Senior High School

Creative Writing
Module 7
Conceptualizing a
Character/Setting/Plot for a

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AIRs - LM
One-Act Play

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CREATIVE WRITING
Module 7: Conceptualizing a Character/Setting/Plot for a One-Act Play
Second Edition, 2021

Copyright © 2021
La Union Schools Division
Region I

All rights reserved. No part of this module may be reproduced in any form without written
permission from the copyright owners.

Development Team of the Module

Author: Lucito F. Ferrer

Content Reviewer: Jenilyn B. Ferrer
Language Reviewer: Jenilyn B. Ferrer
Editor: SDO La Union, Learning Resource Quality Assurance Team
Illustrator: Ernesto F. Ramos Jr.
Design and Layout: Jackielyn G. Calderon

Management Team:
Atty. Donato D. Balderas Jr.
Schools Division Superintendent
Vivian Luz S. Pagatpatan, PhD
Assistant Schools Division Superintendent
German E. Flora, PhD, CID Chief
Virgilio C. Boado, PhD, EPS in Charge of LRMS
Belen C. Aquino, PhD, EPS in Charge of English
Michael Jason D. Morales, PDO II
Claire P. Toluyen, Librarian II

Printed in the Philippines by: _______________________

Department of Education – SDO La Union

Office Address: Flores St. Catbangen, San Fernando City, La Union
Telefax: 072 – 205 – 0046
Email Address: launion@[Link]

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 Senior High School

Creative Writing
Module 7
Conceptualizing a
Character/Setting/Plot for a
One-Act Play

Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear
learners, can continue your studies and learn while at home. Activities,

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questions, directions, exercises, and discussions are carefully stated for
you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you
step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons

in each SLM. This will tell you if you need to proceed on completing this
module or if you need to ask your facilitator or your teacher’s assistance
for better understanding of the lesson. At the end of each module, you
need to answer the post-test to self-check your learning. Answer keys are
provided for each activity and test. We trust that you will be honest in
using these.

In addition to the material in the main text, Notes to the Teacher are
also provided to our facilitators and parents for strategies and reminders
on how they can best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on
any part of this SLM. Use a separate sheet of paper in answering the
exercises and tests. And read the instructions carefully before performing
each task.

If you have any questions in using this SLM or any difficulty in

answering the tasks in this module, do not hesitate to consult your
teacher or facilitator.

Thank you.

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 Target

In the last module which you worked on, you were taught about intertextuality
and how it works as an effective technique in crafting a piece of drama.
You were able to understand deeper the various types of intertextualities
and how they actually function to help the writer craft a richer and more
meaningful piece of literary output.
Now with your knowledge on the basics of drama and intertextualities, it is now
time for you to take a flight on your own and start to conceptualize a drama for a
one-act play.
In this module which you are about to tackle, you will be given the opportunity
to conceptualize a one-act play.

After going through this module, you are expected to:

1. Conceptualize characters, setting, and plot for a one-act play
(HUMSS_CW/MPIj-IIc-17);

2. Distinguish character, plot, and setting for a one-act play based on a given
context;
3. Employ conceptualization techniques in the development of characters, plot,
and setting for a one-act play.

Note to the Teacher

This SLM is strategically designed for independent learning. However,
as the teacher or facilitator of learning, you are highly encouraged to
engage with your learners as they go along. Some learners may find
the activities difficult and would require you to explain instructions and
lesson contents for them to be able to understand and successfully
finish the module.
Your support in the success of teaching-learning is very important.

Lesso Conceptualizing a
Character/Setting/Plot for a
n 7 One-Act Play
In the previous module, you were introduced to the concepts and ideas on what
is intertextuality. You also had a thorough understanding on the different types
of intertextuality.

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 In this module, you will learn more about one-act play and also conceptualize
characters, setting and plot for such a drama production.
To jumpstart the lesson, do the following activities. Have fun and good
luck!

