The document outlines a creative writing module focused on the elements of drama, specifically plot, setting, and character, with an emphasis on crafting a one-act play. It details various components of plot such as conflict, climax, and resolution, along with the roles of different character types, and the significance of setting in a play. Additionally, it offers writing tips and techniques for developing cohesive scripts that adhere to the characteristics of one-act plays.

1. Creative Writing
Quarter 2 Module 3:
Plot, Setting
and Character
in Drama

2.  conceptualize a character/setting/plot
for a one-act play.
 write a script for a one-act play; and
 evaluate the crafted script based on
the given rubrics.

3. 1. The highest point where the protagonist comes face to
face with and struggles against the main conflict.
A. Climax C. Exposition
B. Rising Action D. Resolution
2. This shows how the situation turns out and ties up loose
ends.
C. Climax C. Exposition
D. Rising Action D. Resolution
3. This refers to the place or the locale where the story of
the play is situated.
A. Plot C. Setting
B.
Characters D. Resolution

4. 4. These are plays whose setting is aimed at reproducing faithfully the external
presence of life, especially those of the commonplace people in everyday
situations.
A. Tragedies C. Realistic Plays
B. Non-realistic plays D. None of the Above
5. A character that is often characterized as evil and always in opposition to the
hero.
C. Antihero C. Hero
D. Superhero D. Villain
6. This part gives the audience a sense of conclusion, with several unsettled
questions at work, giving some sense of resolution to the play.
E. Resolution C. Falling Action
F. Rising Action D. Climax
7. It is in this part of the plot where the play figures a dramatic tension that builds
up towards a confrontation.
G.Resolution C. Falling Action
H. Rising Action D. Climax

5. 8. This is the point where you recognize the threat or challenge that
besets the main character.
A.Introduction C. Conflict
B. Climax D. Falling Action
9. The characters of these plays are not real people, but are either
allegorical or symbolical such as ghosts, devils, animals, or
human representations of virtues or vices.
C.Tragedies C. Realistic Plays
D.Non-realistic plays D. Both B and C
10.Which of the following statements about “Characters” is true?
A.Aspiring playwrights can limitlessly describe characters in a play.
B. Build up characters by idealizing them.
C.Profiling the characters is not an issue before writing.
D.In order to write about a character effectively, you must know
everything there is to know about him or her.

6. 11.Which of the following statements about “Characters” is false?
A.Whatever the description or dimension of a character, they have to
reflect entirely on the dialogue.
B. Do not be afraid to give your characters a flaw.
C.A playwright focuses solely on the inner qualities of the characters.
D.The keys to creating believable characters are details and 3
believability.
12.Which of the following statements about “Indirect Characterization”
is not true?”
E. This is also known as implicit characterization
F. Enables the audience to discover by themselves the qualities of the
character
G.This is done by informing the audience how a character looks like
and his/her other qualities.
H.Is seen in the characters’ actions, language, behavior, attitude,
appearance, thoughts, and ways of the character

7. 13. Which of the following statements about “Plot” is not true?”
A.When writing, think of an actual situation or conflict that you are
familiar with.
B. If you cannot think of a situation, you are not allowed to invent.
C.Once you have a situation in mind, you have to choose your main
characters.
D.Think of how the situations will complicate the lives of the
characters.
14. Which of the following statements about “Plot” is true?”
E. The play can begin in the middle of the action.
F. Beginning with the exposition is otherwise known as in medias res.
G.Some playwrights use the chronological order in which the play
begins with the ending, and the events that follow are presented
backwards.
H.The plot of a drama does not revolve around a conflict.

8. 15. Which of the following statements about “Setting” is false?”
A.The descriptions of a setting in a play can be placed in the
stage directions.
B. You can indicate the time and place of the action, the exits
and entrances of the characters.
C.Because of the limited space and resource of the stage,
writers must be creative in choosing a set as the backdrop of
the play.
D.A setting in a play is the same from the setting in fiction.

9. What’s In
Directions: Among the pictures given below, choose one that you are
familiar of, and answer what is being asked.
4

10. 1. What is the setting of the story?
_______________________________________________________
2. Who are the main characters?
_______________________________________________________
3. What is the conflict of the story?
_______________________________________________________
4. Which scene that you like the most? Why?
______________________________________________________
5. If you were the writer, how would you end the story?
______________________________________________________
By answering these questions, you are surely able to recall the elements of drama
which you will need in the succeeding activities.

