http://online.wsj.com/article/SB10001424052748704211704575139891390595962.html?mod=yhoofront
Didn't get into your dream school? Read the article from the link above. This could be the best thing to ever happen to you. Really? Really!
SEE THE LINK BELOW FOR HOW TO SURVIVE COLLEGE ONCE YOU GET THERE!
http://highered.mcgraw-hill.com/sites/0073124265/student_view0/additional_resources.html#
SEE THE LINK BELOW FOR HOW TO SURVIVE COLLEGE ONCE YOU GET THERE!
http://highered.mcgraw-hill.com/sites/0073124265/student_view0/additional_resources.html#
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GROUP FINAL FILM/SCREENPLAY:
FINAL GROUP PROJECT (EACH MEMBER MUST WRITE A SCENE OR SECTION TO BE IN THE GROUP-EDITING AND CATERING DON’T COUNT):
Create an original or adapted screenplay using a minimum of 20 allusions from the works we’ve studied this year. You may create a sequel or a prequel, if you choose. You must justify the use of the allusions by explaining their meaning and how they function to create the meaning of the work as a whole. You must reference at least 10 pieces of literature assigned in class. Archetypes and biblical allusions count as 2 regardless of how many you use. 18 more references will be needed to reach 20 min. (4 quotes or symbols from Death of a Salesman count as 4 allusions. 5 from Beloved count as 5-but those are only 2 works, you will need to reference 8 more.) Films should not to exceed 25 minutes. Your film will be eligible for the all of the categories represented in the Academy Awards such as Best Picture, Best Actor, Best Editing, Best Screenplay adapted and original, and many more.
Each member must participate in the writing of the screenplay (even if the scene doesn't make the final cut) and the making of the film. On the screenplay, you must include explain the meaning of the allusion (20 min. in whole screenplay) and why you included it-i.e. "HOW DOES COMMUNICATE THE MEANING OF THE WORK AS A WHOLE?" If the group is larger than 5, you must show each member's work on the screenplay which will be much longer than 20 pages. The bigger the group, the more pages needed. Remember that 1 page of screenplay translates to 1 minute on screen. The film can only be 22 minutes max. Your part might not make the film, but you are getting credit for you writing and the film. You must also be able to show exactly how you helped create the final film regardless if you are in the film or not.
Warning: All members must contribute equally. If you do not participate as much as the other members in the writing and filming, you will receive a deduction or a ZERO with no chance of fixing it. Think about how much time and effort needed before you join a group. It may be better for you to work alone to create another project.
Final Project (Prewriting/Brainstorming): “A Summary of Learning”
We have read and discussed many poems, short stories, plays and a novel or two. List them all and write the themes and ideas next to each work. Are there any symbols, motifs, or important quotes from the work? Explain the meaning of each. How will they connect to the MEANING OF YOUR WORK AS A WHOLE? You may create a sequel, a prequel, and adaptation, a parody, or an original screenplay. After each reference, explain the meaning and function in your work. In the end, you will be explaining the screenplay and film in the same manner you have explained works in this class all year.
Some works have touched on the thematic ideas of Innocence and Experience, Initiation, Death and Age, and War. Others have focused on the Individual and Society, Gender Roles, Relationships, and Religion and Spirituality. To come up with some connections, choose some of your favorite works read in class or the most thought provoking and ask yourself the following questions:
1. What was the piece about? Don’t answer with plot summary-answer with ideas.
2. What was the overall feeling, tone, or mood of the piece? Why?
3. What do the characters represent? How do you feel about them? Why?
4. Any other symbolism, metaphor, allusions, archetypes to help us understand the work?
5. Use the list below to help you make connections.
Theme Seeds (SEE THE THINKING ON PAPER ABOUT THEME, SETTING, CHARACTER, PLOT, ETC QUESTIONS):
Money, ambition, destructive love, appearance vs. reality, refusal to accept reality or fate, the emptiness and artificiality of modern life, vanity, barriers of social class, loneliness and isolation, loss of innocence, death or decline of the American dream or American culture, original sin and the corruption in the world, the relationship between money and love, family, regret and nostalgia, the tragic consequences of chasing after false idols and golden calves, death and rebirth, disappointment, running away from the past, hypocrisy in all its forms, grace and redemption, salvation, heroism-minor and major, feminism, fighting for justice and equality, self-discovery, self- reliance, self-esteem, death and dying, epiphany, a quest or search, the power of love and forgiveness, alienation, archetypal questions, and many others.