Jumpstart

Activity 1: Characters’ Pool

Directions: Identify the character referred to by the descriptions and/or famous
lines/dialogues given in every item. Choose your answer from the word pool
below. Place your answers on a separate sheet of paper.
Superman Harry Potter Hanamichi Sakuragi Bella
Lam-ang Onyok Naruto Batman
Spiderman Iron Man

1. “It’s a bird! It’s a plane! No! It’s….

2. “Si Kuya Cardo talaga! Hay naku!”
3. I have a scar on my forehead the shape of a lightning bolt. It was left by Lord
Voldemort as a result of his failed murder attempt on me when I was a baby.
4. When I was born, I could instantly walk and talk and it was even I who chose
my name. I am a famous Ilocano epic hero.
5. I am the wife of the vampire Edward. At the end of the novel trilogy, I was
transformed by Edward into a vampire, a decision he has to make to save me
from my death.
6. I am a ninja who aims to become a great Hokage in the future. As part of my
trainings, I first mastered the technique called Kage Bunshin which replicates
myself and evenly distributes my Chakra during a fight.
7. I am a the red-head power forward of Shohoku High School basketball team; I
always regard myself as ‘genius’ but actually I am not. I play basketball to
impress and win the love of Haruko.
8. They call me the ‘caped crusader’; I protect Gotham City from the evils of the
Joker, the Catwoman and other villains.
9. I own Stark Industries, a world leader in weapons manufacturing; I invented
the iron suit, a weaponized body armor which could fly. I snapped Thanos out
of existence.
10. They call me the ‘web slinger’. I believe in my uncle Ben’s philosophy:
With great powers come great responsibilities.

Were you able to answer them all correctly? What you have just worked on
is all about characters in popular stories, cartoons, movies, and TV series. So by
now you already have a slight idea on how to characterize. Now let us take the
activity farther. Answer the next activity.
Activity 2: Set the Stage, Please?
Directions: Figure out the setting of the stage based on the dialogues and stage
directions. Choose the letter of the correct answer. Place your answers on a
separate sheet of paper.

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Kyle : (sits down on the sofa then grabs a magazine to read from the coffee
table)
There’s nothing here worth reading. (checks his watch) What’s taking her so
long. We are late already. (stands up) Shane : (enters from left) I’m here now,
honey.
Kyle : What took you so long to dress up, darling? I’ve been waiting here for
almost an hour now. I told you to dress up two hours ago.
Shane : As if you don’t know your wife’s morning routine? I still have my
morning yoga, then water my plants and then check my… Kyle : Cut it off!
Come on, let’s go. We’re late already!

1. The dialogue between Kyle and Shane is typical between husband and wife.
Where do you think is the setting of the scene?
A. Bedroom B. Kitchen
C. Living Room D. Terrace

Troy : (joins the line and stands behind Leo; whispers to Leo) The food they
serve here sucks, dude!
Leo : There you go again, rich kid! (faces Troy with a furious look) Troy, ma men,

you have to accept that you are no longer in a private school. You are here in
a public school! Now if you can’t take the sudden changes in your life, and that
includes coming to this public school, I advise you to drop out
and get lost. Got it?

2. The dialogue between Troy and Leo shows tension between the two. Based on
the dialogues, where do you think is the setting of the scene?
A. Classroom B. School Gym
C. Principal’s Office D. School Canteen

Coach : (shouts angrily) Harder! You bunch of losers! If you wanna win you have
to train harder! Push yourselves to the limits!
TJ : (approaches Coach) Coach, can we have a water break please?

Coach : Whaaaaat? Waterbreak? (looks at TJ with wide eyes) You haven’t even
sweated a mongo bean after running around the court perimeter three times
and now you’re asking for a water break?

3. Based on the dialogues between the coach and TJ, where do you think is the
setting of the scene?
A. School Library B. School Gym
C. Principal’s Office D. Guidance Office

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Mrs Marquez : (points at Mark) You deliberately pushed my son into the pit !
Mrs Lim : (stands up and raises her voice) Don’t you dare point fingers at my
son like that! It was your son who provoked my son in the first place!
(faces Madam Cardinez) Madam, if there is someone here who

deserves punishment, I believe it is Liam

Mrs Marquez : I strongly disagree, Madam! Mrs. Lim’s son is the reason why
Mark suffered the injuries. Mark should be expelled from this school for
gross misconduct!