11. A Review on the Elements of Drama
Drama is a literary composition in the form of prose or verse that portrays
dialogue showing conflict which the main character attempts to
resolve. Play on the other hand is a dramatic performance on the stage.
The physical format of a play is divided into major divisions or acts. A
three-act play has three acts, showcasing a fuller and longer exposition of
the theme and conflict while a one-act play has one unit of time, one unit of
place, and one unit of action.
Here are the characteristics of one-act play:
a. It has only one act, but may consist of one or more scenes.
b. It is usually written in a concise manner.
c. It deals with a single dominant situation, and aims at producing a single
effect.

12. d. It deals with only one theme developed through one situation to
one climax in order to produce the maximum of effect.
e. It treats the problems of everyday life as marriage, punishment for
crimes, labor conditions, divorce, etc.
f. The one-act play, like the longer drama, should have a beginning,
a middle, and an end.
g. Action begins right at the start of the play.
h. There are no breaks in the action, that is, it is continuous.
i. Everything superfluous is to be strictly avoided as the play is short
and the action takes place within a short period of time.
j. The creation of mood or atmosphere is indispensable to its
success.
k. There are three dramatic unities which are observed in the one-act
play. The unities are —- the unity of time, unity of place & the unity of
action

13. l. It aims at simplicity of plot; concentration of action & unity of
impression.
m. The characters in a one-act play are limited in number. Generally,
there are not more than two or three principal characters.
n. There is no full development of character.
o. There is an influence of realism.
p. It must present a question, for which the audience eagerly awaits
the answer.
q. Its language is simple and can be followed without any strain
By knowing the above-mentioned characteristics, you have an idea of
what one-act play is. Furthermore, we will focus on the three elements
namely: Plot, Setting, and Character.
It is very important to know these elements as they are vital since these are
prerequisites in coming up with a good output. Moreover, in producing a

14. script for a one-act play for instance, there should be conceptualization of
the abovementioned elements.
Each element will be discussed in this section, and there are writing
considerations that aspiring writers should take note of for them to be guided
when they do the actual writing or even during contemplation of how they
would want their work to be.
1. Plot
The plot of the story is made up of a series of related events that include
the conflict, the climax, and the resolution. The conflict is a struggle
between opposing people or forces. The climax is the turning point in the
story, the point at which the conflict comes to a head. The resolution shows
how the situation turns out and ties up loose ends. For a thorough
understanding of the components of the plot, here are the following:

15. a. Exposition and Introduction. Sometimes called the status quo, and
it is when the characters are introduced and the setting is
established. Sometimes, begins with the conflict right away, called in
medias res (in the middle of the action). The opening scene establishes
the circumstances that involve the characters to the conflict and sets the
tone of the play.
In William Shakespeare’s Romeo and Juliet, Romeo shows his lust for
Rosaline; normal conversations in Montague and Capulet families;
Mercutio makes fun of Romeo because of Rosaline’s intent to never marry.
b. Conflict: Sometimes referred to as the exciting force. This is
where you recognize the threat or challenge that besets the
protagonist, and these threats may come from another person, a

16. group or the society in general, nature, environment, God, or even
from the protagonist himself or herself. The conflict launches the rising
action of the play.
In William Shakespeare’s Romeo and Juliet, Romeo meets Juliet at
the Capulet house and completely forgets about Rosaline.
c. Rising Action or Complication: As immediately as the
conflict sets the action in motion, the play figures a dramatic tension
that builds up toward a confrontation. This tension fluctuates,
providing emotional tension between the characters, and the audience
learns further details about them.
In William Shakespeare’s Romeo and Juliet, Romeo needs to
secretly marry Juliet fearing that a Capulet and a Montague would
never be allowed to marry.

