Advanced Playwriting by Bradley Moss

Objective: Students will demonstrate their understanding of dramatic text and their ability to create character, relationship, dialogue, and action by writing original 10 to 15 minute long scripts.

Class Level: Advanced

Main Concepts: Dramatic structure, character analysis, text analysis, relationship, conflict, dialogue

1994 National Standards:Content Standard 1: Script writing by improvising, writing, and refining scripts based on personal experience and heritage, imagination, literature, and history. Content Standard 4: Directing by interpreting dramatic texts and organizing and conducting rehearsals for informal or formal productions.

Description: This unit usually happens at an intermediate or advanced level after students have been through a basic playwriting unit to introduce basic concepts of play structure, character develop and script format. Additionally, it is nice if the students have completed a unit in theatre history or theatre movements so they are aware of many different approaches, styles, and movements in theatre.

Lesson PlansLesson 1: Dramatic WritingStudents will demonstrate their understanding of the difference between narrative and dramatic writing by creating scenes where story is told mostly through action.

Lesson 2: Where Do The Ideas Come From?Students will understand process of idea generation for script writing by creating storylines from guided and free writing exercises.

Lesson 3: Sharing and Revising Story IdeasStudents will demonstrate their ability to create storylines by presenting their ideas and by offering suggestions to other students about how to improve their storylines.

Lesson 4: Telling Stories Through Action and DialogueStudents will show and understanding of script structure by shifting story ideas into dialogue and action.

Lesson 5: Creating Characters and RelationshipsStudents will demonstrate their understanding of the process of character development for script writing by creating dialogue to establish character, objectives, and relationships.

Lesson 6: Sharing of Script CuttingsStudents will demonstrate their understanding of strong script structure by sharing five pages from their final scripts and critiques other students’ work.

Lesson 7: Work DayStudents will demonstrate their abilities in all areas of playwriting by completing their scripts.

Lesson 8: Final ScriptsStudents will show their ability to create dramatic texts by bringing a completed script to class and responding to the work of their peers.

Author's Notes:The completed scripts coming out of this unit are perfect for submission into young playwright contests.

1: Dramatic Writing

ObjectiveStudents will demonstrate their understanding of the difference between narrative and dramatic writing by creating scenes where story is told mostly through action.

Materials Needed White board 2 copies of the first 12 lines of Hamlet

Lesson DirectionsAnticipatory Set/HookAsk the students which of the following scenarios would be most interesting:1. A drunk sits at a bar and starts telling the audience the story of his life. He tells anecdote after anecdote of how difficult his life has been and that he has been misunderstood and frustrated by everyone he has met and known. The stories are entertaining and well told and they all illustrate the same point: which is why this man has ended up as the hopeless drunk that we see today.2. A man sitting at a bar doesn’t say a word. Instead he picks up a bottle and throws it against a wall.

InstructionTRANSITION: Why did you make the choice you did? In creating monologues, we talked of active and passive audition pieces, can these be defined one way or another? (The first piece is passive according to our definitions, the second is active.)

STEP 1: Instruction: Explain that the first piece is narrative. Like fiction, it uses words in order to tell its story. The audience functions as a reader and is given all of the information they need. Why is it effective? The second is dramatic. We see actions, and we as an audience take a more active part since we have to make decisions about why what we are seeing is happening. Why is it effective? Which do you prefer as an audience? Which do you prefer as an actor? Although some students may prefer narrative scripts, the focus is scripts for this unit will be dramatic.

STEP 2: Instruction: Write the rule of theatre on the board: Don’t tell us, show us! Explain that this rule makes theatre unique from other literary styles.

STEP 3: Pass out a paper with the first twelve lines of Hamlet written on it. Have the actors review the scene and become familiar with it as you introduce it to the class. Explain that although Shakespeare is considered a literary writer because of the poetry of his language, he knows that it is important to show instead of tell.

STEP 4: Before the students present the scene, have them look for clues in the script about how to perform the scene. Where and when is the action taking place. What is the emotional state of each? Have two actors “perform” the scene. You can turn off some of the lights in the room to create a night atmosphere and give prop weapons to the actors.

STEP 5: Ask the class what they are “told” in these lines? What information do we learn about these people, their situation by their actions and conversation? Hopefully students will state information such as names, occupation, the relationship of the two characters, the need for guards and passwords suggests an environment in conflict, the anxiety of characters hint that something unusual has happened.