4. Based on the dialogues between the Mrs. Lim and Mrs. Marquez, where do you
think is the setting of the scene?
A. Principal’s Office B. School Clinic
C. Guardhouse D. School Gym
Tatay : (pulls the blinds to let sunshine in and opens the windows for fresh air )
How are you feeling now, baby? (checks her forehead for temperature) No
more fever, eh? I guess you’ll be up and running in no time!
Nadia : (raises herself and sits down on her bed) When will mama be home,
Tay? I miss her so much. (starts to cry)
Tatay : (Hugs Nadia) The embassy said they are already coordinating with the
Saudi government for the release of your mother. Hush now baby, don’t cry.
Your mom will be safe. God will protect her.

5. Based on the dialogues between the father and child Nadia, where do you
think is the setting of the scene?
A. Bedroom B. Kitchen
C. Living Room D. Terrace

How many correct answers did you get this time?

If you got them all correctly, congratulate yourself! You can picture settings of a
stage production.

Let’s do the last activity before you proceed to the lesson proper.
Activity 3: Lets Reconstruct It!
Directions: In every item is a famous drama or a story. Place the plot in order
by putting the letters corresponding to that part of the plot in the story. Place
your answers on a separate sheet of paper.

A. Introduction C. Rising Action E. Falling Action

B. Exciting Force D. Climax F. Denouement

1. Romeo & Juliet by William Shakespeare

Tybalt, Juliet’s cousin, discovers the party crashing of the Montagues.
Fighting ensues and Tybalt killed Mercutio. Romeo avenged Mercutio
by killing Tybalt. The prince of Verona banished Romeo from Verona as
a punishment.
_____

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 Unknown to the Capulets that Juliet was already secretly married to
Romeo, a wedding is set for Juliet to Count Paris. Juliet escapes this
wedding by orchestrating a fake death in connivance with Friar
Laurence.

_____
Romeo and Juliet married in a secret ceremony. The decision was
_____ made for fear that their parents would never consent to a
CapuletMontague marriage.

News reaches Romeo that Juliet is already dead though she was only
asleep. Romeo secretly goes to the Capulet burial vault takes his life
by drinking poison. Juliet wakes up from her slumber. She was so
_____ sorrowful of Romeo’s death and decided to commit suicide thus ending
her life. Father Laurence tells the whole story to both families who
decided to end their feud once and for all.

_____ Romeo meets Juliet in the masquerade ball. He forgets Rosaline and
the two fell in love with each other.

Romeo shows his love for Rosaline. However, his love falls apart as
_____ Rosaline declares that she will never marry. Mercutio laughs at
Romeo’s tragic love for Rosaline but helps Romeo to feel better by
crashing into the Capulet masquerade ball. Romeo consents.

2. New Yorker in Tondo by Marcelino Agana Jr.

Kikay wakes up and immediately entertains her visitors. The three

were so surprised of Kikay’s transformation. She doesn’t want to be
called Kikay, instead call her Francesca. She kept on comparing New
_____ York with Tondo, and how wonderful life is in the US. Nena tried to
pull Kikay to her old self by reminiscing the memories of them under
the mango tree. Nena and Totoy went out of the house to pay a visit
of the said mango tree.

Mrs. Mendoza continued to entertain the visitors. Tony, Nena, and

_____ Totoy were all ears to Mrs. Mendoza as they were fascinated of her
stories about Kikay having transformed so differently.

_____ Nena, together with friend Totoy, arrived. Nena is Tony’s girlfriend
which he kept secret to Kikay. Nena intends to use the opprotunity to
surprise Kikay that she and Tony are already engaged. Tony was
uneasy of the presence of Nena.

