This document contains the agenda and notes from EWRT 30 Class 17. It discusses that Project #3 is due soon and introduces a writing exercise where students create character profiles without their names. New group formations are also announced for the final project. Key terms from weeks 10-18 are defined, including theme, complication, dialogue, and aside. Guidelines are provided for writing short 10-minute plays, including focusing on character journeys and universal themes. Students are instructed to work in groups to develop potential plotlines from the character profiles generated in the exercise.
Group 8 Presentation of the Collaboration Project about the play "The Woolgatherer"
Director - Justin Valladares
Lighting - Stephania Delgado
Costumes - Andre Porter
Set - Jason Pho
Group 8 Presentation of the Collaboration Project about the play "The Woolgatherer"
Director - Justin Valladares
Lighting - Stephania Delgado
Costumes - Andre Porter
Set - Jason Pho
Writing Action Scenes: You'll be Lucky to SurviveVincent O'Neil
This presentation provides detailed tips and techniques on crafting action sequences that put the reader right in the midst of the tumult. Complete with example excerpts.
This was delivered at the Sleuthfest mystery convention in Boca Raton on March 1, 2018.
A live audio version of this workshop, along with the live audio for three more of the presentations I have posted on this site, are available for purchase from VW Tapes: Conference & Seminar Recording. If the link below doesn't work, please go to the VW Tapes webpage and type my name in the Search box.
http://vwtapes.com/search.aspx?find=Vincent%20O'Neil&fbclid=IwAR0SkwWW5izLbBFvZHKhqOI953GMXhhsFBsg749We3dvq4-43BcFj_S-aMU
A set of slides from the Emerald City Writers' Conference. Whether it's a twist on the familiar Cinderella story or a new take on vampires and werewolves, romance is a genre that thrives on reinvention. But how does a writer strike the right balance between a fresh new idea and a story with classic appeal? With fan fiction and its links to romance under the microscope, where do we draw the line between inspiration, playful allusion and a flat-out rip-off? Come learn how to fracture your fairy tales, revamp your vamps and reshape your shifters to best showcase your unique voice and catch the attention of agents, editors, and readers.
Othello by William Shakespeare, Notes, Quotes and Analysis by T. ScarsbrookTanyeliScarsbrook
I used this slide for my A level in English Language and Literature. It helped me a lot as I got an A as a result. I have analysed each act and scene, as well as Key notes and analysis of quotes. This took me a few months to make so I hope it helps some of you.
Writing Action Scenes: You'll be Lucky to SurviveVincent O'Neil
This presentation provides detailed tips and techniques on crafting action sequences that put the reader right in the midst of the tumult. Complete with example excerpts.
This was delivered at the Sleuthfest mystery convention in Boca Raton on March 1, 2018.
A live audio version of this workshop, along with the live audio for three more of the presentations I have posted on this site, are available for purchase from VW Tapes: Conference & Seminar Recording. If the link below doesn't work, please go to the VW Tapes webpage and type my name in the Search box.
http://vwtapes.com/search.aspx?find=Vincent%20O'Neil&fbclid=IwAR0SkwWW5izLbBFvZHKhqOI953GMXhhsFBsg749We3dvq4-43BcFj_S-aMU
A set of slides from the Emerald City Writers' Conference. Whether it's a twist on the familiar Cinderella story or a new take on vampires and werewolves, romance is a genre that thrives on reinvention. But how does a writer strike the right balance between a fresh new idea and a story with classic appeal? With fan fiction and its links to romance under the microscope, where do we draw the line between inspiration, playful allusion and a flat-out rip-off? Come learn how to fracture your fairy tales, revamp your vamps and reshape your shifters to best showcase your unique voice and catch the attention of agents, editors, and readers.
Othello by William Shakespeare, Notes, Quotes and Analysis by T. ScarsbrookTanyeliScarsbrook
I used this slide for my A level in English Language and Literature. It helped me a lot as I got an A as a result. I have analysed each act and scene, as well as Key notes and analysis of quotes. This took me a few months to make so I hope it helps some of you.
Shakespeare - Richard III - Exam Revision AS English Literature Dramamrswildingwestlake
Revision overview/reminder of the big picture for Richard III by WIlliam Shakespeare for AS English Literature, Westlake Boys. Use as revision -- you should be able to fill in the blanks/elaborate.
Dissecting the first pages of famous mystery novels, with comments about what makes them good openings (from a presentation at the Mystery Writers of America "Sleuthfest" conference in Deerfield Beach, Florida)
PART ONE & SCRIPT ANALYSISThe W’s” and O.docxdanhaley45372
PART ONE: & SCRIPT ANALYSIS
The
“W’s”
and
One
“H”
3/30/2014 2
GIVEN CIRCUMSTANCES
The FACTS given by the
playwright or screenwriter
A large amount of information
is usually given in the first
few scenes
GIVEN CIRCUMSTANCES
What information should we know
from the past in order to understand
the dramatic action
INFORMATION THAT IS NEEDED
TO UNDERSTAND THE PLAY
Can be visual or in the
dialogue of the characters.
photos from various
productions of Lisa
Loomer’s
The Waiting Room
“A. “Atmosphere and Environment”
Where is the play
set? City? Country?