17. d. Turning point, Climax or Crisis. This is the highest point
where the protagonist comes face to face with and struggles against
the main conflict and we, the audience, are kept at the edge of our
seat.
In William Shakespeare’s Romeo and Juliet, Tybalt kills Mercutio,
then Romeo kills Tybalt. The prince arrives and orders that Romeo be
banished from Verona.
e. Falling Action. Generally, the falling action is more fleeting and
short-lived than the rising action, but may still cover some gripping
moments in the play. This part gives the audience a sense of
conclusion, with several unsettled questions at work within the plot,
giving some sense of resolution to the play.

18. In William Shakespeare’s Romeo and Juliet, Paris will soon be
married to Juliet, and the Capulets do not know about Juliet’s secret
marriage. Juliet decides to fake her death with the potion the friar
gives her. Romeo is informed that Juliet is dead when she is really
asleep from the potion. Romeo arrives at the burial vault ready to
drink the poison the apothecary sold him.
f. Denouement or Resolution. This is the concluding part or
ending of the play. We see in this part whether the protagonist has
won or lost, order is brought back, and problems are resolved.
In William Shakespeare’s Romeo and Juliet, Romeo drinks the
poison and dies. Juliet wakes up, finds Romeo dead, and kills herself
with a dagger when the friar is not looking. Both families agree to
stop the hatred after the tragedy.

19. 2. Setting
Setting refers to the place or the locale where the story of the play
is situated. The date, the time, and the action all add up to the setting
of the play.
Basically, a play can be categorized as either realistic or non-
realistic.
Realistic plays are those whose conventions fall under the realistic
plane and are drawn out from real people, objects, and situations. The
setting is aimed at reproducing faithfully the external presence of life,
especially those of the commonplace people in everyday situations. In
Romeo and Juliet, the story takes place in Verona, a town in Italy,
about 600 years ago.
Non-realistic plays are those whose conventions do not fall under
the realistic plane and are drawn out from stylized and

20. either allegorical or symbolical such as ghosts, devils, animals, or
human representations of virtues or vices.
An example of non-realistic play is “Hamlet” by William
Shakespeare. Although Hamlet is a prince and the other characters are
drawn out from real people, the presence of his father’s “ghost” and
the pressing attacks of his guilt and conscience should be figuratively
seen on stage.
3. Character
A character is a person (or an entity given the characteristics of a
person) who acts, speaks, narrates, or is referred to in a literary work.
He or she may either be a major (principal) or a minor (supporting)
character depending on the role he or she plays in the story.
Characters are classified in the following:
a. Hero or heroine – the main or leading character in the story who

21. exhibits superior qualities. His or her conflict is also the play’s main
conflict. In Romeo and Juliet, it is evident that Romeo and Juliet
are the leading characters though they die at the end.
b. Villain or villainess – a character who is often characterized as
evil and always in opposition to the hero(ine). Tybalt in Romeo and
Juliet, as Juliet’s cousin gives hurdles to Romeo’s relationship with
Juliet, and kills Romeo’s friend Mercutio.
c. Superhero or superheroine – a larger-than-life character, always
possessing
supernatural powers.
d. Antihero or antiheroine – a character who is more ordinary
than the
traditional hero(ine).
In William Shakespeare’s Romeo and Juliet, it is evidently seen that
Romeo, Juliet, Mercutio among the characters are round

22. exhibits superior qualities. His or her conflict is also the play’s main
conflict. In Romeo and Juliet, it is evident that Romeo and Juliet
are the leading characters though they die at the end.
b. Villain or villainess – a character who is often characterized as
evil and always in opposition to the hero(ine). Tybalt in Romeo and
Juliet, as Juliet’s cousin gives hurdles to Romeo’s relationship with
Juliet, and kills Romeo’s friend Mercutio.
c. Superhero or superheroine – a larger-than-life character, always
possessing
supernatural powers.
d. Antihero or antiheroine – a character who is more ordinary
than the
traditional hero(ine).
In William Shakespeare’s Romeo and Juliet, it is evidently seen that
Romeo, Juliet, Mercutio among the characters are round

23. characters. Tybalt is an example of flat character.
Developing a character requires familiarity with the
different kinds of character, and an awareness of human nature.
Every playwright aims to create a unique yet fully developed
character so the challenge lies in characterization.
A well-developed character is one that has been thoroughly
characterized, with many traits shown in the narrative. The better the
audience knows the character, the better the character development.
Creating characters is always crucial to the success of a play and
motivation is the key to an effective characterization. The
characters must have strong motivation and a solid need or desire
that will propel them to take risks and do everything to get what
they earnestly yearn for. This motivation justifies why they do what
they do.