Many historical, cultural and political events have influenced the author and the work as well We have also analyzed the various elements of prose/fiction including point of view, symbolism, structure, imagery and tone. Some stories contain similar character types, thematic ideas and social commentary. Others stories share similar settings, time periods, conflicts (man vs. self, vs. society, vs. others. vs. nature) and relationships (husband and wife, parent and child, authority figure and follower(s), members of a larger community, etc.). We’ve discussed the function of comedy and humor in a work as well as the importance of trials, tragedy and catastrophe.
Don’t forget all of the philosophical ideas covered in class and in the literature!
*Individual projects: You must see me for approval and directions. It must involve a creative medium and a written essay using the 20 quotes and commentary to communicate the theme.
Extra Credit-REMEMBER 30 pts. MAX for 2nd semester!!!
Here are some options, but check with me 1st.
Their Eyes Were Watching God (if we don't read it this year)
Another on the AP Reading List (must complete literary analysis: novel and take a test)
Watch the School Play TBA. Write a review.(5pts)
Philosophy Films-2 per group. (5pts per film)
Sophie's World-see doc and pdf (20pts)
Beloved Comparison- Film to Novel (5pts)
Another novel by Toni Morrison. Complete a Novel Analysis and compare both novels. (20pts)
Practice AP Lit. and Comp. book complete with all tests and essays. (up to 15pts)
Another on the AP Reading List (must complete literary analysis: novel and take a test)
Watch the School Play TBA. Write a review.(5pts)
Philosophy Films-2 per group. (5pts per film)
Sophie's World-see doc and pdf (20pts)
Beloved Comparison- Film to Novel (5pts)
Another novel by Toni Morrison. Complete a Novel Analysis and compare both novels. (20pts)
Practice AP Lit. and Comp. book complete with all tests and essays. (up to 15pts)
The 4th Quarter: COMPLETE AP LIT REVIEW BOOK BEFORE THE TEST FOR EXTRA CREDIT.
REVIEW FOR AP EXAM-Literary Terms 1-225, Multiple-choice tests, Style Analysis, Study Forms and Literary Analyses for Plays/Novels. Take timed-test 3hrs.
FINISH 3rd Quarter Assignments/Projects after Spring Break.
AP Multiple Choice Test to replace 1st semester score #/50?
The AP Exam in MAY!
Final Farewells: CHS Poem and Legacy/"George Gray"
2nd Semester Portfolio (50pts):
1pg. Class Evaluation-Your favorite assignment? Your least favorite assignment? What units/assignments were the most useful in preparing you for the AP EXAM? WHY? Any suggestions/changes for next year's class? Any advice for next year's seniors? Any advice/suggestions for us? What did you learn and how did you grow 2nd semester? (10pts)
8 pieces of writing from your 2nd semester only. Each must have an introduction/reflection for each. Think about rewrites, how you overcame writer's block or obstacles in your writing, your favorite piece, most creative, most risks taken, etc. (40pts)
Here are the required pieces:
1. Photo Poem w/analysis
2. One Trait Personified
3. "Of (STUDIES)______" SEE LINK http://www.authorama.com/essays-of-francis-bacon-50.html
4. CHS Poem
5. Legacy/George Gray
6. "The Rattler" in the style of Toni Morrison's Beloved
7-8. 2 more pieces from any class 2nd semester or lyrics, poetry, writing you've done outside of class.
Optional:
***Feel free to write advice to next year's class. I will upload your advice to the website. See samples from previous years on home page. Email it to me so I can upload your email to the home page.
***Letter to yourself in 5 years? You write it to you. Seal it in an envelope with 2 stamps. Use the school or another relative as the return address (in case you move). I'll mail to you in 5 years.
