CREATIVE WRITING

Quarter 2 – Week 3
Let’s Learn to Write Creatively!

MOST ESSENTIAL LEARNING COMPETENCY:

Conceptualize a character/setting/plot for a one-act play.

ANDREA A. DELA CRUZ

Module Developer

C
Conceptualize a character/setting/plot for a one-act play.
a character/setting/plot for a one-act play.

This module is packed with onceptualize

a plethoraa character/setting/plot
of resources and practical
for a one-act
activities
play.that is especially
designed to promote independent and self-paced development of your creativity through writing.
Learn how to maximize your full potential through writing a drama. Before starting the module, I
want you to set aside other tasks that will disturb you while enjoying the lessons. Read the simple
instructions to successfully enjoy the objective of this module. Have fun!

At the end of this lesson, these are the things that you are going to learn.
 use organizational aids to conceptualize the elements of a play

Before you dive in to this module, I would like you to gauge your creativity in
conceptualizing the characters, setting, and plot line in a drama. The rubrics on the bottom of this
page will guide you and will serve as the assessment tool for this test.

For part 1 of the pretest, let’s have a battle of the sexes. Think of two
opposite characters, a male and a female. They will comprise your main
character and the villain. Name these two characters then compare and contrast
them using the illustration on the right of this paragraph.

For part two of the test, look at the black picture on the left
of this paragraph. What do you visualize? Make this as the setting
of the plot of the drama. Write a one-paragraph description of the
setting.
 For part three of the test, write a framework of the
potential story in your drama. Parts of the plot should be
identifiable though it is just an outline. You should be able
to include a one-to-two-sentence-description of the (1)
exposition, (2) rising action and the conflict, (3) climax, (4)
denouement or the unknotting of the conflict, and (5) the
resolution.

Exceeding Meeting Approaching Beginning

4 pts. 3 pts. 2 pts. 1 pt.
Character
The character
has the potential
to exhibit
roundness or a
Characters are round or dynamic The playwright There is no potential
dynamic and have personality based conceptualized a flat to character
varied dimensions to from the variety or a stereotypical development because
their characterization. or the richness of character/s where the characters do not
The richness of their their description. there is little hint of have distinctive
description Readers may also its potential to qualities that may
complements clearly be able to develop into a round relate to the
the description of the attribute the or a dynamic description of the
setting and the characterization character. The setting and/or the
framework of the plot. to the type of setting and/or the framework of the
There is a clear setting and/or the plot may also have plot. The playwright
distinction framework the potential to be does not exhibit

Exceeding Meeting Approaching Beginning

Character between the two of the plot. The relatable to the
characters though they two characters character/s though
may also share a few or have few may cause confusion understanding of the
no similarities. distinctive at most aspects. The characteristics of a
qualities. two characters have protagonist and
very few distinctive antagonist in his/her
qualities. characterization.
Setting The setting’s The setting’s The setting creates
description clearly description confusion in the Setting description is
complements the other complements the characterization and too poorly developed
elements of the drama. other elements of development of the that there is no
There is the quality of the drama. framework of the recognizable setting
‘suitability’ that plot because it is at all.
characterizes the underdeveloped.
description.
Plot There is the potential There is the There is a weak
for a logical and fluid potential for an conflict, and some There is no
transition between adequate major plot structure discernable conflict
structures of the development of are missing, creating and the major aspects
plot. There is a distinct the plot. The role the impression of an of plot structure are
beginning, middle and of the conflict is underdeveloped non-existent.
end where the conflict clear in the plot.
has a meaningful development of
purpose in the entire each structure.
plot, and other
elements.

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 Great! You finished all the writing tests. How did you fare on your self-
assessment? Well, I do hope your teacher will give you a better pre-test rate.
Before we
continue, let us
have first a breath
of fresh air and recall
your past lessons. Allusion It is a literary technique
Simile that enables a creation
of a masterpiece
Drama, just like any other literary Hyperbole through the influence
genre has elements and literary techniques by another work of art
that work together so you can sit back, Irony
(Pope 2002, 261).
relax, and enjoy reading or watching a play
Metaphor
unfold in all its glory in your book or on a
theater stage. Remember that the elements
include the conventional and the technical
elements. These elements come alive with
the incorporation of literary technique such
as the use of literary devices and
intertextuality. Please study the poster on
the right of this paragraph to refresh your memory on some common literary techniques used in the
writing of a play: the use of literary devices and intertextuality.