24. A good play says something to humanity about humanity. Love,
death, family, the need to belong, the pain of learning something, the
passion of living one’s ambition, and the fear of betrayal are all themes
that resonate with the audience, no matter where they come from.
The characters in your play must be fully developed, as close to real
people as they can be bearing in mind the characters’ gender, age,
education, relationships, work, race or ethnicity, and politics.
Intertwining the elements discussed above will surely put you to
an advantage when conceptualizing for a script for a one-act play.
Moreover, general considerations are provided and are as follows:
Writing Tips
1. When writing a plot, think of an actual situation or conflict that you
are familiar with. An example about this is “issues you have with your

25. brother or sister.” Try to bring a script around this. If you still cannot think
of something, you may have to invent.
2. Once you have a situation in your mind, you have to choose your
main character. Think of how this situation will complicate the
lives of the characters. You are at the stage where you will be
determining how your play will begin. You will also decide which
character will be saying and doing what and going where.
3. A setting in a play is quite different from the setting in fiction. A
fictionist can describe freely the place and the period for which the story
is set. You cannot do the same in a play, but there are techniques you can
apply to establish the setting. Some of these are the following:
a. The descriptions of a setting in a play can be placed in the stage
directions.
b. You can indicate the time and place of the action, the exits and
entrances of the characters.

26. c. You may also indicate some actions the characters are doing at the
time they are saying something in a dialogue, and remember that
stage directions should be used sparingly because it slows down the
action of the play. Much emphasis and focus should be given to the
dialogues of the characters.
d. Because of the limited space and resource of the stage, writers must
be creative in choosing set as the backdrop of the play. Don’t work
around a setting that takes a difficult time to set up or too expensive
to put up on a stage.
4. A good way to show motivation is to profile your characters first
before writing about them. As much as possible, avoid “author
intrusion.” This is the trap that beginners fall into when they “force”
their will or intention as authors on their characters.

27. 5. In order to write a character effectively, you must know
everything there is to know about him or her. The keys to
creating believable characters are details and believability. If you
know your characters like you know your best friends, you are
more likely to know what they will do under the circumstances of
your play.
6. Also, try to avoid idealizing your characters. An ideal character
does not exist. Real characters are always a combination of noble
and failing traits. Do not be afraid to give your characters a flaw.
This will make him or her endearing to the audience. After all,
nobody is perfect.

28. There is a limitation in describing a character in a play. This
limitation is also the challenge. Whatever the description or
dimension of a character, they have to reflect entirely on the
dialogue.
8. When writing about the characters, answer the following
questions: Do all the characters contribute to the storyline of the
play? Are there too many? Are there too few? Does the conflict
complicate the lives of the characters? Do the characters’ speeches
and actions reveal enough about their real personalities?

29. What I can do
A. Directions: In application of the Writing Tips, come up with a script for a
one- act play by completing the given dialogue below in relation to the
topic “Love in Times of Covid19.” Be creative and imaginative as
possible.
I choose you. And I’ll choose you, over and over and over. Without pause,
without a doubt, in a heartbeat. I’ll keep choosing you.
Setting: Isolation room of a hospital,situated in separate beds, 2 patients
suspected to be having Corona Virus or Covid as they have exhibited
symptoms
Lights on. Two young lovers (Cinthia and Apollo) placed in an isolation room
as they have shown some symptoms of Covid. With heavy hearts, they

30. thought as if they had the results with them with complete diagnosis of the
virus. They are pretty well aware that the result is to be given the following
day.
APOLLO: Cinthia, I cannot die right here. We cannot die right here. What
on earth permits to have us stricken by this?
CINTHIA: (trying to utter loudly but gasping for breath) Stop
blabbering Apollo.(talking camly and sweetly with voice just enough to be
heard) Who said we die right here? I love you, and you love me. Isn’t the love
that we have for each other enough for us to get through this? Even in
thoughts, please be brave as I am as well rooting on you. Very much rooting
on you. Remember that you still have to build the castle you promised me
of?
APOLLO: (a little pacified and assured, and emotional) I remember
everything so clearly, I just love you so much more than how I love