LEGACY POEM
"George Gray" -Edgar Lee Masters (write you own version of the poem below and imagine what your life will be and what symbol metaphor will represent you and why?)
George Gray (YOUR NAME HERE)
I HAVE studied many times The marble which was chiseled for me--
A boat with a furled sail at rest in a harbor (YOU CAN CREATE YOUR METAPHOR HERE).
In truth it pictures not my destination But my life.
5 For love was offered me and I shrank from its disillusionment; (YOU CAN CREATE YOUR OWN DESCRIPTIONS AND PERSONIFICATIONS/NOUNS for LOVE, SORROW, AMBITION, etc WHY DID YOUR LIFE END UP LIKE IT DID?)
Sorrow knocked at my door, but I was afraid;
Ambition called to me, but I dreaded the chances. Yet all the while I hungered for meaning in my life. And now I know that we must lift the sail
10 And catch the winds of destiny Wherever they drive the boat.
To put meaning in one’s life may end in madness, (FINISH WITH YOUR METAPHOR AND MEANING OF LIFE-WHAT GIVES LIFE MEANING?)
But life without meaning is the torture Of restlessness and vague desire-- (WHAT IS LIFE WITHOUT MEANING?)
15 It is a boat longing for the sea and yet afraid.
I HAVE studied many times The marble which was chiseled for me--
A boat with a furled sail at rest in a harbor (YOU CAN CREATE YOUR METAPHOR HERE).
In truth it pictures not my destination But my life.
5 For love was offered me and I shrank from its disillusionment; (YOU CAN CREATE YOUR OWN DESCRIPTIONS AND PERSONIFICATIONS/NOUNS for LOVE, SORROW, AMBITION, etc WHY DID YOUR LIFE END UP LIKE IT DID?)
Sorrow knocked at my door, but I was afraid;
Ambition called to me, but I dreaded the chances. Yet all the while I hungered for meaning in my life. And now I know that we must lift the sail
10 And catch the winds of destiny Wherever they drive the boat.
To put meaning in one’s life may end in madness, (FINISH WITH YOUR METAPHOR AND MEANING OF LIFE-WHAT GIVES LIFE MEANING?)
But life without meaning is the torture Of restlessness and vague desire-- (WHAT IS LIFE WITHOUT MEANING?)
15 It is a boat longing for the sea and yet afraid.
CHS POEM (this will be completed in class in one period) See ppt. below if you were absent.
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AP EXAM TIPS AND STRATEGIES:
ap_lit-exam-score-sheet.pdf | |
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I have been involved in some way with the Advanced Placement Program since 1981. Having first taught pre-AP sophomores for 10 years, I took over AP English Literature at Lakeland High School in 1990. In 1997, I also began teaching AP English Language and devised a feeder course for 4x4 block scheduling. I have read for the AP English Literature Exam in Daytona for four years and am an endorsed College Board consultant for the Southern Region. Obviously, I am totally immersed in all things AP-related! The creative challenges and student interactions provide unbelievable stimulation and professional rejuvenation.
During my experience as an Exam Reader, I have learned a few things about writing that I would like to share with other teachers. I hope you'll find my observations helpful as you think about encouraging your students to do their best on the writing section of the AP English Literature Exam.
Make a plan.
Students should not begin writing until they fully comprehend the prompt and/or the passage. Mere parroting of the prompt often leads to floundering around instead of developing a clear direction. I recommend that you advise your students to write directly on the passage and make quick notes and outlines in the margins. This planning step enables most writers to organize their ideas more efficiently.
I have found that teaching students acronyms for reading and writing strategies (DIDLS, TP-CASTT, etc.) can work wonders. (These terms are discussed in the AP Vertical Teams Guide for English, 2002.) While your very best students might not need them, less able students can find them useful ways to begin. I often suggest that my own students not only mark up the passage, but also use the margins to fill in some of the acronym steps. Although this active planning takes an extra five minutes or so, I've found that it is well worth the time. Students who fail to read closely frequently wind up paraphrasing rather than analyzing the passages. Planning helps them to stay focused.