STEP 6: On the board, write Actions, Visuals, and Stakes. Under each word, list what actions, visuals, and stakes are shown in the first 12 lines of Hamlet. Example: Actions – Changing of the guard, sharing fears Visuals – Drawing of weapons, dark nightscape Stakes – Francisco willing to use weapon (kill or injure) twice

STEP 7: Have the students rewrite the first 12 lines of Hamlet in a narrative form, having all characters express what the class got out of the scene with their lines only. (For example—have the scenes start by having a character say, “I sure am cold and scared tonight.” Have some students share their scripts.

STEP 8: Have the students take out a piece of paper and have them write a narrative and dramatic version of each of the following situations:A character expressing a specific fear.A character expressing love for another.

STEP 9: Have students share their scripts and talk about the power of dramatic writing.

AssessmentThe students can be assessed by turning in their narrative and dramatic scenes.

2: Where Do The Ideas Come From?

ObjectiveStudents will understand process of idea generation for script writing by creating storylines from guided and free writing exercises.

Lesson DirectionsAnticipatory Set/HookShare an embarrassing story from your life for your students. Make sure that the story follows a strict plot structure. Have other students, if they wish, share embarrassing stories from their lives.

InstructionTRANSITION: Review the plot structure with the students (exposition, inciting incident, rising action, climax, falling action) stressing that this structure is second nature to us and is how we normally tell stories. Our brains have been trained to think this way. Using stories told by yourself and the class, demonstrate how they fit the plot structure format.

STEP 1: The execution of a play storyline will be easier for us than the germ of the idea, because our brains have been trained. Story generation is the difficult part. Remind the students that even plays from anti-realist movements have some story structure despite the belief that they are unstructured or random. No matter what type of play they want to write, they need to start with a story. (Waiting for Godot has an established storyline – two tramps waiting for the arrival of a person who keeps stalling his/her arrival, as does Bald Soprano – a dinner party where the guests are unable to effectively communicate with one another.) 

STEP 2: Have the students gather in a circle. Have the students take out a piece of paper. On the paper, have each student write phrases from the lyrics of three different songs. Each phrase should be less than 6 words and should be a phrase that has an impact on the student because of the idea or imagery behind it.

STEP 3: Have the students pass their paper to the person to their left. On the paper in front of them, have the students write 8 descriptive words. The words can be any sort, but they need to have flair and not be ordinary words.

STEP 4: Have the students pass their paper to the person to their left. On the paper in front of them, have the students write three sentences describing very strong visual images. They can images that they have seen live (a house burning at night), in photographs (a man in a top hat peering down from a tree in the fog), or, perhaps in dreams (a clown with big hands playing a drum).

STEP 5: Have the students pass their papers to the left. Have all students pair up with another student making sure that neither has a paper that either has contributed to. Each pair of students needs to create two storylines based on the things written on both of their papers. The storyline should be 5-6 sentences explaining the exposition, the introduction of a conflict, the reaction to the conflict and a possible resolution. The students do not need to use all words on the papers, but I usually give them a minimum (one lyric, one image, and four descriptive words for each).

STEP 6: After the storylines are created, have some pairs share the best storyline they came up with. Discuss the strengths of the storylines, and some problems that may arise in transferring the story into a play.

STEP 7: Assign each student to bring two possible story ideas to class next time. The format of the storyline should be the same as done in class today (5-6 sentences explaining each element of the story). Stress that the scripts will be 15 minutes in length, so students should focus on stories that can be presented in that time frame. Challenge the students to take interesting steps in generating ideas. Look to sources such as dreams, lyrics, images, characters, or relationships. 

AssessmentStudents can be assessed by handing in the story ideas that they completed in class today.

3: Sharing and Revising Story Ideas

ObjectiveStudents will demonstrate their ability to create storylines by presenting their ideas and by offering suggestions to other students about how to improve their storylines.

Materials NeededWhite board

Lesson DirectionsAnticipatory Set/HookStart by playing the game Typewriter. Bring 5 students in front of the class. One of the players is the Narrator. He has a (mimed) typewriter and starts the scene by reading aloud as he types. As soon as the Narrator has given a few elements, the other four players take over and start playing the scene. At any point, the Narrator can take over again, perhaps switch to another location, introduce new character, provide titles or flashbacks. When a scene goes bad, the Narrator can mime ripping a couple of pages of his story apart, and restart the scene (or the story). This activity can be repeated if wanted with new performers.

InstructionTRANSITION: Ask the student whose story was presented – the narrator or the players. Ask the students who had the best ideas in the performance. How did the input of several performers aid or injure the story? Explain that sometimes we have great ideas, but sometimes or ideas, though great may need adjustment so it communicates what we want it to communicate. State that this will or focus for the day – making sure that actors and audiences are reacting to our storylines they way that we anticipated.

