September17-October9,2022
ByAllisonGregory
presents inconjunctionwithaproductionfeaturing Red Riding Hood
Step 1: Participate in the Parts of a Story workshop (online or at your school)
Following the Parts of a Story workshop, your students will be asked to complete a short (1-2 page) creative writing response using the theme of “Flip the Script.” Use any of the prompts below to find inspiration, or they can use their own ideas.
Thank you for partnering with Theatre Lab for the Fall 2022 installation of the Future PAGES Project. We are thrilled to have you join us for Red Riding Hood, by Allison Gregory! Following is a bit of information on the process, supplemental information for your classes, and as always, the initial story submission will give all students the opportunity to apply for the 6-week intensive.
● Write about a way you challenge a societal norm.
The Curriculum Guide
● Write about a time you were scared but had to get brave.
Step 2: Come to Theater Lab at FAU to see Red Riding Hood
Hello Wonderful Theatre Educator,
● Write about a time when you found yourself in an unusual or unexpected situation.
● Write about a time you questioned some form of authority or rule.
The Writing Assignment
Step 3: Share a Google folder with your students’ story submissions, or collect paper copies for pickup by a Theatre Lab teaching artist
The Process
Throughout this guide you will find lessons, activities, worksheets, discussion questions, and projects, along with rubrics for grading. These are meant to enrich your experience at the show, create cross-curricular learning opportunities, and support your planning and process. Feel free to use what you need, modify content to best fit your classes, and leave what you don’t need. Theatre Lab is dedicated to supporting teachers and students as we all work together as a family of artists to create and celebrate theatre arts, despite the challenges we’ve faced. Teachers – you are amazing! Thank you for all you do!
If you have any questions or need further information, contact Theatre Lab’s Director of Education & Community Outreach, Jill Carr at carrj@fau.edu or 561-289-4702.
● Write story that starts with, “Once Upon a Time…” to make your own fairy tale.
Theatre Standards
Organizational Structure: TH.4.O.3.1
Language Standards: LAFS.4.L.2.3
Writing Standards: LAFS.4.W.1.3, LAFS.4.W.2.4
Currently, the following Common Core standards are addressed by The Future PAGES Project through participation in the program, as well as the implementation of the curriculum guide provided. Any of the standards listed below can be used by educators to create and support their own theatre and language arts lesson plans in the classroom, and others not listed can be easily added through adaptation in the classroom to tailor the experience to meet the needs and goals of that particular group and educator.
Standards for Speaking and Listening: LAFS.4.SL.1.1
Grade 6-8
Grade 5
Innovation, Technology, and the Future: TH.4.F.2.1, TH.4.F.3.1
Language Arts Standards
Critical Thinking and Reflection: TH.5.C.2.4, TH.5.C.3.1 Innovation, Technology, and the Future: TH.5.F.2.1, TH.5.F.3.1 Historical and Global Connections: TH.5.H.2.1, TH.5.H.3.2 Organizational Structure: TH.5.O.1.3, TH.5.O.3.1, TH.5.O.3.2 Skills, Techniques, and Processes: TH.5.S.1.1, TH.5.S.1.3
The Future PAGES Project - Common Core Standards
Critical Thinking and Reflection: TH.68.C.1.3, TH.68.C.1.5, TH.68.C.2.14 Historical and Global Connections: TH.68.H.1.2, TH.68.H.1.5, TH.68.H.3.1,TH.68.H.3.5
Skills, Techniques, and Processes: TH.4.S.1.1, TH.4.S.1.3
Organizational Structure: TH.68.O.1.3, TH.68.O.1.4, TH.68.O.2.1, TH.68.O.2.2, TH.68.O.3.3 Skills, Techniques, and Processes: TH.68.S.1.1, TH.68.S.2.3
Theatre Standards
Critical Thinking and Reflection: TH.4.C.1.1, TH.4.3.1
Historical and Global Connections: TH.4.H.3.1, TH.4.H.3.3
Grade 4
Language Arts Standards
Language Standards: LAFS.4.L.2.3 Standards for Speaking and Listening: LAFS.4.SL.1.1 Writing Standards: LAFS.4.W.1.3, LAFS.4.W.2.4
Theatre Standards
Innovation, Technology, and the Future: TH.912.F.3.4, TH.912.F.3.6 Historical and Global Connections: TH.912.H.1.1, TH.912.H.1.5, TH.912.H.2.3, TH.912.H.2.6, TH.912.H.2.8, TH.912.H.3.5 Organizational Structure: TH.912.O.2.5
