SHS

Specialized
Subject

Creative Writing
Quarter 2
Module 3: Plot, Setting,
and Character in Drama
 SHS
Specialized
Subject

Creative Writing

Quarter 2
Module 3: Plot, Setting, and Character
in Drama
About the Module

This module has only one lesson entitled: Plot, Setting, and Character in Drama.
In this regard, you are going to apply or even intensify what you have learned in
Modules 1 and 2. Moreover, you will be well-informed on how to craft a one-act
play focusing on the three mentioned elements. Also, different considerations in
each of these elements will be given, thus, makes the writing of the one-act play
easier and more feasible. Aside from the tips given, there are also concrete
examples as your guide for an easier execution of the tasks given. Furthermore,
it would be easier to conceptualize a one-act play using these three elements
since these elements, along with the techniques; literary devices have already
been discussed in the previous modules. With these in mind, it will definitely
hone your skills as playwrights and make you more confident individuals in as
far as writing is concerned. That being brought up, you are redirected to love
your creative pursuit, and this will possibly open doors of opportunities for you
to be more self-aware.

Pretest
Directions: Read the statement/questions carefully and write the letter of the
correct answer in a separate sheet of paper.

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.
A. Climax C. Exposition
B. 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

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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.
A. Antihero C. Hero
B. 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.
A. Resolution C. Falling Action
B. 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.
A. Resolution C. Falling Action
B. Rising Action D. Climax

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.
A. Tragedies C. Realistic Plays
B. 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.

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

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 believability.

12. Which of the following statements about “Indirect Characterization” is

not true?”
A. This is also known as implicit characterization
B. Enables the audience to discover by themselves the qualities of the
character
C. This is done by informing the audience how a character looks like
and his/her other qualities.
D. Is seen in the characters’ actions, language, behavior, attitude,
appearance, thoughts, and ways of the character

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?”

A. The play can begin in the middle of the action.
B. Beginning with the exposition is otherwise known as in medias res.
C. Some playwrights use the chronological order in which the play
begins with the ending, and the events that follow are presented
backwards.
D. The plot of a drama does not revolve around a conflict.

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.

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 Plot, Setting, and Character in
Drama

What I Need to Know

After completing this module, you are expected to:

 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.

What’s In

Directions: Among the pictures given below, choose one that you are familiar of,
and answer what is being asked.

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 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.

What’s New

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.
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

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 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
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 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:

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.

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 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 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.

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.

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.

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.

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 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 unconventional situations.
The characters are not real people, but are 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 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 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

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 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.

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 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.
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

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 their characters.
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.
7. 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?

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 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

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 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 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.
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What I have learned

Directions: Complete the statements below with your understanding of the
lessons 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
___________________________________________________________________________.
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
____________________________________________________________________________.

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 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 top of the telephone and starts her long-
distance call.
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. 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?

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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)
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 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

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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 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
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) 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!

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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 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.

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.
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 street. . . you’re stirring things up. . . Alright, okay. . .

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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 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?.

https://longzijun.wordpress.com/asianvoices/the-phone-a-one-act-play-by-irene-lau/

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

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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

The final There more There are few There are no

draft has then a few grammar, grammar,
Conventions
many grammar, capitalization capitalization
grammar, capitalization , spelling, or , spelling, or
capitalization , spelling, or punctuation punctuation
, spelling, punctuation errors in the errors in the
and errors in the final draft. final draft.
Communication

punctuation final draft.

errors.

Ideas and The plot is a The plot is The story is

scenes seem little hard to pretty well very well
Clarity
to be follow. The organized. organized.
randomly transitions One idea or One idea or
arranged. are scene may scene follows
sometimes seem out of another in a
not clear. place. Clear logical
transitions sequence
are used. with clear
transitions.

There is little The story The story The story

evidence of contains a contains contains
Creativity
creativity. few creative creative many
The details details creative
Thinking/

playwright and/or and/or details

Inquiry

does not descriptions, descriptions and/or

seem to have but they that descriptions
used much distract from contribute to that
imagination. the story. the reader's contribute to
enjoyment the reader's
enjoyment.

17
 It is hard to The main The main The main
tell who the characters characters characters
Characters
main are named. (3-4) are (3-4) are
characters Dialogue and named and named and
are. There is stage described. clearly
Application

only 1 main directions Dialogue and describe.

character. have limited stage Dialogue and
expansion of directions stage
character somewhat directions
development. expand expand
character character
development. development.

Total Score: /16

Post Test

Directions: Read the following statements/questions carefully. Write the letter of the
correct answer in a separate sheet of paper. Label your paper as Post Test- Quarter
2 Module 3 in Creative Writing.

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.

A. Antihero C. Villain
B. Hero D. Superhero

3. This is the concluding part or ending of the play.

A. Rising Action C. Exposition
B. Resolution D. Climax

4. The date, the time, and the action all add up to this element of the play.
A. Characters C. Plot
B. Resolution D. Setting

18
 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.
A. Climax C. Falling Action
B. Rising Action D. Resolution

7. This is where the conflict becomes even more complicated.

A. Climax C. Falling Action
B. Rising Action D. Resolution

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.

A. Conflict C. Introduction
B. 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?
A. Class C. Education
B. Age D. Work

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?
A. Understanding and knowing a plot are the only major considerations in
playwriting.
B. A play can be categorized as either realistic or non-realistic.
C. Once you have a situation in mind, you have to choose your main
characters.
D. A plot of a drama revolves around a conflict like in a prose narrative.

19
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?
A. A playwright can describe freely the place and the period for which the
story is set like that of fiction.
B. Work around a setting that takes a difficult time to set up or too expensive
to put up on a stage.
C. The keys to creating believable characters are details and believability.
D. An ideal character exists.

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.

20
References

Pictures:

https://tinyurl.com/y5aydcfg

https://tinyurl.com/yxzq8sf9
https://tinyurl.com/y4ddutvg

Texts:

Ancheta, Lira R. Creative Writing. G. Araneta Avenue, Quezon City

Philippines: Vibal Group, Inc. 2017, pp.74-91.

Aguila, Augusto Antonio, et.al. Wording the World: The Art of Creative
Writing. Quezon City Philippines: C & E Publishing Inc.,2017, pp. 157-
202.

The Phone: A One-Act Play by Irene Lau. Accessed and retrieved on

October 22, 2020, from:
https://longzijun.wordpress.com/asianvoices/the-phone-a-one-act-
play-by-irene-lau/

The World is an Apple by Alberto S. Florentino. Accessed and retrieved

on October 22, 2020, from:
https://ischoolsericsonalieto.wordpress.com/2012/03/23/the-world-
is-an-apple-by-alberto-s-florentino/

Playwriting Rubric. Accessed and retrieved on October 26, 2020 from:

https://tinyurl.com/y6f9done

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Acknowledgements:
Creative Writing- SHS (Specialized Subject)
Quarter 2- Module 3: Plot, Setting, and Character in Drama

Development Team of the Module

Compiler: Ricky G. Agbay, TIII, Talamban National High School

Editors: Alice C. Bordadora, MTI, Talamban National High School

Marijune I. Torreon, MTII, Abellana National High School
Mary Jane B. Acusar, MTI, Abellana National High School

Management Team:

Rhea Mar A. Angtud, Schools Division Superintendent

Danilo G. Gudelosao, Assistant Schools Division Superintendent
Grecia F. Bataluna, Curriculum Implementation Division Chief
Norman R. Gabales, EPSvr-English
Vanessa L. Harayo, EPSvr-LRMS

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