Tony visits Kikay after receiving news that she has already arrived
_____ home from New York. Kikay was asleep when he arrived so Kikay’s
mother, Mrs Mendoza, entertains him with talks about the shocking
changes in Kikay’s attitude and behavior. Tony and Kikay got secretly
engaged before Kikay went to New5 York.
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 Kikay realizes her mistakes. She asks for Tony’s forgiveness and
_____ promised to be her old self again. The Kikay who loved Tony and the
Kikay everybody in Tondo knew.

Alone together at last, Tonny makes his move of reminding Kikay

about their relatinoship. Kikay mocks him and called it a childish
game. She said she could not imagine herself getting married to a
_____ Tondo boy. Nena and Totoy arrives. Thinking that it’s about time to
share it, Nena breaks the news to Kikay about her engagement with
Tony. Kikay was surprised and got furious about it. Fighting ensued
between the two girls. Th two boys took sides. This was an
opportunity for Totoy to tell
Were you able to arrange the parts of the plot correctly? If you did, way to
go! You know your parts of the plot! Your knowledge in plot development is
needed in this module!

Let’s proceed to the lesson proper. Come on! Let’s do this!

Discover

By now you already have a slight idea on how to go about conceptualizing

your own drama.
In this part, you are going to read more on how to conceptualize
characters, setting, and plot as important elements in a One-Act play production.
Read on and enjoy studying!

CONCEPTUALIZING CHARACTERS FOR A ONE-ACT PLAY

The first step into the development of characters in a drama after the plot
outline is to conceptualize the characters. Conceptualization of characters in a
story demands from the writer the creation of details about a character's life and
even the character’s history. Common conceptualization practice among writers
is giving the character a life and form. Physical attributes, skills, and abilities are
important matters to handle before proceeding to other vital information about
the character’s other backgrounds in the story.
When conceptualizing, you as the writer has to make sure that the
characters you are crafting fit accordingly into the setting. Conceptualizing a
character is highly parallel with the setting and these two elements intertwine to
create a plausible action in the plot. Hence, information about the character and
how the character interacts within the setting is created during the
conceptualization process.

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 Another pointer to remember is the fact that characters are created to
help drive the story forward in an acceptable manner as they create tension for
audiences.
When creating your characters, it is good to think outside the box. You
may use characters who are most likely able to produce surprise on part of the
audience. You may add contrasting characters also. This style adds layer of
tension on the plot. Refrain from creating characters who are predictable,
agreeable, and similar with other characters. They usually create sense of
boredom on part of the audience.
Another way to help you in conceptualizing character is by creating a
backstory. You should always remember that we all have life experiences which
influence our behavior. Sometimes a character’s reaction to a situation in the
drama could be a direct result of something in their past. Backstories clear the
doubts inside the minds of the audience as it serves the purpose of explaining
why the character behave in such manner.
Backstories are vital to characters as it forms the essence of who they
really are in the drama. With conceptualization and a good backstory, characters
stay consistent in the script.
In addition to backstories, every character in a drama must serve a
purpose and a goal within the framework of the story. These characters have
needs and desires which actually help drive the plot of the drama. This is what
you call character motivation.
Conceptualizing and giving a backstory give a lively and colorful stance for
a character but adding the character’s wants, needs, and goals into the script will
help create a forward movement for the plot in a touching fashion.
Conceptualizing the motivations and backstories are important. They help create
characters. But remember, these are just abstract ideas. Showing them to the
audience is another matter for the writer to hurdle.

CONCEPTUALIZING SETTING FOR A ONE-ACT PLAY

A setting is simply defined as the environment in which an event takes place.
Setting can be any specific information like Aringay National High School,
Aringay, La Union, Year 1989 or it could also be a simple description like a
bahay-kubo in the middle of a dark, stormy night.
Setting, in the case of a drama production, is concretely visible to the audiences
and not merely a creative mental picture which is usually its effect in a narrative
work like in short stories and novels. The setting plays a big part also in the
stage production and other technical elements so there is always a careful
consideration to it. With all these into attention, you as a writer, must give the
element of setting a proper attention in the script right from the very start.
It is the function of the setting to provide a backdrop for actions to happen on
the characters. It is the setting’s role to provide not just a factual information but
also to create a sense of mood and emotional impact in the drama. You have to
remember that the setting interplays with the characters and plot all the time.

