Writing the short play

“To translate knowledge and information into experience: that seems to be the function of literature and art.” 

                            ― Joseph Campbell, The Hero's Journey: Joseph Campbell on His Life & Work

Here are some movies to get us started

The Hero’s Adventure Basic Recipe

Here is a basic recipe to demonstrate how the Hero’s Adventure plays out. This is a template you can apply to your own work-in-progress—you might be surprised by how closely it matches elements you already have in play.

• A messenger comes. The messenger might be human, or a message might come from an experience—like a brush with death or a dream. At any rate, something has gone wrong; the natural order of the world has been disturbed.
• A problem is presented. Perhaps something has been taken away from the tribe, or some misfortune or malfeasance has occurred.
• Someone is marked out as the person to solve this problem. She is chosen according to some past deed of her parents or by her own reputation or happenstance. This person, of course, emerges as the hero at the end.
• A challenge takes shape. The challenge may be refused, at first. “No way, I’m not going to risk my neck for that!”
• A refusal, often. But eventually the hero decides to accept the challenge. She might even be forced to accept it by circumstances.
• The challenge is accepted. The adventure begins.
• The hero leaves the familiar world. And she sets off into another world. It’s dangerous. The hero could use some help, and very often …
• Helpers materialize. A helper might have special skills the hero doesn’t have, or he might have special insights or wisdom, in which case he takes the form of a mentor.
• Setbacks occur. The hero is tested, she makes gains, she endures setbacks, she fights for what is right, she resists evil. The going’s tough!
• The hero regroups and gains some ground again. Maybe she needs another visit to a mentor, or maybe she makes a personal breakthrough and overcomes a great inner obstacle, perhaps her own fear.
• The foe is vanquished or the elixir is seized. Eventually she defeats the foe or comes into possession of something that will restore the natural order—a cure, or new knowledge that will bring justice or the return of prosperity.
• The hero returns to the familiar world. And the problem is fixed, or justice is done. The natural order is restored.

The person who accepts the challenge and prevails is elevated to a special position, somewhere above human, somewhere below god. She is the hero.

The Hero’s Adventure at Work

Famous stories from King Arthur and Excalibur to The Wonderful Wizard of Oz to The Little Engine That Could to Harry Potter are based on the Hero’s Adventure. Let’s look at a concrete example from a well-known source: the Sherlock Holmes story “The Adventure of the Speckled Band” by Sir Arthur Conan Doyle.

• A messenger comes. Holmes and Watson are hanging out in the familiar world of 221B Baker St. when a young lady comes calling.
• A problem is presented. The young lady tells Holmes that her sister has died under strange circumstances, and she now fears for her own life.
• Someone is marked out as the person to solve this problem. Knowing of Holmes’ reputation, the young lady asks him for help.
• A challenge takes shape. Holmes asks many questions, and perceives the seriousness of the situation.
• A refusal, often. Holmes rarely refuses a challenge, though he has been known to be reluctant at times. In this case, Holmes senses great urgency, so he doesn’t waffle.
• The challenge is accepted. The adventure begins.
• The hero leaves the familiar world. Holmes sets off from 221B Baker St. and enters the busy, raucous streets of London, thence to a creepy old mansion in the country. It’s dangerous. The hero could use some assistance.
• Helpers materialize. And guess what? He’s got Watson at his side! Much investigation occurs, with progress, and then …
• Setbacks occur. Things go wrong, problems turn out to be more difficult than anticipated.
• The hero regroups and gains some ground again. After a nail-biting, death-defying climax, Holmes prevails, discovering a deadly plot and a bizarre method of murder. The perpetrator is killed by the very method he had used to kill another.
• The foe is vanquished or the elixir is seized. Holmes and Watson wrap up the case for the local police and return to their flat in London.
• the Hero returns to the familiar world. And we feel secure because we know justice has been done; the killer cannot kill again. The natural order
  is restored.

Read or watch practically any good, successful story you will find similar story bones. This is not by accident. Good writers have instincts for such things. We sharpen our instincts by studying and by writing, which you’ve been doing all along.

Now we will choose one of the moments from the Hero's Journey to make into a two-person, maybe three-person scene. 

Use your information from your content in Town Hall or other issue to use as the foundation of the scene. 

And how do we format a scene? 

Here is a style guide from the City Theater in Pittsburgh

Here are some one-act play resources:

 

Stan Lee - think butts in seats rather than turing pages

Like he says, "You just have to keep interesting yourself while you are writing it."

Read and watch to be inspired. Christopher and Jessi, if you have any suggestions feel free to send them to the class. Here are some of mine:

Take a Seat (he's channeling his inner Woody Allen.)