NOTE: It is important
to be thorough in
building the
surroundings of the
play.
4
GIVEN CIRCUMSTANCES:
In a city, home, rural,
castle, etc.
Geographic Location?
Public or Private?
Inside or Outside?
What is the weather?
5
1. SPECIFIC LOCATION
“How we
relate to
E nv i r onm ent”
6
2. THE
FIVE
What does it LOOK like?
What structures are in this
place?
What SOUNDS are
associated with the place?
What SMELLS are
associated with the place?
What TASTES are
associated with this
environment?
What TEXTURES are
present in this environment?
7
Breakdown
the acts and
scenes and
describe the
location and
specifics of
each
setting.
i.e. –
Act I
Scene 1 – The bar
Looks
Sounds
Smells
Tastes
Textures
Act I Scene ? – The
bedroom
Act? Scene(s)? – Outside
bar
8
I F SCENES O CCUR
IN DIFFERENT LOCATIONS
“B. WHEN”
Specific year (time-period)
Season
Time of day
How much time passes
between scenes?
9
GIVEN CIRCUMSTANCES:
SCENE SPECIFICS
Breakdown each act and each scene
List the time for each scene. Include the following if available :
Specific year (time-period)
Season
Time of day
How much time passes
between scenes?`
11
WHO?
What social or class
dynamics exist for the
characters in this
play?
How do those factors
shape the action of the
play and the choices
the characters make
given this information.
What type of pressure
will this cause on the
plot development?
GIVEN CIRCUMSTANCES:
PREVIOUS ACTION
What happened before the
play that we need to k now
to understand the play?
For example, in Romeo
and Juliet we know the
families do not get along,
this is prior to the
beginning of the play.
How important is this
information to the plot?
You must read the play
thoroughly to be able to
develop a clear since of
how this information will
shape the play.
Are their different
cultural backgrounds
involved in this play’
How will the characters
be impacted by this
cultural similarities or
differences.
How important are
these elements in
relationship to the
theme of the play.
Spirituality and Religion
are they a relevant part of
this play?
What types of challenges
face the characters due to
the presence of the factor?
How important is it to the
.
Writing The Science Fiction Film: Where do you get your ideas from?robgrant
The lazy way of coming up with science fiction film ideas is to take any an existing movie title and add ..in space! to it. Like High Noon ..in space! (Outland) or Jaws ..in space! (Alien). It’s become a tried and trusted method, but while it has led to the occasional classic - no-one is going to argue against Alien being a sci-fi classic - there are a lot more films in the mediocre pile.
So where do we find new ideas ripe for science fiction?
Well as you might expect they’re all around you, all you have to do is start looking, but it requires that you leave your SF prejudices at the door and open your eyes to the wider world of sci-fi storytelling.
This workshop looks at sources of new ideas, basic tools to gather and store them, explores exercises for taking an idea and turning it into a story and we’ll actually take an idea and break a story with the audience in the room.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
2. AGENDA
Project #3 Due Soon!
Writing Exercise
New Groups
Terms 10-18
Discussion:
Short Plays
Guided Writing
3. CREATE A CHARACTER
EXERCISE
Get out two pieces of paper.
Create two complete characters, one on each piece of paper.
Do not put your name on the paper.
4. NAME: BETSY CARBEANOR
Likes: Puppies
Dislikes: Horror Movies
Needs: A New Shower Curtain
Biggest Vice: Ice Cream
Strength: Generosity
Weakness: Too Trusting
Others would describe as: a very
bubbly personality, always willing to
help
One Childhood Memory: Her dad
bought her a balloon at a fair, and it
flew away into the sky
Deepest Desire: To become a great
novel writer
Biggest Secret: Closet Pot Smoker
Age: 25
Height: 5'5
Weight: 105 lbs
Hair Color: Red
Hair Style: Pony Tail
Uses: Glasses
Eyes: Green
Skin: Tan/Smooth
Wears: Jeans & Tank Tops
Lives in: Seattle,
Washington
Hometown: Everett,
Washington
Job: File Clerk at Court
House
5. NAME: HENRY HOBSON
Age: 14
Height: 5'9
Weight: 150 lbs
Hair Color: Brown
Hair Style: Shaggy
Uses: Anxiety Medication
Eyes: Hazel
Skin: Black
Wears: Dress pants and vest-
sweaters
Lives in: South Park, Colorado
Hometown: Ephrata,
Washington
Job: Student
Likes: Physics
Dislikes: Art
Needs: More friends
Biggest Vice: Keeps to himself too
much
Strength: Extremely smart
Weakness: Social anxiety
Others would describe as: Keeps to
himself mostly, bit of a nerd
One childhood Memory: In 4th grade
the school bully stuffed him in his
locker
Deepest Desire: To have one friend
who truly understands him
Biggest Secret: Thinks he might be
gay
7. NEW GROUPS
Get into new groups for your
final project. Remember the
rules:
1. You must change at least
50% of your team after
each project is completed.