31. myself, that us being here, with chances of being tested positive, it’s
slowly strangulating me to death. But yes, I remember my promise, and
I remember yours too, that you’re gonna give me a dozen of good-
looking kids? Right?
The two smiling with masked pain drawn all throughout their faces.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

32. What I have learned
Directions: Complete the statements below with your
understanding of thelessons in this module. Note that there is no
wrong response for as long as you are giving your most honest
understanding. Please use a separate sheet of paper or bond paper to
complete this activity.
1. Drama is
___________________________________________________________.
2. Drama has different elements, and the ones focused on this
module are
_______________________, _______________________, and
______________________.
3. In developing a character in drama, you need to bear in mind that
__________________________________________________________
_________________.

33. 4. Plot has different components namely: ___________________,
_________________,
_________________, ___________________, ________________,
and ________________.
5. Setting as an element in drama is
__________________________________________.
6. Setting, Plot, and Character are very essential in drama because
__________________________________________________________
__________________.
11

34. What’s More
I. Directions: Below is a one-act play by Irene Lau, and you are
tasked to read and understand the script. Answer the questions that
follow.
The Phone: A One-Act Play by Irene Lau
For those who miss the little things in life
And those who talk as if they haven’t
Setting: Two public telephone booths stand alongside Nathan Road,
one of the busiest roads in Hong Kong. On one of the booths is a sign
saying ‘Out of Order’.
Lights on. The booths are unoccupied. A Filipino MAID enters with
a plastic bag of coins. She wears a sweater and an ankle-long dress of
dark colours. She approaches the booth, places the little plastic bag on

35. MAID
Maligayang…
She continues her chitchat in Tagalog when HUSBAND enters and
queues up after her. He frowns as he sees MAID talking non-stop adding
coins one by one. He checks his pager again and stamps his feet in
impatience. He strolls to and fro between the kiosks and stares at the
out-of-order sign on the other telephone booth. He tries that phone, and
soon puts down the handset roughly. After some time, MAID leaves.
HUSBAND hurries to make the phone call.
HUSBAND
Yes, Ling, it’s me. Oh, what’s the matter? You left an urgent message…
Oh, I’m on my way back! I had a meeting – you knew about it already.

36. What? Where am I? I’m in the street!… Why late? Oh one of those
Filipinos was making a damn long distance call . . . (raising his voice)
Cheating you! My god… oh my god… certainly not. . . (he pauses for
several seconds) Don’t holler like that!
GIRLFRIEND and BOYFRIEND enter, walking hand in hand. They
wait behind HUSBAND for the phone. They whisper to each other.
HUSBAND
I say – I’m not… Hey, don’t roar at me again! I told you – I’m not hiding
anything! (he notices the couple queueing behind him and lowers his
voice) Don’t have such an imagination! I say . . . (he pauses for a few
seconds) We’ll talk when I’m back, all right? . . . What do you want?
Somebody’s waiting for the phone… Okay, okay… be back in half an
hour, alright?

37. HUSBAND hangs up the phone, sighs deeply and leaves. BOYFRIEND
smiles at GIRLFRIEND
BOYFRIEND
Hope you don’t do that to me after we’re married.
GIRLFRIEND (punching his arm)
What idiot would promise to be your wife? Shhh, keep your voice down.
(she dials a number). Well Mom, yes… I’m leaving school now . . .
yes . . . coming back. Where am I? Hm… Hennessy Road. Yes, I’m in
Causeway Bay…about to take the MTR. Yes, of course I’m alone.
BOYFRIEND (laughs secretly and speaks softly)
Ha! You liar . . .
GIRLFRIEND (puts her hand across his mouth and shakes her head)

38. Alright, I’ll be quick, right . .. I’ll be careful . . . yes . . . bye Mom. (she
hangs up and turns to BOYFRIEND) I told you to shut up. What if my
mom heard your voice!
BOYFRIEND (jokingly)
Ha! How could she? I can’t even hear what I’m saying!
GIRLFRIEND (angrily)
You – are – just- making – excuses!!
She turns and leaves.
BOYFRIEND (chases after her)
Oh, wait a second, darling…
BOYFRIEND leaves at the same time that HOUSEWIFE and MAN
enter from separate directions. MAN bumps into BOYFRIEND, who

