1. Please clear your desk of everything but a pen or pencil

2. Please take out your Rudy and Liesel Confession project and get with your group
DO NOT START WORKING YET!

3. Liesel and Rudy: The Confession Project
Objective: You will work with two other people to create a script in which Rudy or Liesel confess a secret to the other (Rudy or Liesel) as Death narrates. This scene must be based on real secret one of the characters has, or else a secret that you can infer one of them has based on the text so far.

4. Please look at the bulleted side of the rubric page—This is What you will be graded on
The sheet I gave you yesterday hopefully helped make this project more approachable. Today we will talk about the extra details that we need to include to make this a realistic imitation of the core assignment.
To avoid confusion, please note that the requirements sheet you got yesterday was a starting place and no longer applies—please treat it as irrelevant and focus only on the sheets you have in front of you today.
Content
Voice and Style
Conventions/Delivery

5. COntent
A well-written proposal that clearly justifies the selection of character(s)/author and/or historical figure (you will need to include this on your core, but as I picked the characters for you, there is no need for you to “justify” selecting these characters)
A focused and well-organized script of the dialogue/monologue that includes strong literary references with well-integrated citations (see the instructions on the other side for just how many references and citations you need for this project)
Clearly establishes some meaningful historical/social/cultural/physical setting or circumstances to complement the dialogue/monologue in a meaningful way (again, see the instructions on the other side for more specific details)
Dialogue/ monologue expresses the personality, attitude, and concerns of the character(s)/author/historical figure portrayed with accuracy and sophistication

6. Voice and Style
Uses voice expressively to clearly and accurately capture the authentic voice and tone of the character(s), author, historical figure, and/or era selected
Language construction and word choice reflect sophisticated knowledge of the character(s), author, and/or historical figure (in the core, you can have a character talk to the author of the story or a historical figure, but I simplified it. Even though it would be pretty funny to imagine a conversation between, let’s say, Rosa Hubermann and Hitler)

7. Conventions/Delivery
Avoids interrupters and detractors such as “like,” “um,” “you know,” etc.
Volume control and pacing enhances delivery
Eye contact continually established with audience (little/no dependence on notes) On your core? Yes. For this project? No. This is a skill that takes polishing and time at home to practice. I am not giving you that time, and so this would be unfair.
Movement, posture, and gestures enhance the presentation.
Visuals and/ or props enhance delivery and effect.
Evident control of grammar, mechanics, spelling, usage, and sentence formation
Written work is virtually error-free; citations are properly formatted (MLA) I do not require you to cite this because I am well aware that you are all using the same edition of the same book by the same author.

8. Please look at the mock-Script I made entitled “Script-writing: A Crash COurse”

9. Script-writing: A Crash COurse

10. If you’re more of a “Show me the rules, not the example person”
These next two slides are for you

11. Basic rules of Script Writing
It is appropriate to begin the scene with the scene number (comma) act number in all caps and roman numerals
After writing the scene and act, it is appropriate to describe the scene in stage directions. These should be used sparingly if you would prefer a narrator to provide these details.
All character names written in all caps
All stage, costume, or set direction written in italics
No indentation. Just spaces between each character’s lines.
If stage directions apply specifically to the way a character speaks or acts, those directions should come before that character’s line (so as to prepare the actor is he/she is to speak or act in a specific way while delivering the line) and should be in both italics and parenthesis. These may also occur in the middle of a character’s line in this same format.
Unless all characters are announced onstage from the beginning, you must announce each character’s entrance. And if a character leaves, you must announce his or her exit.
If a character interrupts another, do so by using the dash key (two hyphens)
When a scene ends, the stage directions should indicate this by reading “End of Scene I”

12. Check-LIST
_____ The secret must be a real or inferred secret from the text
_____ The script must be at least a page long
_____ The narrator must set the scene (when is it? Where is it? What is the context?)
_____ The voices of every character must ring true
_____ The scene must be presented in front of the class with appropriate emotion and emphasis
_____ The script must be formatted correctly, as the rubric and instructions below directs
_____ The script must feature appropriate conventions and grammar
_____ The conversation must be realistic
_____ The script must include at least two real quotes from the text (after you use the quote, cite
the page number in parenthesis)
_____ The script must include one or more references to events in the book
_____ The script must include one or more references to the historical context of the story