STEP 1: Put the students into groups of 5. Each student will have a chance to share their ideas with other students in the group. As the students share ideas, have the rest of the group focus on some specific elements. Here is a list to write on the board to help discussion of story ideas:

Can this story be told in 10-15 minutes?Is the action dramatic?Is the story theatrical?Does it have a strong start?As an actor, do the character actions and relationships interest you?Are there unique elements? What shows the unique experience or creativity of the writer?Does it sustain interest?Does it have a strong ending?

Students can share one or both of their ideas to get feedback from the group.

STEP 2: Remind students that they are responding to what the writer has created. Try to understand what the writer is trying to accomplish and give them feedback that will help them accomplish that. It is not the task of the group to “rewrite” the storyline as they would have done it. It is important to stay true to the playwright’s vision and voice.

STEP 3: Roam around the room trying to listen in on the discussions and making sure they focus on the instructions you have given them and offering comments on the storylines where you can.

STEP 4: Once the groups are done, gather students together as a class. Discuss where they got their ideas. How confident are they in their ideas? What new insights did they get from the groups they worked with? Encourage students to continue to change and adjust their story ideas after today. Writing is about rewriting. They need to be open to new approaches and insights as they continue through this process.

AssessmentStudents can be assessed on the feedback they give during the discussions and the storyline ideas they bring in.

Author's NotesEvery writer needs different amounts of detail in his/her storylines before writing a script. Some writers prefer to start with a general idea and “see what happens” as they write with no preconceived notions of where things will end up. Some writers feel safer having a detailed storyline to work from so they can focus on dialogue and action. Whichever approach works for the student is acceptable. Today was to demonstrate the students’ understanding of story structure. Changes that are made after today are acceptable. Students will need to have a specific moment in mind for the next class period (see lesson 4, step 9), and have a strong enough idea to have five pages of scripts done by lesson 6, but forcing too much pre-planning on students may stifle and frustrate some of the writers.

4: Telling Stories Through Action and Dialogue

ObjectiveStudents will show and understanding of script structure by shifting story ideas into dialogue and action.

Materials NeededBell

Lesson DirectionsAnticipatory Set/HookHave two students go in front of the class. Give them a situation for a scene to improvise (training a new employee, student requesting a grade change from a teacher, teenager caught by parent coming home after curfew, etc.). During the course of the scene, if the students present a line or action that is weak, ring the bell. The students then have to go back and perform the word or action again in another form. You can ring the bell as often as you like. Encourage the students to stay in the moment when you ring the bell and perform the revision based on the first idea that comes to their mind.

InstructionTRANSITION: Ask the class if the forced revisions made the scene better or worse. (Some changes will probably make the scene stronger and some weaker.) Have each student take out a piece of paper. Before they begin this activity, review proper manuscript format for playwriting and have one student define “dramatic writing” (from lesson 1).

STEP 1: Guided Practice: Each student will write a short scene with the requirements that you give them. You can write these requirements on the board if you wish. The scene involves two characters, Bob and Sarah. Bob and Sarah have had some connection, but are now ending that connection. The students can decide who is leaving (it can be an end to a relationship or just a departure or separation), the reason, and what kind of relationship existed. The scene needs to include exactly 16 lines of dialogue, 8 lines for each actor. It can include stage directions, but it needs to let us know as much as possible in 16 lines. Give them 6-8 minutes to create these scenes.

STEP 2: When the students are done, share some of the scenes with the class. The playwright must cast the scene and the actors have a moment to review it before reading it. The playwright should not read their own work to see if the script stands on its own. 

STEP 3: Have the class discuss the strengths and weaknesses of the script. Did the lines give enough information? Did they give too much information? Did we understand the relationship between the two and the reason for the departure? Most importantly, did it engage us as audience members?

STEP 4: Have the students write a new scene. This time, the basic situation is the same (with Bob and Sarah), but they can change the particulars (who is leaving and why). For this script, however, they are to use only 10 words of dialogue total. The 10 words can be divided how ever they wish among the two characters. Give the students a couple of minutes to write their scenes.

STEP 5: When the students are done, share some of the scenes with the class. The playwright must cast the scene and the actors have a moment to review it before reading it. The playwright should not read his/her own work to see if the script stands on its own. 

STEP 6: Have the class discuss the strengths and weaknesses of the script. Did the script give enough

information? Did they give too much information? Did we understand the relationship between the two and the reason for the departure? Were these scripts stronger or weaker than the first scripts?