Begin quickly and directly.
Although AP Readers are instructed to read the entire essay and not to be prejudiced by a weak introduction, a strong opening paragraph can be a real asset to a student's paper. When answering the free-response part of the AP English Exams, writers should answer the question quickly and avoid beginning with ideas that do not relate directly to the prompt. The following hypothetical introduction for Question One on the 2002 AP English Literature Exam provides an example of what not to do:
"All people at some point in time have encountered a great deal of trouble in their lives. I know of so many people who have been embarrassed by parents that will wave at you from across a room. I have a friend who told me that her parents did this very same thing."
Such generalities often signal a writer's inability to respond in a thoughtful manner, suggesting that the rest of the paper also may be incoherent or rambling. The Reader might begin to suspect that the student is just trying to bluff his or her way through the question.
One-sentence perfunctory introductions -- especially ones that repeat the wording of the prompt -- also work poorly, suggesting to the Reader that the student isn't particularly interested or doesn't care.
I recommend that teachers tell students to create an introduction strong enough to earn a grade of 3 all by itself. That means that students should learn ways to answer the entire prompt -- answer the prompt, not simply repeat it -- in the introduction. This indicates to the Reader that the paper could be heading into the upper-half zone. One way to help students improve their beginning is by providing them with several introductory paragraphs from papers that have earned a wide range of scores and asking them to identify stronger and weaker openings. (Sample papers are available in the "Exams" area of AP Central, and via the link for the "English Language and Composition Exam" in "See also," below.) Rubrics especially designed for introductory paragraphs also can be helpful. After having students collect examples of several strong openings, you may want to ask them to develop their own rubric for introductory paragraphs.
Use paragraphs and topic sentences.
Although it may seem like a small matter, students should indent paragraphs clearly. A paper without indentation or with unclear indentation often confuses a Reader. Paragraphs create the fundamental structure of the essay, and without them good ideas can get muddled. Most essays I've seen that do not use paragraphs tend to be full of confused and rambling thoughts.
Many writers find topic sentences a useful tool both for organizing paragraphs and also for helping Readers navigate through the essay.
Use quotations and explain them.
To score at least a 3, students would be wise to make use of pertinent references from the text. Encourage them to use specific quotations to back up their assertions. However, remind them that they must explain their quotes clearly and demonstrate how they are relevant to the question. It is important for young writers to realize that offering long quotes without explanation bogs down the essay and can give the undesirable impression that the student is trying to fill up space rather than answer the prompt!
Create variety.
Short, choppy sentences without variety indicate a student who has little background in grammar and style, perhaps someone who has read and written minimally. Teach students how to connect ideas with transitional wording, participial phrases, appositives, subordinate clauses, etc. I ask my students to imagine children making the same tower or castle each time they played with blocks. They soon would become bored. Likewise, both writers and readers get bored when everything is formulaic, lacking some individual pizzazz! I suggest asking them to experiment with different sorts of syntactical devices to help them develop a sense of style.
Find the right word.
An arsenal of appropriate vocabulary and analytical wording reveals a brilliant mind at work, but writers should make certain that the words fit. Some students stick in big words just to sound scholarly. Ironically, some of their papers score only a 2 because they lack clarity and sometimes say nothing of relevance to the prompt.
I advise my students to use the active voice as much as possible as one remedy for repetition and other superfluous wording. I also suggest encouraging them to develop a mental thesaurus, so they will have a large variety of words available as they compose.
ap_literature_exam_-_multiple_choice_section_nov_2013.doc | |
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MULTIPLE-CHOICE TEST TIPS:
What Is the Question Asking?