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These ‘big three’ always go together. When they interplay, emotional appeal
comes out and produces an impact to the audience.
There are many aspects into which a writer could develop setting: historical
period, geographic location and physical landscape, the weather and climate,
societal and cultural surroundings, or simply the time of the day. All of these are
potential aspects in creating an effective setting which contribute to the creation
of a backdrop for the drama.
A. Geographic Location: Your drama might be set in a real place like a
particular barangay or a province or city. This place can be found in the real
world and one can always check it on the map.
B. Physical Location: This refers to the immediate surroundings of the
character which is important to highlight like a character’s room or any part of
the house.
C. Physical Environment: This aspect of setting is in the natural world;
characters are usually affected by forces of nature and that includes the weather
or climate.
D. Time Period: This aspect pertains to the historical period but it can also
be a season of the year (Summer), a time of the year (Christmas) or time of a
day (evening).
E. Social and Cultural Environment: This aspect is interconnected with
geographical location and time period. Social and cultural environment reflects
societal norms and trends in your drama. Say for example the drama is set in a
high school campus in the mid-90s. Societal norms and trends specific to
teenagers during those times is highly reflective in your drama.

When developing a setting for your drama script, you ask the following
questions to yourself as the writer:
A. Is there a need for specific setting? Put in mind that there are two
types of setting you can always choose from when you talk about specific
setting: the integral setting and the backdrop setting. Integral setting refers to
a specific place and time. Further, integral setting dictates societal elements in
the drama like the characters’ fashion and their language and expressions. On
the other hand, backdrop setting is generic, say for example, the setting of the
drama takes place in an unnamed barangay with no specific time reference.
B. Is your setting real or imaginary? As a writer, you always put into
consideration where the actions of the characters take place. Will these actions
take place in a real world or simply an imaginary one? If you choose real world,
this is not a big problem as you can always choose any place on a map. If you
intend to create an imaginary world, you will have to undergo a process called
“world building” which is quite a tedious work. Most science fiction writers
undergo this setting development process.
C. Does the setting support the actions in the plot? As a rule, always
put in mind that setting should always complement the plot. The setting
supports the development of tension and conflict from the exciting incident
leading to the rising action until the climax and falling action. With this, it is your
job as a writer to decide what setting can enhance a turning point in your drama.

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D. Does the setting support character actions and development? The
setting is always experienced by the audience through your character’s actions.
With this, make sure then that the setting has the potential to enhance the
character’s motivation and goals, because such shall provide the framework for
the character’s quest in the drama.
E. Is there a need to do research for the setting? The creation of
realistic and vividly detailed setting is the result of a good research. For
example, you are writing a historical drama set in World War II Philippines, doing
a research to discover how Philippines looks back then is a very good starting
point. Doing the research will help in depicting more accurate plot.