STEP 7: Have the students approach the scene a third time using only action and no dialogue to tell the story. Remind students that stage directions are only to let the actors know what to do, not how to feel or what they think. (Good example: Bob crosses to table and picks up book. Bad example: Bob looked at her feeling betrayed, trying to remember the good times they once had together.) Stage directions like the bad example are prose not dramatic literature.

STEP 8: When the students are done, share some of the scenes with the class. Have actors review the actions, discuss briefly how they will perform them and then present the scene. Have the class discuss the strengths and weaknesses of the script. Stress that none of these approaches was more correct than the others, they are just different ways to approach a scene using dialogue and action to communicate a story. Hopefully each student has an idea of what type of scene intrigues them most as an audience and which appeals to them most as writers.

STEP 9: Practice: Assign each student to take one moment (a brief moment, no more than 30-60 seconds in length) from their script idea that they have developed and create two versions of it. Have them write that moment of the script out, using dialogue and action. Get students into partners and exchange scripts and read what their partner has written. Have each student give their partner new criteria for rewriting that moment (number of lines, number of words, actions only).

STEP 10: Have the playwright’s decide which version of the particular moment works best and, if time permits, have a few students share that moment with the rest of class.

STEP 11: Tell the students that a five page cutting of their script is due in two class periods. They should be working on creating a draft of their script. The five pages due do not need to be the first five pages, so they can focus on creating the moment they worked on for class in a more final format and building from there.

AssessmentStudents can be assessed on having created one moment of their script in two different ways. I usually check off this work and let them take the scripts with them.

Author's NotesDepending on how much time you give students to work on the various writing activities and how many scripts you share in front of the class, this lesson may extend into the next day.

5: Creating Characters and Relationships

ObjectiveStudents will demonstrate their understanding of the process of character development for script writing by creating dialogue to establish character, objectives, and relationships.

Materials NeededTwo copies of the attached cutting from the play Betrayal by Harold Pinter.

Lesson DirectionsAnticipatory Set/HookBring two actors up on stage (one male and one female). Have the actors read the lines from the play stopping at the points marked. Each time the actors stop, have the class discuss what we know about the characters and their relationship to one another. While the first stops will not yield a lot of information, as the scene progresses, more is revealed.

InstructionTRANSITION: Have the students discuss how Pinter established the characters and relationship. Why did he not reveal everything all at once? How did our understanding of the relationship change as the piece went on? Robert mentions Torcello twice in the cutting. Talk about how each line, though similar, is used in different ways by the character. 

STEP 1: Talk about the importance of creating real character, relationships, and interactions for the audience. It is critical for the audience and for the actors. Have the students share stories of scripts that they have acted in or watched that had real characters and relationships and which scripts were not effective in this area. Explain that many young writers want to “get to the point” so quickly that they don’t take the time to reveal characters and relationships in the manner they could to build tension and interest for the audience.

STEP 2: Have the class identify “the point” of the cutting from Betrayal. When does he finally reveal this “point”?

STEP 3: Bring two students up on stage. Have one tell a story to another. The class will determine the story and the relationship. Some story suggestions are:

First day back at schoolA mishap at PromGetting fired from a jobBeing asked out by someone you detest

For relationships, the storyteller will always be a high school student. The other will change character/relationship and mark how that alters the story being told. Possible listener characters include:

ParentGrandparentBest friendSchool counselorYounger siblingStranger

Have the storyteller tell the story to at least two different people and have the class note how the relationship changes how information is exchanged. You can do this activity with more than one pair of students if you wish.

STEP 4: Have each student take out a piece of paper. On the paper have them write a scene. The scene will involve at least two but no more than three characters. The students can not plan anything out. They must just write. They are to create a dialogue exchange between two characters, A & B. If they want to introduce character C later in the scene they can. Do not determine where or when the action is taking place or who the people are. Just have A and B talk to each other. Let the students write for 6 to 10 minutes.

STEP 5: Have each student silently read their scene. Ask if characters and relationships reveal themselves during the course of the scene. When did they playwright know who the people were and what their relationship was to one another? Does the scene reveal a “point”? Several students will probably have scenes that establish themselves to some degree and give them clues about the people involved. Some students may have been frustrated or created a scene that does not evolve into anything. Have students who considered themselves successful and not successful share their scenes with the class. 

STEP 6: Have the class respond to the scenes. What works? Are the characters interesting? Are we intrigued? Do our questions get answered? If they are not answered, are we more intrigued or frustrated? Is the dialogue realistic or stylized?