2. You may never be on a
team with the same person
more than twice.
3. You may never have a new
team composed of more
than 50% of any prior team.
10. 10.Theme
The idea of a literary work abstracted from its details
of language, character, and action, and cast in the
form of a generalization.
10.Complication
An intensification of the conflict in a story or play.
Complication builds up, accumulates, and develops
the primary or central conflict in a literary work.
11.Dialogue
The conversation of characters in a literary work. In
fiction, dialogue is typically enclosed within quotation
marks. In plays, characters' speech is preceded by
their names.
11. 13.Diction
The selection of words in a literary work. A work's
diction forms one of its centrally important literary
elements, as writers use words to convey action,
reveal character, imply attitudes, identify themes, and
suggest values.
13.Tragedy
a drama where the hero loses.
15.Tragic flaw
a mistaken action or defect in character. In modern
tragedy, the hero can be an ordinary person destroyed
by an evil force in society.
12. 16.Cue
a signal for an actor to enter or to speak.
17.Soliloquy
A long speech in a play that is meant to be heard
by the audience but not by other characters (there
generally aren’t any others on stage). The soliloquy
represents the character thinking aloud. Hamlet's
"To be or not to be" speech is an example.
18.Aside
Words spoken by an actor directly to the audience,
which are not "heard" by the other characters on
stage during a play. In Shakespeare's Othello, Iago
voices his inner thoughts a number of times as
"asides" for the play's audience.
14. TEN-MINUTE PLAYS
Ten-minute plays have become very popular in
recent years with the advent of The Actors Theatre of
Louisville contest. A good ten-minute play is not a
sketch or an extended gag, but rather a complete,
compact play, with a beginning, middle and end. It
typically takes place in one scene and runs no more
than ten pages.
http://www.youtube.com/watch?v=-NJhaj1nNqs
https://www.youtube.com/watch?v=x49Y3NwJp3c
15. BUT HOW DO WE
WRITE ONE?
I AM SO GLAD YOU ASKED!
16. 1 Know what your play is about. This will
keep your characters on track and give
your play a sense of unity.
2 Avoid exposition. Dive into your story;
after all, you have a ten minute
limit. Beginning this way offers a puzzle for
your audience to unravel. Remember—we
are fascinated by the unknown!
3 Connect every detail to the action of the
play. There is no time for extraneous
dialogue. Nothing is random. If you are
writing a play about murder, when the
curtain goes up, there should be a body on
the stage.
17. 4 Write character dialogue that moves the play forward.
All characters have an agenda of sorts. That makes them
interesting. Keep your characters talking in ways that
further their own interests and desires.
5. Write your characters to be real. Real characters are
excessive in some areas and deficient in others. They are
nice sometimes and angry at other times.
6. Don’t waste time talking about anything you can show
easily. Images are more powerful than words. Think about
how to communicate through images and props.
18. 7 Every protagonist must have a journey. He or she should
end up someplace (physically, emotionally, or spiritually)
radically different from where s/he began.
8 Write in a point of no return. Once the protagonist crosses
the line, there is no turning back!
9. Do not let your characters off too easy!
If you do, their journey won’t be significant.
They may escape with their lives—but just
barely!
19. 10. Use a universal theme in your script. This
allows readers to relate to your world.
11. Include a climax so the audience is rewarded for
their attention.
12. Bring every detail together in the end. You
must get the reader back to the “body”!
21. WITH YOUR GROUP MATES, SORT THROUGH THE
CHARACTERS YOU WROTE EARLIER.
What genre might your
characters fit?
• Mystery
• Romance
• Science Fiction/Fantasy
• Suspense/Thriller
• Western
• Horror
• Young Adult
Check for combinations of characters that fit together in some way.
Search for a protagonist and an antagonist.
Do you have a hero? An antihero?
Do your characters call to mind a
basic plot?
• Overcoming the Monster
• Rags to Riches
• The Quest
• Voyage and Return
• Comedy
• Tragedy
• Rebirth
22. CONSIDER THESE
POSSIBILITIES
1. Write about someone who goes to such lengths to impress, or
get attention, that he or she goes one step too far.
2. Write about an encounter or incident on someone's first visit to
either a big city or the country.
3. Write about a car accident with an odd, difficult, or interesting
outcome.
4. Use a song or book title to inspire your story.
5. Use a newspaper or magazine story to inspire you.
23. Project #3 Due before class Friday, week 9
Study Terms 1-18
Work on your Play