Skills, Techniques, and Processes: TH.912.S.1.4, TH.912.S.1.5
Grade 9-12 Theatre Standards
Critical Thinking and Reflection: TH.912.C.1.3, TH.912.C.1.6, TH.912.C.1.7, TH.912.C.1.8, TH.912.C.3.3
Language Arts Standards - Grade 7 Language Standards: LAFS.7.L.2.3 Standards for Speaking and Listening: LAFS.7.SL.1.1
Writing Standards: LAFS.7.W.1.3, LAFS.7.W.2.4
Language Arts Standards - Grade 8 Language Standards: LAFS.8.L.2.3 Standards for Speaking and Listening: LAFS.8.SL.1.1 Writing Standards: LAFS.8.W.1.3, LAFS.8.W.2.4
Language Arts Standards – Grade 9-10 Standards for Speaking and Listening: LAFS.910.SL.1.1 Writing Standards: LAFS.910.W.1.3, LAFS.910.W.2.4
Language Arts Standards – Grades 11-12 Standards for Speaking and Listening: LAFS.1112.SL.1.1 Writing Standards: LAFS.1112.W.1.3, LAFS.1112.W.2.4
Language Arts Standards - Grade 6 Language Standards: LAFS.6.L.2.3 Standards for Speaking and Listening: LAFS.6.SL.1.1 Writing Standards: LAFS.6.W.1.3, LAFS.6.W.2.4
BUS DROP OFF HAPPENS IN THE CIRCLE AT THE END OF ARTS AVENUE, NEXT TO THE PARKING GARAGE. A staff member will meet students/teachers at the entrance and direct the bus drivers to where they may park for the duration of the show The staff member will then escort the group into the theatre. If you are traveling in personal vehicles, please contact us in advance to discuss parking.
WHERE YOU SIT IS WHERE YOU STAY. Schools will be seated as a group. For reasons of safety, efficiency and courtesy, we ask that students do not trade seats. Teachers and chaperones should sit evenly distributed throughout the theatre.
CAMERAS, CELL PHONES AND BACKPACKS SHOULD BE LEFT BEHIND. Cameras are strictly prohibited in the theatre. Cell phones must be turned off (as well as any other device that makes noise). Backpacks need to be left on the bus or in the lobby
NO FOOD, DRINK, OR GUM. Food, beverages, and gum are not permitted in the theatre; students may bring a lunch or snacks to enjoy on the patio in front of the teatre following the show.
THERE IS NO REWIND. Stay seated and avoid talking during the performance. Moving about the theatre and talking can distract the other audience members, even causing them to miss important moments and lines. There are no pause buttons, rewind options or volume controls in live theatre. What is missed cannot be recaptured!
Red Riding Hood runs approximately 75 minutes with NO intermission. A talkback with the performers will immediately follow the performance. This is a great time to share questions or thoughts you developed during the performance.
GIVE YOUR ENERGY AND ATTENTION TO THE PERFORMERS. Our space is known for its intimacy, and your behavior affects the actors’ performance. Let the actors know you enjoy the show by applauding and laughing at appropriate times. Please save your comments for the discussion with the actors following the performance.
LIVE THEATRE ETIQUETTE: POLICIES & PROCEDURES
THE PERFORMANCE ALWAYS BEGINS ON TIME. Please be on time. We recommend you arrive at the theatre 30 minutes prior to the performance to allow enough time for seating. Latecomers will be seated at the discretion of the theatre staff.
Fourth Wall – the imaginary wall that separates the audience from the actors and allows us to believe that we are “looking in” on the action
Resolution – how the play solves the conflict; it doesn’t always have to be “happily ever after”
Antecedent Action – the events of the plot that took place before the play started and must be related to the audience to facilitate a proper understanding of the action
Inciting Incident – the event that occurs in a story that sets the rest of the events into action Monologue – one actor speaking at length either to him or herself, another character or characters, or the audience
Rising Action - a series of mini-conflicts, climaxes, and resolutions that build toward the main climax of a story
Climax – the highest point in the rising action of a drama; the “point of no return”
Genre – a category of art characterized by a particular style, form, or content EXAMPLES: Comedy, Tragedy, Mystery, Horror, etc.