39. gives him an angry look in return. HOUSEWIFE takes advantage of the
situation and rushes toward the public telephone.
HOUSEWIFE
Hi, Mrs Wong. You know how I managed to phone you so quickly? . . .
No, no . . . I didn’t jump the queue… Ha, I can run faster than a man…
ha, that’s right.
She glances back. MAN waits for her and gives her an annoyed look.
HOUSEWIFE turns back, slowly.
HOUSEWIFE
Ha ha… that’s it. Ha… right. He’s stupid… Ah yes, the shop, right at
the corner, remember? Yes, the earrings and necklaces are on sale! Ask
your husband to go with you . . . Ha, that’s true . . . Then ask his money
to go . . .
MAN clears his throat repeatedly

40. HOUSEWIFE
Oh… is it? I must try that… You’ll go with me, won’t you? How
about tomorrow… yes, afternoon tea. The usual restaurant. Today?
That’s great… You bought the new currency? Ha, me too! What’s the
name? Europe New Union?. . . I can’t remember, either.
MAN makes louder sounds. The HOUSEWIFE looks at him with a
victorious smile, and turns again. She laughs into the phone
HOUSEWIFE
Your guess is correct! Absolutely. . . Oh . . . did you hear the “beep”?
We’ve talked five minutes already! Got to go. . . ha. . . yes. . . or I’ll
be cut off, you know. . . okay, see you later.
HOUSEWIFE leaves. MAN lifts the phone, holds the receiver
between his chin and shoulder and then searches in his pocket for
coins. He frowns and pulls out a small leather change purse and

41. searches inside it.
MAN
Oh shit! God damn it!
MAN kicks the kiosk hard. Another YOUNG MAN enters. He picks
up the phone after MAN leaves.
YOUNG MAN (in an annoyed tone)
You hung up the phone before I could finish! I know I’ve said
something wrong, but you’ve got to respect me! (he holds the phone
away from his ear and listens for
twenty seconds) Okay, I know, I’m wrong again!… Yes I know… I
shouldn’t have shouted… Jessie, come on. Please don’t cry… okay?
Please… I’ll come pick you up… No? Oh no… please… don’t be
angry with me… I’m sorry for that…
MAD MAN and GIRL enter one after the other. YOUNG MAN
notices them waiting behind him

42. YOUNG MAN
There’s a lot of people waiting. I’ll pick you up then . . .(raising voice)
What?… It’s not on purpose! I’m not telling lies! There’re already
two people queuing up . . . (lowering his voice) Okay, okay. . .
Jessie?. . . Jessie! Hello? . . . Are you there? Oh. . .
Shit! (speaking to himself) Hung up again!
YOUNG MAN leaves
MAD MAN enters the booth and presses the numbers without
inserting any coins.
GIRL watches in disgust and steps back.
MAD MAN
Hello… Yes… This is Pizza Hut… No, it’s the Mongkok Police
Station. Who are you?. . .(smiles to himself) From heaven? You’re in
heaven? Have you seen my wife and
children? They’ve all gone to heaven! No… no? (laughs bitterly)

43. They’re all nice and kind.. . . They should be in heaven, unlike me . . .
(he pauses a while)I’d only go to hell . . . that’s why they jumped. . .
(GIRL looks scared, her eyes wide open. MAD MAN is murmuring
too quietly to hear) MAD MAN (shouts suddenly)
Oh!! I won’t talk to you! You’re cheating me!
MAD MAN drops the phone and runs away. GIRL watches MAD
MAN leave. She
picks up the phone and examines it for a few seconds.
GIRL (speaking softly)
Hello! Jimmy? Oh. . . I’m in Tsim Sha Tsui, yes, Nathan Road…
Oh, you know what – I just saw met a cuckoo… you know, that
kind of man… He’s really insane… He was talking on the
phone. . . yes, before me. . . with nobody! He looks like a
beggar. . . yes of course, and smells. I’m so. . . frightened. . . Yes, I

44. know. . . I know you’re here. . . “there’s nothing I fear”. . .(she
sings a few lines of “My heart will go on”, theme song of the
movie Titanic)
Two boys enter, separately. They are followed by a family of three:
DADDY, MOMMY and SON
GIRL
Oh honey. . . I miss you too. . . What’re you doing? Oh, writing
poems! You great writer! . . . That’s for me? Oh. . . no, I wouldn’t
believe it . . . What did you have for lunch? . . . Basically nothing?
Oh . . . How could you. . . ? I’ll look after you next time
. . . (She blows a kiss)
I miss you darling. I’ll phone you soon . . . as I come home,
okay? . . . Bye.