It is all good that you know the basics of drama elements. But
there is more to it than that. You’ve barely scratched the surface. In
this lesson you will have a better understanding of three of the elements of drama: the character, the
setting, and the plot. The character for example has varied types. And of course, all these key elements
have each a set of dos and don’ts for you to follow when you begin to create them. Care to know what
they are? Then, do go on reading.
Do you remember the characters in the play “The Curtain”? there are very few characters in the
play, but they surely fit in some of the types of characters that you should know. There are nine types of
characters (Poli 2012). Here they are.

1. The Confidante-This is the person or object a character confides his/her thoughts, feelings,
and even intention with. When I say an object, remember that a diary is a thing to which a
person pours out her/his secrets.
2. Dynamic- A character of this type undergoes change/s in the story. This change may be for
the better or worse and may be caused by certain event in a story.
3. Flat – This is the opposite of the dynamic character. It only means that this character remains
unchanged all throughout the story. Since they do not develop, often times, the reader only
knows limited amount of information.
4. Foil – This character is simply the opposite of another. Don’t get me wrong, it is not always
the protagonist – antagonist pairing. If one character is serious and a brooding fellow, then
the foil character will have an energetic, cheerful, impulsive personality. The pair doesn’t
need to have the main roles.
5. Round – This character has similar characteristic to the dynamic character.
believes He/she
and also
changes in personality in the story. loves her
father
6. Protagonist or Main character – This character drawshardworking
the attention of the reader/audience
and weaves lies
of the play. She or he is the driving force of the plot. persevering
7. Antagonist – This character is the opposite of the protagonist. He or she will oppose the
protagonist creating complications in the story.
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8. Villain – This character is not the antagonist, but hebeautiful,
or she share common characteristicswas withable ro
but almost
the antagonist. The villain also opposes the protagonist,
without skill
Ruth
but a villain packs more evil in tell the truth
in the end
his/her personality than that of an ordinary antagonist.
 I hope you still remember Ruth. She used to make stories about her well-being to make her father
happy. Norton, her father was in jail for deceiving a lot of people including his own family. He escaped,
and had a sad, but poignant reunion with her daughter. He confessed his sins and was able to open Ruth’s
eyes on who he really was.
Ruth is a dynamic or a round character, though she took her time in changing her personality.
Remember that she was on her track to follow his father’s footsteps, using the love for family and wanting
to make him happy to justify the lying, just like her father did to her mother. In the end, she realized the
necessity of being truthful always, even if it will cause her so much pain.
Notice how we analyze Ruth’s character? When you create a character, you must take into
consideration a lot of factors.
1. The character’s physical appearance and how it relates to her/his character Ruth is beautiful,
but most of the time, her head is in the clouds. The one time that she became realistic about her
situation is when she found the necessity to learn a practical skill – typing. She’s always dreaming
about having a good life again and landing on a job that will be the envy of everyone.

2. The character’s personality and relation to others There’s no problem about being a dreamer, but
you have to be in touch with the reality still. You may remember that Ruth confessed to Sade that she
was so good at making up stories that she almost believed them herself. All the good qualities of
Ruth such as being persevering and hardworking, being loyal and loving to her family will be such a
waste when the foundation of her personhood is built on lies.
3. The character’s relation to his/her surroundings (setting) Go back to the description of the set on
stage. Do you remember how dark and bleak it was? Would you be able to say that the atmosphere
created by the sparseness of furniture and the darkness and loneliness of the room are hints of the
foreseeable future? And of course, we would not want to forget the internal conflict that the central
character experienced, not to say the least. For your lesson task below, how would you relate the
darkness, the switching on and off of the lights to Norton? What about the infamous ‘curtain’ how
does it represent the life led by both the father and the daughter? All of these technical elements
contribute to the rest of the elements of a drama. In fact, all elements are interconnected and
dependent on each other. Otherwise, there wouldn’t be a unified theme that ties the story together.
4. The character’s motivation or intention Whatever drives the character is the same force that drives
the story in a play. Ruth is such a good person, only she lies. But what brought her to lie, and to her
own father at that? She was able to confess the truth to Sade, but not to her father, even if he seems to
know the truth already. Does the saying like father like daughter applies to her? If not, was she more
like her mother then? Or maybe she was a bit of both? What made her change her course in the end
and reveal his father’s hideout? Take note that the message, or the purpose of the playwright in
creating the drama lies in whatever fate the characters in the story are in for. So as a writer, you have
to have a firm grasp of your purpose and the message you want your characters to transmit to the
reader/audience. In short, you have to have a clear picture of the beginning and the end of the story.