CONCEPTUALIZING THE PLOT FOR A ONE-ACT PLAY

Big drama productions are called “small siblings of movies”. A one-act play, on
the other hand, is labeled as the “infant of the family”.
By definition, one-act plays are technically short plays. These are dramas
that take place in only one scene where characters come and go. Since there is
only one scene to depict, therefore there is also only one setting. One-act plays
generally run for less than an hour long. The curtains open and close only once.
Though the oneact play is short, it does not mean that plot is sacrificed. Just like
full-length dramas, one-act play also observes complete dramatic plot structure.
But how do you develop the plot of a one-act play production? Here are
some pointers to remember in developing the plot of your one-act play
production.
A. Choose a Brief Subject. In this stage, selecting a good short story is a
good start in case an adaptation is to be used as technique. But if you have
something original in your mind, that would also be fine. What matters is that
you should always remember to give your one-act play the needed plot, actions,
and characters to make it a complete story. Always start with the actions then
proceed to the dialogues before you decide on anything else. Remember to keep
the plot simple but should move consistently. This is one distinct characteristic of
a one-act play when it comes to its plot development.
B. Develop the Characters. Craft a character sketch right from the start.
This helps you give form and depth to your characters and bring life into them.
Give your characters a motivation in life by making them hurdle conflicts. This is
important in any plot development.
C. Develop the Setting. A one-act play has a singular setting but it should
be developed in a manner that audience would see everything about the story
line. Effective stage setting involves sensory perception of the audience. Hence
the idea on the use of lighting and sounds and other effects (audio or visual)
helps the setting in creating the mood. However, you as the writer should note
this as stage directions.
Also, do not forget to add in your stage directions actions of your character
relative to the setting. Though the play director sometimes has something in
mind for the performers to do on stage, placing stage directions for the actions
and blockings give a hint for the performers how they move about and act during
actual performance relative to the setting of the play.

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 Explore

Here are some enrichment activities for you to work on to master and
strengthen the concepts you have learned from this lesson.
Enrichment Activity 1: The Power of Creation!
Directions: As a creative drama script writer, give characterization, potential
setting description or a plausible plot actions depending on what is asked. You
shall be given a score in every item based on the rubrics provided. Number one
is done for you. Use a separate sheet of paper for you answers.

a. He is short and skinny.

1. The Campus Nerd:
b. He wears thick glasses.

c. His got braces on his teeth

a. ____________________________________________
2. The K-Pop Fanatic:

b. ____________________________________________

c. ____________________________________________

3. A mental hospital: a. ____________________________________________

b. ____________________________________________

c. ____________________________________________

4. A stray bullet hit your a. ____________________________________________

friend straight on top
of his head: b. ____________________________________________

c. ____________________________________________

5. Zombies were able to a. ____________________________________________

break into the
barricade set by the b. ____________________________________________
patrol team:
c. ____________________________________________

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Rubrics for Scoring:
Criteria 5 points 4 points 3 points 2 points 1 point

Learner has Learner has Learner has Learner has Learner has The learner
written written 4 written 3 written 2 written only failed to
believable believable believable believable 1 believable write any
and and highly and highly and highly and highly believable
plausible plausible plausible plausible plausible or plausible
concepts concepts concepts concepts concepts concept or
and ideas and ideas and ideas and ideas and ideas idea for
for stage for a play for a play for a play for a play play
play production production production production production
production in the item in the item in the item in the item in the item.

Observance Observed Observed Observed Grammar Grammar

of grammar grammar grammar grammar and and
and and and and mechanics mechanics
mechanics mechanics mechanics mechanics of writing is of writing is
in writing of writing of writing of writing flawed and totally
with no with with some needs recall flawed and
errors at all minimal minor of basic needs
faults faults rules remediation
on basic
rules

Deepen

At this point, you are now ready to apply the new knowledge, concepts, and
skills which you have learned in this module. The succeeding activities would
require your creative and critical thinking. Further, you shall put into application
the concepts and skills you have learned.
Enrichment Activity 2. Draw me that character
Directions: On the next page is a teaser of a drama. Your work is to create at
least 5 characters who are highly possible to play a role in the story. Give these
characters names and physical attributes as well as backstories (if needed). Also,
do not forget to indicate their character motivations. Place your answers on a
separate sheet of paper. You shall be given scores based on the rubrics provided.

Criteria 5 points 4 points 3 points 2 points 1 point

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 Learner has Learner has Learner has Learner has Learner has Learner has
written written 5 written 4 written 3 written 2 written only
believable, believable, believable, believable, believable, 1
plausible, plausible, plausible, plausible, plausible, believable,
and and and and and plausible,
appropriate appropriate appropriate appropriate appropriate and
character character character character character appropriate
concepts concepts concepts concepts concepts character
relative to a relative to a relative to a relative to a relative to a concepts
given plot given plot given plot given plot given plot relative to a
outline outline outline outline outline given plot
outline

