your feedback, and begin working on the revision process of your piece.
IF YOU FINISH EARLY
If your group leaves no feedback for improvement, turn it in and I'll give you some questions to reflect on your writing.
WW3.12
Revision
Making the big changes!
BELL WORK
Journal: 5-minute Free Write.
WE WILL
Review critical elements of the revision process.
YOU WILL
Revise your piece for performance and publication.
IF YOU FINISH EARLY
Begin checking your editing work.
WW3.13
Editing
Fixing the little things!
BELL WORK
Journal: If I had a million dollars to do whatever, I would . . .
WE WILL
Review format of scenes on the printed page.
Review elements of the editing process.
YOU WILL
Type of a final draft of your scene.
IF YOU FINISH EARLY
Submit your draft via Teams.
WW3.13 a-c
Showtime!
How are your acting skills? Let's find out!
BELL WORK
Choose a partner to perform with!
WE WILL
Go over audience behavior expectations.
YOU WILL
(A) Rehearse your scenes together for a performance.
(B-C) Watch performances and provide feedback over scene writing.
(C) Turn in your journal for a journal check.
IF YOU FINISH EARLY
Watch and analyze the following scenes as writers
Monologue: "Burn" by Lin Manuel Miranda