Recall the
character of Appearance
Norton.
Construct a
web of his characterization. Use key
words or phrase to supply what is The type of person The type of person
he shows to the he shows to the
asked in the boxes. Then, write at NORTON world
world
least one paragraph that explains the
web and gives detail of the character
analysis. You may use the character
web model on the side. Follow the How the character
perceives himself
arrow in the sequence of your
discussion of the characterization of
Norton. You may also consult the rubric below just to make sure that you are on the right track of your
analysis.

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 Criteria Novice Developing Proficient Exemplary
☺☺ ☺☺☺ ☺☺☺☺ ☺☺☺☺☺
Character Characters traits, Characters traits, Characters traits, Expert level of
Analysis appearance, etc. appearance, etc. appearance, etc. description of the
has not been has not been has been character is very
thoroughly thoroughly analyzed. The detailed and uses
scrutinized. The scrutinized. The analysis reflects student’s own
analysis reflects a analysis reflects a great amount words – not
very small a small amount of knowledge of lifted from the
amount of of knowledge of the character. text. There are
knowledge of the the character. There are however quotes
character. There There are also no however no from the play
are also no quotes from the quotes from the that has been
quotes from the text that will text that will used to support
text that will support an support an the detailed
support an argument. argument. description.
argument. The
analysis gives an
impression that
the student has
very little
understanding or
may have been
confused.
Personal Personal Personal Personal Personal
Narrative and narrative and narrative and narrative and narrative and
Reflection reflection lack reflection is able reflection have reflection
the depth of to express expressed exceeds
understanding understanding successful expectation.
the message from the author’s understanding of There is a rich
the author is purpose of the lesson the explanation of
trying to convey creating the character the connection of
through the character but represents. There the character to
character. lack the is a vague personal
expression of explanation of experience or
connection to how the another person’s
personal character experience that
experience resonates to the the writer can
student/ identify with and
reader/audience. apply the lesson
the character
transmits.
Diagram The model was The diagram has The diagram has The diagram has
Connection copied only. Or weak connection clear connection very clear
There were very with the with the connection with
few to zero paragraph/s that paragraph/s that the paragraph/s
changes made. It supposed to supposed to that supposed to
is a clear explain it. It has explain it, but explain it. Both
indication that a lot of weak has few weak composition and
there’s no spots that require spots that needs the character
understanding of more explanation more web complement
the play or the and detail from explanation or each other and
play was not the play. detailing. contribute
read. The excellently to the
diagram has zero understanding of
connection to the the character.
paragraph/s that
supposed to
explain it.
Composition All sentences in The writing The writing The writing
Mechanics the writing composition has composition has composition has

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 composition have many errors in few errors in very few to zero
errors in grammar, choice grammar, choice errors in
grammar, choice of words, of words, grammar, choice
of words, spelling, spelling, of words,
spelling, capitalization, capitalization, spelling,
capitalization, and punctuation. and punctuation. capitalization,
and punctuation. and punctuation.

Conceptualizing a character when beginning writing a drama is like imagining your character and
creating all his/her dimensions by doing this character analysis. We are going to do the same with setting,
but instead of a web, we are going to use a blueprint.
1
3
When constructing any structure, like a house or a 6
2 11
building for example, an architect designs the structure on a
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blueprint. As a writer, you have to be able to imagine the set
8
more like a blue print. Superimposed on the standard floor plan 12
5 10
of a stage, you have to be able to place the backdrop or scenery
and the props accordingly. 7
4
Houses and buildings also have a 3d model at times. It
would be better if after constructing the blueprint of your set
you are also able to visualize how the blueprint would look like three dimensionally. Study the blueprint of
the set of ‘The Curtain’.

Can you imagine how it will look like three dimensionally?