Observance Observed Observed Observed Grammar Grammar

of grammar grammar grammar grammar and and
and and and and mechanics mechanics
mechanics mechanics mechanics mechanics of writing is of writing is
in writing of writing of writing of writing flawed and totally
with no with with some needs recall flawed and
errors at all minimal minor of basic needs
faults faults rules remediation
on basic
rules

1. A group of high school friends agreed to do the ‘spirit of the glass’ in an old
textile warehouse a few blocks away from the campus after their classes in the
afternoon. The warehouse was abandoned many years ago, a result of gas leak
explosion which killed 52 workers. They say it was planned by some of the laid-
off workers; others say it was a way for the owner to easily declare bankruptcy
and at least get his fire insurance safely.
When the group arrived, they noticed the creepy environment of the warehouse
as if there is someone watching them. Also, the atmosphere was freezing cold
though it was terribly hot outside before they came in. Driven by their intent to
experience ‘spirit of the glass’ they set their things and sat together in circle.
One of them lit the candles and another one said a prayer before they started.
What happened next is beyond control! Will these teens be able to survive the
horror of….THE WAREHOUSE!

--teaser for the one-act play THE WAREHOUSE by Louie

Ferrer Character 1:
______________________________________________________________________________
Character 2:
_______________________________________________________________________________

Character 3:
_______________________________________________________________________________

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Character 4:
_______________________________________________________________________________
Character 5:
_______________________________________________________________________________

Enrichment Activity 3. You set me up & played me too!

Directions: You have three characters complete with their names, physical
attributes as well as backstories and character motivations. Your work is to place
them all in a single setting and then create a plot summary where the characters
will interact and play their roles. Place your answer on a separate sheet of paper.
You shall be given scores based on the rubrics provided below.
Criteria 5 points 4 points 3 points 2 points 1 point

Learner has Learner has Learner has Learner Learner has Learner has
written written a written a has written written a written a
plausible very highly highly a fairly poorly
setting and plausible plausible satisfactoril plausible plausible
plot for a setting and setting and y plausible setting and setting and
drama plot for a plot for a setting and plot for a plot for a
drama drama plot for a drama drama
drama
Observance Observed Observed Observed Grammar Grammar
of grammar grammar grammar grammar and and
and and and and mechanics mechanics
mechanics mechanics mechanics mechanics of writing is of writing is
in writing of writing of writing of writing flawed and totally
with no with with some needs recall flawed and
errors at all minimal minor of basic needs
faults faults rules remediation

Character 1:
Jerry Dulay is an ex-soldier. He quit the service after suffering hearing
impairment caused by landmines in one of their raids during the Operation
Desert Storm in Iraq. He was left by his wife who went with a wealthy business
tycoon. He now lives with his son who is severely sick with leukemia. Jerry
believes that the Ruby of Amedala, believed to possess mystical powers to heal
any ailment or disease, is the only key to save his son.
Character 2:
Tanya Dela Cruz used to be a triathlon athlete. She has won many triathlon
competitions before but cut short her sports career after her marriage to a
business tycoon. Unfortunately, her relationship with the man bitterly ended in a
divorce. She is now battling a case for child custody but is up to fail for reasons
that she does not have the financial capability. Amassing a big fortune is her only
ticket to win. The Ruby of Amedala will give her that ticket.
Character 3:

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 Lherman Picaso is an archeologist. He has travelled far and wide making
discoveries here and there one after the other. But there is one thing that he is
obssess of and that is the Ruby of Amedala. Lherman is fascinated by folkloric
beliefs that the ruby has the power to transport anyone through time in past or in
the future. Lherman is bent to possess the Ruby at all cost.

Setting:
_______________________________________________________________________________

Plot Summary:

______________________________________________________________________________

Gauge

At last, you now come to the part where you shall now measure your acquired
knowledge and understanding of the topic presented in this SLM. Do your best in
answering the assessment! Good luck!
Direction: Read and understand carefully the statements in every item and then
choose the letter of your choice. Use a separate sheet of paper for your answers.