I
often give my students a copy of the multiple-choice section from the
Course Description published by the College Board, divide the students
into groups, and have them do their own statistical analysis of the
exam. I give them a little "cheat sheet" to get them started. My "cheat
sheet" has the following items, with blanks underneath the list to be
filled in with any additional categories:
1. Main idea/meaning in context
2. Refers to/functions
3. Rhetorical strategies
4. Speaker
Here is an example:
In analyzing any multiple-choice exam, students must look for key words
in the prompt. For example, in the "Sample Multiple-Choice Questions"
section of the AP English Language Exam part of the Course Description,
question 2 begins, "It can be inferred that the phrase 'common
hieroglyphics' (line 11) refers to . . . ." In this sentence the key
word is "inferred," and the sentence can be placed in the category
labeled "Inferences," but it also mentions "referred to" and so may be
included in the category "Refers to/functions" as well. Question 4
begins, "In lines 32?38 ('And thus . . . honour of our writings'), the
speaker employs which of the following rhetorical strategies?" This
selection may be catalogued in both "Rhetorical strategies" and
"Speaker." If you find questions for which there are no categories, you
may create one, but avoid creating too many categories. It is not
necessary to read the passages or the answer choices, just the
question. Decide what the question asks the student to know. Create
groups or categories of questions.
After
the students analyze the questions on the passage and put them into
categories, I have them write AP kinds of questions from at least four
of the categories they have created. I usually do not let them use
"meaning-in-context questions" because they are the easiest to write.
This exercise lets students examine the multiple-choice exam from the
creative side rather than the response side. The more the students know
about and understand this section, the better they should perform on
the actual exam. The following approaches can help them during the exam
itself.
Exam Strategy 1
Remind
students that the multiple-choice section always presents a combination
of easy, medium, and hard questions for each passage. These questions
generally follow the chronology of the passage rather than transition
from easiest to hardest or vice versa. The most important factor,
however, is that they all are worth the same points. Therefore, a sound
strategy for students is to make sure they get credit for all the easy
and medium answers first. That means choosing which questions to answer
and which ones to skip and then returning to answer if time allows. A
student who spends too much time on a single, hard question may not get
to answer two or three easy questions in a later part of the exam.
Additionally, I advise students to do a quick check of the number of
the question and the number on the Scantron forms every time they see a
zero (10, 20, 30, and so on). This double-check can keep them from
getting off track, having to go back to find their error, and wasting
valuable time.
Exam Strategy 2
When
the question refers to a part of the sentence and asks for the meaning
of a word or phrase in context, what a word refers to, or how a word
functions, it is best to go back to the beginning of the sentence or
even to the previous sentence and read completely to the end of the
sentence to comprehend the meaning. I have seen questions that ask the
student what the antecedent of "this" is, and the answer is found in
the preceding sentence. Students may also want to read the sentence
that follows because the answer could be there.
Exam Strategy 3
THERE IS NO PENALTY FOR GUESSING NOW.
Exam Strategy 4
If students find themselves running out of time, they can take the following approaches:
A.
Scan the remaining questions and look for either the shortest questions
or the questions that direct them to a specific line or lines. These
questions take less time to answer.
B.
Look for questions that contain the answer without requiring the
student to refer to the text. For example, "The sea slid silently from
the shore" is an example of (B) alliteration. The student would not
have to go back to the passage to find the answer.
Exam Strategy 5
I
must preface this next strategy by saying that this works for some
students and not for others. Tell students to scan the questions first
but not the answers, since four out of five of them are wrong. I tell
my students to skip any questions that direct them to a specific line
number, and this eliminates the majority of questions. Therefore, this
strategy takes only a few seconds. In the few that are left, many times
hints and clues about the meaning of the passage will be revealed. Some
students tell me they had no idea what the passage was saying until
they read some of the questions. Other students tell me it is a waste
of time to read the questions first. This strategy is really one of
personal preference. I usually ask students to try the strategy a few
times and then do what works best for them.
Exam Strategy 7
One
way to ensure that students finish the entire multiple-choice section
is to have them scan the number of questions and divide the number by
two. For example, if there are 54 questions, and students have 60
minutes to complete the section, students should be around question 27
after 30 minutes. Another strategy is to divide the time by the number
of passages. For example, if students have four passages to read and
one hour to complete the exam, they should allot 15 minutes to each
passage. The advantage of this method is that every passage has a
number of easy and medium questions, and by moving steadily the
students will receive the maximum number of points. Do not tell the
students that there will be four passages; while four is often the
number of sections in the multiple-choice section, I have seen as many
as five. One year a student told me she did not even get to the last
passage because she assumed there would be only four. Students must
take responsibility for managing their time on the exam.