1. alcove 7. table

2. curtain 8. chair Look at the blueprint of the set of

“The Curtain” on your right. Draw
3.window 9. easy chair how the stage set will look to an
audience seated at the front, center.
4. screen 10. stool
5. bed 11. door

6. dresser 12. hall

Novice Adept Master Artist

1 point 3 points 5 points
Criteria
Perspective Depth and distance of Depth and distance of Depth and distance of
props and fixtures on props and fixtures on props and fixtures on
stage are a little off. stage are as how the stage are as how the
Some props are audience in front sees audience in front sees
correctly placed it. Some props are it. All props are
according to the correctly placed correctly placed
blueprint or stage according to the according to the
direction. blueprint or stage blueprint or stage
direction. direction.
Color Elements Color palette choice is Color palette is a little Color palette is

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 not compatible with the too bright for the bleak consistent with the
description of the color and dim atmosphere bleak and dim
tones in the scene of that the scene requires atmosphere of the
the play. as described in the scene as described in
stage direction. the stage direction.

When you ask a writer how does she or he begin the story, you may get a varied answer. First of
all, you have to be decided on the type of drama you want to work on. There are several types: comedy,
farce, tragedy, melodrama, fantasy, and musical.

Comedy makes you laugh because of the humorous elements in the play. It has a light tone and a
happy ending. There are two types: low and high comedy (Ket e-Education 2020). Low comedy is
physical, and may involve poking, slapping. It is probably where expressions such as “poking fun” and
“slapstick” comedy comes from. It’s not easy to make people laugh, though. Creating this type of drama
requires high level of intellect, wit, and perceptive skills. So, it is true most especially with writing high
comedy. High comedy relies more on verbal wit combined with humorous situation more than funny
physical action. Comedy is not all sunshine and sophistication, it can be sarcastic or vulgar.

Farce, a subtype of comedy is not its equal. For one, it is not logical, relying on exaggerated,
improbable situations put together to form coincidences (Ket e-Education 2020). It also uses stereotyped
characters.

We move on to the oldest form a drama hailing from the time of ancient Greeks. This is tragedy.
It is a type of drama that showcases misfortunes and suffering.
There is no happy ending in this type of play. Common themes are
the downfall of dynasties, the flaws of human beings, loss,
betrayals, and denials.

Farce is not the only type of drama that is exaggerated.

When emotions are brimming, it is definitely a melodrama. Its
usual theme is good versus evil championed by stock characters. A
well-executed melodrama can be absorbing, failing to do that
would end up in monotony. Because this type relies on sudden bursts of emotions, it has to be perfectly
timed in the plot. These bursts of emotions are marked by sensationalism and sentimentalism (Ket e-
Education 2020).

Fantasy is of course fictional because of magical, mythical, superhero, and pseudo-science

elements (The Different Types of Drama That Everyone Should Know About n.d.). Set has to be
especially rigged so you can see characters flying all around the stage that would
especially amaze children of all ages.
If visual and lighting effects are the selling point of fantasy, music and
songs are what immortalizes a musical such as Les Miserables and Phantom of the
Opera. A musical is a type of drama where the dialogues are almost always sung
(Ket e-Education 2020). Combined with dance, superb acting, amazing orchestra,
and an outstanding set, this type of drama is always a hit to the audience.

Modern drama nowadays does not stick to these types in one plot. Modern
playwrights like to experiment on forms and types, hence combination of two or three
is possible.

In writing a drama, we can use building a house as an analogy. Some, lays the foundation brick
by brick. The writer starts at the spark of an inspiration and follows through. This inspiration can be how
a plot begins, or what a possible conflict the plot may contain.
For some building their dream house, it all starts with the whole picture in mind. Just as a writer
begins with a plot, he or she may start with the end in mind and plans backwards until he or she reaches
the beginning. Which do you think will suit you, bottom-up or top-down strategy? Whichever it is, you
also have to take into consideration the complexity of the plot.

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 According to Aristotle, a Greek philosopher considered two types of plot: simple and complex.
Simple plot includes a logical succession of events until a sudden turn of event is introduced (Aristotle
1996, 18). This turn of event is where the conflict will be. In Aristotle’s view, the events in a plot should
be arranged in a logical manner, where each event is connected by a cause and effect, chronological
relationship. Even the introduction of conflict in the plot should be logical. There are no twists, reversals,
or major surprises beyond the introduction of the turn of event or conflict. Another notable characteristic
of this plot would be having few characters, few or no change of set, and a single theme. This type of plot
is good for one-act plays, the likes of our model drama, “The Curtain”.
Complex plot on the other hand may go forth and back and forth again on its plot (Aristotle
1996, 18). This is achieved by the use of the literary devices such as flashbacks and foreshadowing.
Flashback happens when an event in the past is either remembered by a character or enacted in the
drama itself (Ket e-Education 2020). Foreshadowing on the other hand happens when the writer drops
hints anywhere in the plot that warns or enables the reader or audience to predict what will happen in the
succeeding events (Ket e-Education 2020). These two disrupt the readers or audience of their sense of the
natural order of the story. It may have several twists and turn of events. This may require several
characters, several acts, and several themes. The Greek play “Oedipus” is one of the best examples. The
plot drops you at the “thick” of or in the middle of things. In Greek, this is called in medias res. And
since the plot lands you in the middle, all events before this “middle” will be told through a flashback,
until it reaches the moment where the reader began, which is the middle of the story. Then the story goes
on. If you want to read the entire play, you may click on the link available in the bibliography section.