Story – the chronological series of events that tell of a play’s happenings and events
Falling Action - the part of the plot that occurs after the climax has been reached and the conflict has been resolved
Plot – specific moments of a story illustrated by the playwright and brought to life on stage; it must have a beginning, middle, and ending Protagonist – the person the story is about; the main character
GLOSSARY OF TERMS
Conflict – the main issue/problem that the play presents; without it, there is no drama
Aesthetic Values – the lighting, costumes, sets, or other elements that make up the production’s sense of beauty and style
Dialogue – conversation between two or more characters in a play
Antagonist – the person or circumstance causing the conflict for the protagonist; the antagonist can include nature, the universe, or even the protagonist himself
Theme – the main idea behind the play; there can be more than one
Allison Gregory - Playwright Red Riding Hood
Allison’s spirit of invention takes many forms. Her plays range from historical satires centering on under-represented women which ask us to reconsider how we got where we are, to muscular contemporary interpretations of mythology and fairytales, to intimate dramas and rowdy, irreverent children’s theatre. Her work includes Not Medea and Wild Horses, which were O’Neill Finalists and received multiple Rolling World Premieres through NNPN; Motherland, a reimagining of Brecht’s Mother Courage for a diverse world, and Trent’s Last Case, a fresh adaptation of a popular 1913 detective novel. Allison’s plays have been produced nationally and internationally by a fusion of professional theatres, academic stages, and non-traditional spaces. She has received support and commissions/grants/development from Oregon Shakespeare Festival, The Kennedy Center, South Coast Repertory, The New Harmony Project, Hedgebrook, Indiana Repertory Theatre, The Playwright’s Center, the Skirball-Kenis Foundation, GEVA, Seattle Repertory Theatre, ACT Theater, Orlando Shakespeare Festival, The National New Play Network, Northwest Playwright’s Alliance, Wordsmiths/LATC, and Banff Playwright’s Conference. Her plays for young audiences include Go Dog. Go!, adapted from the P.D. Eastman book and co-written with Steven Dietz; Peter and the Wolf, which toured nationally; a revved-up Red Riding Hood; Ronia, the Robber’s Daughter, adapted from the Astrid Lindgren novel and which premiered in Poland; Junie B. in Jingle Bells, Batman Smells!; Junie B. is Not A Crook; and Junie B., Toothless Wonder all adapted from the beloved book series by Barbara Park, and which have been seen at hundreds of theaters across the country. Allison has been recognized by TYA USA as “One of the 10 Most Produced TYA Playwrights”.
Wolfgang, the greatest actor in the world, is interrupted while performing his one man extravaganza by a delivery person with a mysterious package. But the show must go on, an the two of them take on all the roles in this fast, funny, and surprising adaptation. The wolf may have dinner plans, but this Red is clever, courageous, and talented!
Time: Present Day
Synopsis:
Setting: Various locations in the woods
Little Red and the Very Hungry Lion by Alex T. Smith
Little Red by Bethan Woolvin Brave Irene by William Steig
Doing a little bit of research will help you better understand the context of the play. Split the research among your classmates and take turns presenting it to each other. You’ll have a plethora of information in no time!
An interview with Allison Gregory
The True Story of the Three Little Pigs by Jon Scieszka & Lane Smith
https://wwwAllisonhttp://wwwAnhttp://www.backstage.com/news/playwrights-dialogue-allison-gregory-steven-dietz/interviewwithAllisonGregory.octc.org/blog-directory/2017/9/22/interview-with-allison-gregoryGregory’scollectionofplaysonPlayscripts.com.playscripts.com/playwrights/bios/1515Historyoftheoriginalstoryhttps://www.nationalgeographic.com/culture/article/131129-little-red-riding-hood-folktale-tehrani-anthropology-scienceInformationonvariationsofthestoryhttps://www.science.org/content/article/evolution-little-red-riding-hood
BEFORE THE PLAY
Allison Gregory’s site http://allisongregoryplays.com
Allison Gregory’s bio http://allisongregoryplays.com/biography.html
Additional reading:
Websites to Visit
The Wolf’s Story: What Really Happened to Little Red Riding Hood by Toby Forward & Izhar Cohen
The Three Little Tamales by Eric A. Kimmel & Valeria Docampo
OTHER THEMES THROUGHOUT THE PLAY
What is the traditional use of a chorus in a play? Where did the chorus first originate? Look up the definition of vocation. Does it mean what you thought it meant? If not, does it have a deeper value to you now?