STEP 7: Stress that the point of today’s activities was not to create structured stories but examine how characters reveal themselves and their relationships through dialogue. In creating dialogue for characters, playwrights can try free-writing exercises or improvisation with others to discover how they would talk. Additionally, characters can converse to avoid the “point” of the scene to create tension. Encourage the students to try a number of different methods with their script to find the one that allows their characters the dialogue that works best for their style and approach.

STEP 8: Remind students that five pages of their script are due next class period. It can be any five pages and does not need to be the first five pages. The pages should be typed and be in proper manuscript format. The final scripts will be 10-15 minutes in length, so the five pages will represent about one-third of the final script.

AssessmentStudents can be assessed by turning in their A/B scenes and participation in activities and discussions.

6: Sharing of Script Cuttings

ObjectiveStudents will demonstrate their understanding of strong script structure by sharing five pages from their final scripts and critiques other students’ work.

Materials NeededStudents will need a five page section from their script.

Lesson DirectionsAnticipatory Set/HookHave several tables arranged in the room to form a large conference table where all of the class can sit and see one another. You may also set out food on the table for your story conference today.

InstructionTRANSITION: Have everyone sit at the table and bring their five pages from their script.

STEP 1: Have each student share the title of their play, a two sentence story synopsis, one strong visual element, and their favorite moment. The strongest visual moment can come from any part of the script, no just their five page cutting they have today. Their favorite moment must be from their five page cutting. Not every student will be able to read and share their five page cutting today, but this will give each student a chance to briefly share their script ideas. 

STEP 2: Select a student to share five pages of their script. The playwright must assign readers for each part and then let the readers do their part. Encourage the playwrights not to coach or correct the performers. The script must stand on its own.

STEP 3: After each script is read, ask the class to discuss the effectiveness of the characters, relationships, and dramatic action. Some questions to ask:

Did the readers feel that they understood their character?Did each character’s position or role in the script make sense?Did it capture your attention as an audience?Did the dialogue fit the style of the piece? Did the lines sound right?

STEP 4: Ask the playwright to respond to the reading. Did the actors perform it as the writer envisioned? Do new ideas for the character or script come forth when heard by other voices? Did the pacing work when hearing the script in real time?

STEP 5: Read as many cuttings as time will allow. You can decide whether it is more important to hear more works read or to have lengthy discussions after each. Both approaches will benefit playwrights who do not get a chance to have their work read.

AssessmentStudents can be assessed by showing you their completed five pages and by participating in the discussions and activities.

7: Work Day

ObjectiveStudents will demonstrate their abilities in all areas of playwriting by completing their scripts.

Lesson DirectionsInstructionI have created this day as a work day where the class spends the day in the Media Center typing their scripts for submission next class period. Go among the students and discuss with them their greatest challenges and successes to this point and ask them about how the process is progressing for them. Try to answer questions if possible.

AssessmentStudents can be assessed by participation in completing scripts and one-on-one discussions with instructors about their strengths and weaknesses.

8: Final Scripts

ObjectiveStudents will show their ability to create dramatic texts by bringing a completed script to class and responding to the work of their peers.

Materials Neededcopies of the final script evaluation sheet

Lesson DirectionsAnticipatory Set/HookDivide the class up into groups of five students.

InstructionTRANSITION: Have the students take out their completed scripts. Each group will share their scripts with one another. The playwright will not read their own work, but will assign other members of the group to read selected roles. 

STEP 1: Once each reading is done, the students can give verbal feedback to the writer about the strengths and weaknesses of their script. Focus on the following:

CharactersRelationshipsDramatic ActionConflict and ResolutionsOverall Feel and Effectiveness

By focusing the discussions in this manner, students who created non-traditional or anti-realist plays can still get specific feedback that will help them understand how effectively they have reached their goals.

STEP 2: Once all of the groups are done, gather class together to discuss the best moments in the scripts of the entire class. Which moments, lines, actions, or visuals had an impact on them? Each student should write down their comments to other playwrights to turn in with the scripts.

STEP 3: Gather scripts and feedback notes from students.

AssessmentStudents can be assessed on their final script and on providing feedback to other playwrights.

Author's NotesAt the conclusion of this unit, the instructor may want to do a performance unit based on the scripts. I have assigned directors and casts to a handful of the strongest scripts in class for a performance open to the public. Also, encourage students to submit their work to contests and theatre looking for new works, especially works by young playwrights. The Dramatists Sourcebook lists submission opportunities from around the country.