Practice, Practice, Practice
There
is no secret formula for success on the multiple-choice section of the
AP English Exams. Hard work, frequent practice, and practice using
sound methods and strategies should demystify the multiple-choice
section, giving students more confidence and, ideally, resulting in
higher scores and better passing rates.
BELOW ARE MORE TIPS/STRATEGIES FOR PASSING THE AP TEST:
http://www.appracticeexams.com/ap-english-literature
I also recommend you take one section of multiple-choice (1 passage with 10-15 questions) and one style analysis (alternate prose and poetry) essay per night leading up to the exam. Know your terms!!!
http://homepage.mac.com/mseffie/AP/APtitles.html
CLICK HERE TO SEE A LIST OF ALL OF THE NOVELS/PLAYS EVER LISTED AS CHOICES ON THE FREE-RESPONSE QUESTION. WHICH WORK HAS BEEN LISTED THE MOST TIMES OVER THE LAST 50 YEARS? BELOVED HAS BEEN LISTED 9 TIMES IN 20 YEARS! FOR SHAKESPEARE, OTHELLO HAS BEEN LISTED MORE THAN HAMLET. FOR THE CLASSICS, ANTIGONE HAS BEEN LISTED MORE THAN OEDIPUS. ROSENCRANTZ AND GUILDENSTERN ARE DEAD HAS BEEN LISTED MORE THAN HAMLET, A RAISIN IN THE SUN, and DEATH OF A SALESMAN.
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aplit_essay3_questions.pdf | |
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applied_strategies_for_lit._verse_and_prose_4.pdf | |
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_ap04_qa_eng_lit_38536.pdf | |
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http://writingcenter.unc.edu/resources/handouts-demos/specific-writing-assignments/poetry-explications
HOW TO ANALYZE A POEM
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THE BLAKE SNYDER BEAT SHEET from SAVE THE CAT!
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
THE END
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
THE END
final_project.docx | |
File Size: | 15 kb |
File Type: | docx |
http://www.savethecat.com/beat-sheet/the-hunger-games-bookmovie-beat-sheet-comparison
BELOW IS A SAMPLE SCREENPLAY CREATED ON CELTX. DOWNLOAD THE PROGRAM FOR FREE.
typical_by_andrew_lee_screenplay.celtx | |
File Size: | 31 kb |
File Type: | celtx |
TONI MORRISON AT WELLESLEY COLLEGE MAY 28, 2004.
"Although you will never fully know or successfully manipulate the characters who surface or disrupt your plot, you can respect the ones who do by paying them close attention and doing them justice. The theme you choose may change or simply elude you, but being your own story means you can always choose the tone."
"Although you will never fully know or successfully manipulate the characters who surface or disrupt your plot, you can respect the ones who do by paying them close attention and doing them justice. The theme you choose may change or simply elude you, but being your own story means you can always choose the tone."
celtx_sample.pdf | |
File Size: | 2202 kb |
File Type: |
8a-video-resources.pdf | |
File Size: | 241 kb |
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_movie_making_for_dummies.pdf | |
File Size: | 697 kb |
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imoviehowtouseimovie.pdf | |
File Size: | 66 kb |
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samplescreenplay.celtx | |
File Size: | 805 kb |
File Type: | celtx |
https://www.raindance.org/7-rules-for-writing-short-films-2/
TIPS FOR WRITING A SHORT FILM
ap_lit_final_project.rtf | |
File Size: | 14 kb |
File Type: | rtf |
typical_screenplay.celtx | |
File Size: | 7 kb |
File Type: | celtx |
http://www.scripped.com/
Here is another link to a screenwriting program
http://www.screenwriting.info/
BEST PICTURE (DRAMA)
BEST PICTURE (COMEDY)
group_project_fences.docx | |
File Size: | 153 kb |
File Type: | docx |