We’ve all felt scared in one way or another - think of a time you felt afraid. What was happening? What did you do? Were you able to find bravery in your fear, or not?
What do you know about the original versions of Little Red Riding Hood? If you’ve never read the story, look it up!
What is the purpose of a fairy tale or a story? Why would someone want to pass down a story to future generations?
TOPICS TO CONSIDER
What does it mean to you to “flip the script”? Can it have a positive connotation? Can it have a negative connotation? How?
Think of a time when you wanted to change the story of events in your day or your life - what was the situation? How did you respond? Were you able to rewrite your story the way you wanted, or edit it in any way? What was the outcome?
BACKGROUND FOR THE PLAY
Have you ever heard the saying, “it’s only brave if you’re scared”? What does that mean to you? Do you agree or disagree?
What role does bravery play in your life? How does feeling brave help you throughout your day?
THEME – FLIP THE SCRIPT
What is a fairy tale? Have you heard many fairy tales? Which do you like and why?
This can be used to facilitate a discussion prior to attending, or after the show.
We’ve all had moments of big courage - think of a time you did a big, bold, courageous thing. What happened? Did anyone else see you do it, or help you find that courage, or was it a solo mission? Did you get to experience the pride that comes from doing a brave thing?
Assignments & Activities
The next few pages include assignments and activities that you can incorporate into your lesson plans if you choose to create a unit from this experience. Rubrics for grading follow. Help Red make her delivery - solve the maze to get to Grandma's house!
Take a moment to think of what you might have woken up as if you were a character in the play. What or who would you be? Think of all the different ways you might embody this character if this happened to you.
Let's Play! Acting Exercises for students
GREAT! Now, start to move your body like this person or creature. Remember, the SILLIER AND BIGGER the BETTER.
Now, explore the space as your character. Really think of what makes them DISTINCT
And finally, interact with the other characters! How would your character introduce themselves? How would they feel about being around others?
Without speaking, begin to take up space as this person or creature! How would you stand differently? Would you be bigger or smaller?
CREATING BIG CHARACTERS - LET’S GET BRAVE!
After the exercise is over, discuss the experience. What was easy? Hard? What do you wish you could keep in your everyday life? If you could be anything at all, what would it be?
FAIRY TALE MASH UP!
The story we just saw had a specific time limit and lines that are the same each time the play is presented, BUT what if we only had two minutes to tell the story to someone who had never heard it? Let’s try it! You now should be pretty familiar with the story, reenact what you saw on stage in just 2 MINUTES!
Next, cut that in half and use what you created the first time to act it out in 1
MINUTE! Now what if you only had 30 SECONDS?
Awesome! Finally act out the story in only 10 SECONDS!
After the exercises, discuss the experience. Where did you feel most successful? What parts did you keep to be able to tell this story? What did you cut out?
15. The play’s title, Red Riding Hood, is different from the original fairy tale. Why do you think this is? If you had to come up with an alternate title, what would it be?
Now let’s take your understanding a little further…
12. Where did you notice sound, lighting, set, or costume design choices that supported and enhanced the mood of the play? What did you think of these choices? If you were a designer, what would you do differently?
7. What is in the package?
13. Think about the conflict(s) in the play. Which are the most obvious to you? Which are less obvious (but equally important)?
4. What does the delivery person decide to do even though she’s scared?
2. What does Wolfgang plan to do when we first meet him?
6. Does the package ever make it to its rightful recipient?
11. What do you see as the mood of the play?
14. At the end Red says, “I like my version of the story” What do you think about her version? If you were going to write the ending, what would you want to happen?
Just to see if you were paying attention…
1. Where does this play take place?
3. What is the delivery person trying to do when we first meet her?
After the Play
5. Name or describe someone or something Red meets in the woods.
10. Do you relate to any of the characters in the play? If so, which ones and why? If not, why not?
These questions can be used to facilitate a discussion prior to writing their story, a way to, or as an assignment to be handed in for a grade.
8. How is the end of this story different from the original fairy tale?
First Impressions…
9. What was your first impression of the play? How did watching it make you feel?
19. Despite all the obstacles she faces, Red keeps pushing forward and challenging the stereotypes of the standard fairy tale character damsel in distress. Consider the ways stories like this would have if they all had been written with similar themes and characters who didn’t follow the story. How do you think this could have shaped stories over time?