You can also Google "Family 2.0" and see a variety of interpretations of this short play. Here is a high school one that I like - but there are many, many variations on the YouTube

The Mid-term

First things first:

1. Make sure all of your assignments are complete in your writing folder.

2. Make a separate folder inside your personal folder to place both your Town Hall assignment and the piece(s) you wrote for Town Hall.

For the midterm in specific:

1. Review the elements of creative nonfiction below. Choose one of your assignments and rework it to reflect the aspects of creative nonfiction. DUE Monday, March 13

2. Your midterm is to do a profile of your dancer that does NOT include where they are from or where they went to school. This is a profile of who they are as “movement artists”. You have watched them and spent time with them now it is time to write about them in particular. DUE Thursday, March 23

Let's get a reminder of what makes a piece of writing creative non-fiction:

Elements of Creative Nonfiction

The creative nonfiction writer often incorporates several elements of nonfiction when writing a memoir, personal essay, travel writing, and so on. The following is a brief explanation of the most common elements of nonfiction:

• Fact. The writing must be based on fact, rather than fiction. It cannot be made up.
• Extensive research. The piece of writing is based on primary research, such as an interview or personal experience, and often secondary research, such as gathering information from books, magazines, and newspapers.
• Reportage/reporting. The writer must be able to document events or  personal experiences.
• Personal experience and personal opinion. Often, the writer includes personal experience, feelings, thoughts, and opinions. For instance, when writing a personal essay or memoir.
• Explanation/Exposition. The writer is required to explain the personal experience or topic to the reader.
• Essay format. Creative nonfiction is often written in essay format. Example: Personal Essay, Literary Journalistic essay, brief essay.

Literary Elements

Creative nonfiction is the literature of fact. Yet, the creative nonfiction writer utilizes many of the literary devices of fiction writing.  The following is a list of the most common literary devices that writers incorporate into their nonfiction writing:

• Storytelling/narration. The writer needs to be able to tell his/her story. A good story includes an inciting incident, a goal, challenges and obstacles, a turning point, and resolution of the story.
• Character. The nonfiction piece often requires a main character. Example: If a writer is creating his/her memoir, then the writer is the central character.
• Setting and scene. The writer creates scenes that are action-oriented; include dialogue; and contain vivid descriptions.
• Plot and plot structure. These are the main events that make up the story. In a personal essay, there might be only one event. In a memoir, there are often several significant events.
• Figurative language. The writer often uses simile and metaphor to create an interesting piece of creative nonfiction.
• Imagery. The writer constructs “word pictures” using sensory language. Imagery can be figurative or literal.
• Point of view. Often the writer uses the first person “I.”
• Dialogue. These are the conversations spoken between people. It is an important component of creative nonfiction.
• Theme. There is a central idea that is weaved through the essay or work. Often, the theme reveals a universal truth.

Lee Gutkind wrote an essay called “The Five R’s of Creative Nonfiction.” In this essay, he identified five essential elements of creative nonfiction. These include:

1. Creative nonfiction has a “real life” aspect. The writer constructs a personal essay, memoir, and so forth, that is based on personal experience.  He also writes about real people and true events.
2. Creative nonfiction is based on the writer engaging in personal “reflection” about what he/she is writing about. After gathering information, the writer needs to analyze and assess what he/she has collected. He then must evaluate it and expression his thoughts, views, opinions. Personal opinion is permissible and encouraged.
3. Creative nonfiction requires that the writer complete research. The writer needs to conduct research to learn about the topic. The writer also needs to complete research to discover what has been written about the topic. Even if a writer is crafting a personal essay, he will need to complete secondary research, such as reviewing a personal journal, or primary research, such as interviewing a friend or family member, to ensure that the information is truthful and factual.
4. The fourth aspect of creative nonfiction is reading. Reading while conducting research is not sufficient. The writer must read the work of the masters of his profession.
5. The final element of creative nonfiction is writing. Writing creative nonfiction is both an art and craft. The art of creative nonfiction requires that the writer uses his talents, instincts, creative abilities, and imagination to write memorable creative nonfiction. The craft of creative nonfiction requires that the writer learn and deploy the style and techniques of creative nonfiction in his/her work.

Magazines

There are also many popular magazines that publish all types of creative nonfiction, including:

• The Atlantic  ( http://www.theatlantic.com/ )
• The New Yorker ( http://www.newyorker.com/ )
• Vanity Fair ( http://www.vanityfair.com/ )
• Esquire (http://www.esquire.com/)
• The Walrus ( http://www.walrusmagazine.com/ )

Read this classic creative nonfiction piece 

Frank Sinatra Has a Cold