45. GIRL leaves, humming the song she has just sung.
BOY1 (watching GIRL)
Oh, what a bitch! (he picks up the phone) Mom, yes, it’s Ming. I’m
not coming home for supper. Yes. . . I’ll be late. . . Yes. . . no. . .
no. . . yes. . . Bye!
BOY1 hangs up the phone and leaves. BOY2 picks up the phone.
BOY2
Hello John. Yes, Samuel. I need the past paper of Economics. . .
which year? What
do you have?. . . hm. . . 95-96 please. Yes, only the MC part.
Could you photocopy it for me? Thanks!… Oh? Chemistry?…
Yes. . . I have that. . . but the answer is at home. Yes, I’m at Nathan
Road something. (he nods) Alright, I’ll phone you at home. You
try it first, it’s tricky. . . and yes, cool.
BOY2 hangs up the phone. DADDY picks its it up.

46. DADDY (inserting the coin)
Mommy, what’s the number?
MOMMY (grins)
You always forgot. . . 23423411.
DADDY
Hi, it’s Herbert, Father. We’re coming for dinner. Yes… No
problem, your favourite beer, right? Fine, I’ll get it… Jane? She’s
here… of course she’s here.
DADDY gives MOMMY the phone
MOMMY
What’s that, dad? Yes, we’ll come back early. . . Oh. . . don’t tell
me to buy or bring you anything – tell Herbert. . . Ha. . . I’m not
spoiled. I used to be like that!. . . Talk to Billy? We’re in the

47. MOMMY passes the receiver to SON, about three. And she uses
her eyes to indicate that DADDY should insert another coin
SON
Grandad! Yea. . . Bill . . . Billy. Billy learns a song, shall I sing to
you?
SON sings ‘Row, row, row your boat’, but the words are difficult
to recognize. MOMMY takes back the phone.
MOMMY
Alright Dad, we’ll talk when we get there. Bye.
The three leave and YOUNG MAN enters.
YOUNG MAN
Oh Jessie, don’t hang up on me again this time. Listen to me first .
. . I apologize. . . But it’s really very hard to find a phone

48. here. . . I will.. . . May I pick you up somewhere?. . . Oh please
don’t . . . oh. . . no. . .(raising voice)I’ve done all I can! What else
do you want? (silence for several seconds). . . Hello? Hello?
Jessie? (He throws down the receiver and leaves)
The two telephone booths stand still on the stage. The receiver of
the phone that is not out of order swings. It soon stops and hangs
motionless
VOICE (off stage)
Hello? Hello? What’re you talking about?.

49. 1. Who are the characters in the play? Characterize each of the
characters.
2. Are the characters able to realize their roles as you read through the
script? Justify.
3. Does the setting effectively convey the overall intention of the
play to its readers?
4. Identify the components of the plot by filling in the table below.
Introduction and Exposition
Conflict
Rising Action
Climax
Falling Action
Resolution or Denouement

50. II. Script Revision
Directions: Using the script that you have made in “What I can do,” analyze it using
the rubrics given below. You can still improve your script by revising it before
submitting to your subject teacher. Please use a separate sheet of paper for your
revised script.
1 2 3 4 Score
C
O
M
M
U
N
I
C
A
T
I
O
N
Conventio
ns
The final draft
has many
grammar,
capitalization ,
spelling,
and
punctuation
errors.
There more then a
few grammar,
capitalization,
spelling, or
punctuation errors
in the final draft.
There are few
grammar,
capitalization,
spelling, or
punctuation errors in
the final draft.
There are no
grammar,
capitalization ,
spelling, or
punctuation errors
in the final draft.
Clarity
Ideas and
scenes seem to
be randomly
arranged.
The plot is a little
hard to follow.
The transitions
are sometimes
not clear.
The plot is pretty
well organized. One
idea or scene may
seem out of place.
Clear transitions are
used.
The story is very
well organized. One
idea or scene
follows another in a
logical sequence
with clear transitions.