Future PAGES Project Creative Writing Assignment
17. How is bravery or courage addressed in this play? Do you have a personal connection to any of the issues presented in the play?
18. How do you define symbolism in a theatrical production? Where do you see symbolism throughout this play? What do you think is the underlying meaning of the symbols?
A few tips for writing:
● Creative writing is play. Have fun - write a story that YOU would want to read!
● Write from your heart and don’t censor yourself - use the first ideas that pop into your head and remember that all ideas in a draft are great ideas.
● The most important part of your work is YOUR VOICE. This should sound like you. Write like you speak and you can’t go wrong!
● Use the 5 parts of a story like a map to make your process smooth and easy.
● This is a draft; don’t worry about making it perfect.
20. From what you experienced, would you consider this play a Comedy or a Drama? Are there elements of both? Do you think a story works better if it sticks to one primary element or is it better to mix genres? Why?
Let’s go even deeper…
Directions: After completing the Parts of a Story workshop and viewing the production, it’s your turn to create a true story of your own. Using the theme discussed in class, “Flip the Script,” write your own true story about a time when you or someone you know either had to or wanted to make a big change to a life situation.
16. How does seeing actors play multiple characters in the show affect your experience of the play? Have you seen this in other productions? If so, how does this compare?
After The Play - Student Response Sheet (Based on Bloom’s Taxonomy)
2. Make sure your advertisement is well-organized, colorful & creative. 3. What ideas/thoughts/feelings do you want to convey to people when they see the poster?
5. Proofread for spelling, grammar, & punctuation errors.
Necessary information:
1. Target audience – who do you want to see this play?
6. Be ready to present and justify your design to the class.
4. What do you think some of the themes were?
4. What about your poster will convince someone to come see this play?
3. What would you change? What didn’t you like? (Be specific.)
5. From what you have read so far, what do you think the playwright’s message is? Do you agree or disagree with it? Why?
1. List some of the lines or images in the play that stick in your head. (These don’t have to be complete sentences; just a brainstorm of what “grabbed” you.)
Keep in mind as you create:
2. What questions do you have? (For the characters, for the playwright, about the story, anything at all…)
(Do this quickly- as soon as possible after seeing the performance! Option: Take any one or two questions and expound on them- use as many pages as necessary!)
Create a Publicity Poster! Based on what you saw, how would you use color, symbol, and your own interpretation to entice the audience to see this show?
1. Title of the play
2. Name of the theatre where the play will take place
Red Riding Hood Publicity Poster Instructions
4. Ticket cost and how to buy tickets
3. Date and time of showings
5. How can you contact the theatre?
What to pay attention to at the performance for the body of the review:
Remember that the opening and closing paragraphs are just as important as the body of the review. The five sections below are designed to help you construct the body of the reviewwhat you observed in the performance. The opening and closing paragraphs should reflect like or dislike of the performance – but it must be supported by the body. In other words, don’t start by saying you “liked” a performance and then trash its set, costumes, and actors – or vice versa.
• Were the actors believable? Did you buy into their character’s journey? Why or why not?
• Were there moments you did NOT believe? Was it the actor or the character you didn’t believe? Why or why not? Give specific examples (i.e. a certain line, gesture, etc.)
• Did the scenery (and its design) help establish time and place? Did it seem to help or hinder the characters and their journey? Why? Give specific examples (i.e. the angular nature of the set added to the feeling of being imprisoned; the color of the
Play Review
• Did elements like the scenery, lights, sound, etc., seem to be cohesive or complimentary? Why or why not? Give examples of what worked together and what did not.
Acting
Directing
• Was the blocking natural, or did the movement of the actors seem stiff or too planned out? Why or why not? Give specific examples using character names.
Technical Elements
• How did the theatre’s space affect the play? What was the atmosphere like? Did the audience feel connected or detached from the action on stage? Give specific examples.
• How did the show move? Did it seem like time flew by, or was it taking forever just to get to intermission? Why or why not?
Here are a few tips on what to consider when writing a review of a play or performance. Use these as guidelines and add your own points of interest to the review
• Was there a line or moment that sticks in your mind? Did a certain actor/character really make an impact on you? Can you remember specifics, i.e. vocal inflection, facial expression, emotion?
Reviewing the Play: Guidelines for the Young Theatre Critic*
• Did you follow the director’s idea or concept of the play? Was it obvious to you or did you find yourself feeling a little lost?