1. What element of drama is simply defined as the environment in which an

event takes place?
A. Setting B. Character C. Plot D. Theme
2. What type of setting refers to the immediate surroundings of the character?
A. geographic location B. physical environment
C. physical location D. social environment
3. A drama production is set in the town of Gapan, Nueva Ecija during the
Japanese period. What type of setting is used?
A. physical location B. cultural environment
C. time period D. geographic location
4. In relation to the plot, what is the function of a setting in a drama?
A. The setting provides backdrop for action to happen.
B. The setting provides the mood for the environment.
C. The setting provides the forward thrusts for the character.
D. All of the above.
5. Specific setting is categorized into two. Which specific setting is considered
to be generic and does not express specific time reference?
A. backdrop setting B. periodical setting
C. imaginary setting D. integral setting
6. With reference to Item #5, which specific setting dictates the
characters’ fashion, language and expressions?
A. backdrop setting B. periodical setting
C. imaginary setting D. integral setting
7. Writers who create an imaginary world for their dramas need to undergo a
setting development process. What do you call this process?

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 A. world building B. word building C.
setting creation D. setting imagination
8. What is the simple definition of a one-act play?
A. A full-length drama B. A play with various acts C. A short
play D. A play with limited elements
9. How many times will the curtains open and close in a one-act play?
A. once only B. thrice
C. twice D. none of the choices
10. All the important actions and technical happenings on stage are noted by the
writer on the script. What do you call this element in the script?
A. stage directions B. technical direction C. stage
instructions D. technical instructions
11. Which of the following statement is TRUE about one-act play?
A. A one-act play is constrained by a necessity for a simpler plot.
B. A one-act play has a fewer speaking characters.
C. A one-act play has shorter span and limited location.
D. All of these
12. What do you call the development and portrayal of a personality through
thought, action, dialogue, costuming, and make-up?
A. dialogue B. articulation
C. appropriation D. characterization
13. Characters move in the plot because they are driven by desires and needs
which eventually ties them to the conflict. What do you call this movement
by the characters?
A. character backstory B. character motivation
C. character assassination D. character personality
14. What is the purpose of a character backstory?
A. It aims to explain a detail of the past of a character.
B. It aims to insert a flashback in the plot of the drama.
C. It aims to explain a particular behavior the character shows at the
present.
D. All of the choices
15. Which of the following is not a part of the stage setting?
A. lights and related effects
B. sounds and related effects
C. character rehearsals
D. props and set including equipment

Great job! You are now ready to take the next module!

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References
Web Sources
Kate Ramey. Romeo and Juliet Plot Pyramid. Nov 06, 2008. Retrieved July 27,
2020 from [Link]
PlotPyramid
Sean Lester Calica. Plot of New Yorker in Tondo. Nov 28, 2016. Retrieved July 27,
2020 from [Link]
Jordan Maison. How to Develop Strong Characters that Draw in Your Audience.
(n.d.)
Retrieved July 27, 2020 from
[Link]
strongcharacters-that-draw-in-your-audience
Greg Schneider. Methods of Character Creation: Conceptualization. Oct 19, 2006.
Retrieved July 27, 2020 from
[Link]

Narrative Elements: Setting. (n.d.) Retrieved July 27, 2020 from

[Link]
David Mamet. Understanding Story Setting: Tips fpr Choosing a Setting. Nov 27,
2019. Retreived July 27, 2020 from
[Link]
Undefined Contributor. How to Write a One-Act Play. July 12, 2018. Retrieved July
28, 2020 from [Link]
Jude Blume. How To Develop Fictional Characters. Sept 20, 2019. Retrieved July
28, 2020 from [Link]
characterdevelopment.

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 For inquiries or feedback, please write or call:

Department of Education – SDO La Union

Curriculum Implementation Division
Learning Resource Management Section
Flores St. Catbangen, San Fernando City La Union 2500
Telephone: (072) 607 - 8127
Telefax: (072) 205 - 0046
Email Address:

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launion@[Link]
[Link]@[Link]

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