51. A
P
P
L
I
C
A
T
I
O
N
Characters
It is hard to tell
who the main
characters are.
There is only 1
main character.
The main
characters
are named.
Dialogue and stage
directions
have limited
expansion of
character
development.
The main
characters
(3-4) are named
and described.
Dialogue and stage
directions
somewhat expand
character
development.
The main
characters
(3-4) are named
and
clearly describe.
Dialogue and stage
directions expand
character
development.
Total Score: /16
T
H
I
N
K
I
N
G
Creativity
There is little
evidence of
creativity. The
playwright does
not seem to
have used much
imagination.
The story contains
a few creative
details and/or
descriptions, but
they distract from
the story.
The story contains
creative details
and/or descriptions
that contribute to
the reader’s
enjoyment
The story contains
many creative
details and/or
descriptions that
contribute to the
reader’s enjoyment.

52. 1. It is the turning point of the story where the audiences are kept at the
edge of their seats.
A.Climax C. Exposition
B. Rising Action D. Resolution
2. A character that always opposes the main character.
C.Antihero C. Villain
B. Hero D. Superhero
3. This is the concluding part or ending of the play.
D.Rising Action C. Exposition
E. Resolution D. Climax
4. The date, the time, and the action all add up to this element of the
play.
F. Characters C. Plot
B. Resolution D. Setting

53. 5. These are plays whose conventions fall under the realistic
plane and are drawn out from real people, objects, and
situations.
A. Realistic Plays C. Non-realistic Plays
B. Tragedies D. None of the above
6. A component of the plot which is more fleeting and short-
lived than the rising action, but may still cover some gripping
moments in the play.
C. Climax C. Falling Action
D. Rising Action D. Resolution
7. This is where the conflict becomes even more complicated.
E. Climax C. Falling Action
F. Rising Action D. Resolution

54. 8. The setting of these plays include a dream-like forest, a barren
and deserted mountain, a dark alley, the underworld, a
fictional spot.
A. Realistic Plays C. Non-realistic Plays
B. Tragedies D. None of the above
9. This is sometimes referred to as the exciting force.
C. Conflict C. Introduction
D. Falling Action D. Climax
10. “People of the middle class speak a different lingo from poor
people”, which of the following considerations in creating
plausible characters was exemplified?
E. Class C. Education
F. Age D. Work

55. 11. Which of the following statements about Plot, Setting, and
Character is false?
A. There is a limitation in describing a character in a play.
B. The descriptions of a setting in a play can be placed in the stage
directions.
C. Thinking of an actual situation or conflict that you are familiar with.
D. Thinking of situations that will make the lives of the characters easy.
12. Which of the following statements about Plot, Setting, and
Character is false?
E. Understanding and knowing a plot are the only major
considerations in playwriting.
F. A play can be categorized as either realistic or non-realistic.
G. Once you have a situation in mind, you have to choose your main
characters.
H. A plot of a drama revolves around a conflict like in a prose
narrative.

56. 13. Which of the following statements about Plot, Setting, and
Character is false?
A. As much as possible, avoid “author intrusion.”
B. Try to avoid idealizing your characters.
C. A setting in a play is quite the same from the setting in fiction.
D. Writers must be creative in choosing a set as the backdrop of the
play.
14. Which of the following statements about Plot, Setting, and
Character is true?
E. A playwright can describe freely the place and the period for which
the story is set like that of fiction.
F. Work around a setting that takes a difficult time to set up or too
expensive to put up on a stage.
G. The keys to creating believable characters are details and
believability.
H. An ideal character exists.

57. 15. Which of the following statements about Plot, Setting, and
Character is true?
A. Real characters are always a combination of noble and failing
traits.
B. Character development needs not entirely done in the
dialogue.
C. Stage directions should be used frequently.
D. Less emphasis and focus should be given to the dialogues of
the characters.