• Was it easy to identify the different elements of the text: conflict, rising action, climax, resolution, etc.? Or, did you find it difficult to follow the flow of the
• Was there a character you seemed to connect with more than the others? Why? Can you remember what they did/said that makes them memorable to you?
You might start the review with your overall impression of the performance, and then close by reaffirming your opinion.
• How did the word choice affect the story or the characters? Did the words seem to “fit” the type of people on stage? Why or why not?
walls didn’t match the feeling of chaos in the language, etc. )
• Did the minor characters contribute to the story? How?
• Did you feel that the characters were realistic – people you might actually know in real life, or did they seem to be people that you would never meet? Give an example using one of the leading and one of the minor characters.
• How did the costumes add to or detract from the overall concept of the play? Did they contribute to the director’s vision (as you interpreted it) or “take you out” of the life of the play? Give specific examples of why the costumes did, or didn’t, work.
• Was it easy to identify the goals/objectives of the characters? Why or why not? Give at least two examples for one of the leading characters.
• Were you aware of the lighting design, or did it feel natural? Did you notice any special lighting that affected the mood of the performance (i.e. color, images, or patterns)? Give specific examples.
• Did some characters have more impact than others? Why? Give examples.
Characters
Text
Now, take your answers to the above questions and string them together into a few good, active paragraphs. Cite specific events/moments from the play that support your like or dislike of the performance.
• What kind of text was it? Modern? Classical? Easy or difficult to follow?
•words/story?Didthemessage of the play come across in the words and actions of the characters, or did you have to fill in lots of blanks to follow the story? Give specific examples.
○ How
__________/25_ ●
Body of the Review Does this section include: details Basic summary (no spoilers!) Genre details Performance analysis (acting, directing, movement) Technical elements (Costumes, set, lighting, sound) Information on Director, Actors, past credits, etc. Is this a premiere? Remount? New play? Classic? opinion Do you like it? Specifics on why or why not
PLAY REVIEW
■ Theme ■
■
■
■
OpeningName:____________________________________________Date:_______________________________Paragraph_________/25_ Does the opening include: details (title, playwright, heme, short summary) to see the play (location, times, price) (director, notable cast/crew)
○ Play
Closing Paragraph Does this include: Will you recommend this play to others? Why or why not? Score:
■
○ Personal
_________/50 ●
Total
___________/100_ Notes:
■
○ Credits
●
■
■
RUBRICS FOR ASSIGNMENTS
○ Recommendation ■
○ Production
■
○ Play
Show dates, times, location included 10
Tickets Phone number, box office, or website information included 10
Presentation Designer presents work articulately 20
Notes:
Logistics
DatName:____________________________________________e:_____________________________________________CategoryDescription
These are included and correct 10
Design Accurate representation of the script 20
Total points 100
Cost Prices are included and correct 10
Red Riding Hood - Publicity Poster Rubric
Discussion Designer participates well in discussion 20
Play title & author’s name
possiblePoints earnedPoints
The storytelling voice is clear and consistent.
Voice:The way the author uses his or her voice and personality to make the story their own.
Score:STRUCTURESTORY_________
The story minimally uses the author’s unique storytelling voice.
SKILL BEGINNING = 1 DEVELOPING =2 ACCOMPLISHED = 3 EXEMPLARY= 4
Theme: the main idea of the story.
Score:VOICE _________
There are 1-2 parts of the story that show the author’s unique storytelling voice.
THEME –
The story has all five parts, but they are used out of order
The story is imaginative and uses artistic choices to support the main idea.
The story uses many creative elements and keeps the reader interested from start to finish.
The theme is used well throughout the entire story
Artistic choices/imagination: the use of feelings, imagery, personal experiences, and descriptions to bring the story to life.
The story contains little or no imaginative details or artistic choices.
The story uses the theme and would benefit from more detailed information.
Category Definitions
The story has a unique voice with many supporting details – it sounds like me!
The story uses all five parts, and needs more detail or editing.
The story uses all five parts well, with the appropriate amount of detail.
Name: Date:
The story uses a few artistic choices, but they do not support the main idea.
The story is missing one or more or the five parts learned in the workshop.
Score:IMAGINATION_________
Creative WritingAssignment - Story Score Sheet
The story does not use the theme. The story has some elements that use the theme.
CHOICESARTISTIC/
Total Score: ____________
Score: _________
Story structure: the use of the five parts of a story – inciting incident, rising action, climax, falling action, resolution.