I know that most of you have watched superhero movies such as

Spiderman and the Avengers. Just when you think the movie has
already ended, come after the credits are a few scenes that clue
you in on the next installment of the movie. Keeps you at the
edge of your seat until you watch the next right? Extend the plot
of “The Curtain” or “Oli Impan” by creating a few dialogue
exchanges that is packed with possibilities for the supposedly
next act of the play. Make sure to consult the rubrics below to
make the most out of the points available.

Criteria Needs Improvement Almost there You got it!

1 point 3 points 5 points
Exciting There is no excitement The diaogue has a Dialogue reveals an
cliffhanger at all. The dialogue cliffhanger, but is a intense cliffhanger.
does not reveal any touch predictable. The exchange of
possible conflict for dialogue can lead the
the next act. plot to a lot of possible
conflicts and
outcomes.
Grammar All sentences in the The writing The writing
and writing composition composition has some composition has very
Mechanics have errors in grammar, errors in grammar, few to zero errors in
choice of words, choice of words, grammar, choice of
spelling, capitalization, spelling, capitalization, words, spelling,
and punctuation. and punctuation. capitalization, and
punctuation

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Great job in your first attempt to write a draft of a drama. You will surely do excellently in the post
test. But before you do so, let me remind you a few more things.
1. If the set is a real place, you have to make a thorough gathering of information about it. It is a
real place. You can’t go wrong with it.
2. Use all the senses in describing the character, the setting, and the events in the plot.
3. Use the setting to create an atmosphere, reveal the personality of your character, and drop
hints for your foreshadow.
4. Decide whether a setting is part of a conflict. For example, is it a vast sea that needs to be
crossed, or a mountain so tall that needs to be climbed.
5. Use organizers like the ones you used in the lesson tasks to make your writing experience
easy and a lot more fun.
6. There are varied types of characters to choose from. Use a few, use them all, just make the
right choice.
7. The length of the plot will determine the simplicity or the complexity of the story.

1. What type of characters are used in the drama “The Curtain”?

2. What is the importance of a setting to the character and the plot?
3. What type of plot is the drama “The Curtain”?
4. What are the characteristics of a simple plot?
5. What are the characteristics of a complex plot?

Fortune is knocking at
your door. The famous
Cristopher Marlowe is in need
of a co-playwright. Knowing
you’re in luck, you’ve just
answered the wanted ad.
Marlowe gave you 24 hours to
submit a detailed description of
your characters – a paragraph each, a blueprint of your setting, and a
pyramid illustration of the plot of this one-act play. He also gave you
three themes to choose from. Good luck and make sure to write to
impress.

Choose a theme:
1. It is possible to find love in a hopeless place. Note: Use the same
2. True bravery can be found in a most unexpected and rubric for the pretest
reluctant hero. and post test.
3. From ashes, the faithful, the dedicated, the persevering
rises.

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 CREATIVE WRITING
Quarter 2 – Week 3
Let’s Learn to Write Creatively!

MOST ESSENTIAL LEARNING COMPETENCY:

Conceptualize a character/setting/plot for a one-act play.

ANSWERSHEET

Name: __________________________________________________ Grade: ________Section: ___________

PRE-TEST

_______________________________
_______________________________
_______________________________
_______________________________
_______________________________
_______________________________

Draw it here.
LESSON TASK

_____________

________________ _____________
NORTON

_____________

Dialogue:_________________________________
_________________________________________
_________________________________________ POST TEST
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________

COMPREHENSION CHECK
1.________________________________ 3_______________________ 5. _________________
2.________________________________ 4._______________________

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