Q2 Module

1. S.Y. 2020-2021
NAVOTAS CITY PHILIPPINES
DIVISION OF NAVOTAS CITY
CREATIVE
WRITING
Quarter 2 – Module 5:
Writing A Scene for One-Act Play

2. Creative Writing – Senior High School
Alternative Delivery Mode
Quarter 2 – Module 5: Writing a Scene for One-Act Play
First Edition, 2020
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Department of Education – Navotas City
Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City
______________________________________________
Telefax: ______________________________________________
E-mail Address: ______________________________________________
Development Team of the Module
Writer’s Name: Jholina H. Valentin
Editors: Solitaire H. Cruz
Reviewers: Marco D. Meduranda
Illustrator:
Layout Artist: Jholina H. Valentin
Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent
Isabelle S. Sibayan, OIC- Asst. Schools Division Superintendent
Loida O. Balasa, Chief, Curriculum Implementation Division
Marco D. Meduranda, EPS in English
Grace R. Nieves, EPS In Charge of LRMS
Lorena J. Mutas, ADM Coordinator
Editha O. Peregrino, Division SHS Focal Person
Shirley Eva Marie V. Mangaluz, Librarian II LRMS
Vergel Junior C. Eusebio, PDO II LRMS
02-8332-77-64
navotas.city@deped.gov.ph

3. CREATIVE
WRITING
Quarter 2 – Module 5:
Writing A Scene for One-Act Play

4. ii
Introductory Message
For the facilitator:
Welcome to the Creative Writing for Senior High School Alternative Delivery Mode
(ADM) Module on Writing a Scene for One-Act Play.
This module was collaboratively designed, developed and reviewed by educators both
from public and private institutions to assist you, the teacher or facilitator in helping
the learners meet the standards set by the K to 12 Curriculum while overcoming
their personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.
In addition to the material in the main text, you will also see this box in the body of
the module:
As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.
Notes to the Teacher
This contains helpful tips or strategies that
will help you in guiding the learners.

5. iii
For the learner:
Welcome to the Creative Writing for Senior High School Alternative Delivery Mode
(ADM) Module on Writing a Scene for One-Act Play.
This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in the
module.
What I Know This part includes an activity that aims to
check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.
What’s In This is a brief drill or review to help you link
the current lesson with the previous one.
What’s New In this portion, the new lesson will be
introduced to you in various ways; a story, a
song, a poem, a problem opener, an activity
or a situation.
What is It This section provides a brief discussion of the
lesson. This aims to help you discover and
understand new concepts and skills.
What’s More This comprises activities for independent
practice to solidify your understanding and
skills of the topic. You may check the answers
to the exercises using the Answer Key at the
end of the module.
What I Have Learned This includes questions or blank
sentence/paragraph to be filled into process
what you learned from the lesson.
What I Can Do This section provides an activity which will
help you transfer your new knowledge or skill
into real life situations or concerns.
Assessment This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

6. iv
Additional Activities In this portion, another activity will be given
to you to enrich your knowledge or skill of the
lesson learned.
Answer Key This contains answers to all activities in the
module.
At the end of this module you will also find:
The following are some reminders in using this module:
1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.
We hope that through this material, you will experience meaningful learning and
gain deep understanding of the relevant competencies. You can do it!
References This is a list of all sources used in developing
this module.

7. 1
This module was designed and written with you in mind. It is here to help you write
a scene for one-act play applying the various elements, techniques and literary
devices. The scope of this module permits it to be used in many different learning
situations. The language used recognizes the diverse vocabulary level of students.
The lessons are arranged to follow the standard sequence of the course. But the order
in which you read them can be changed to correspond with the textbook you are now
using.
After going through this module, you are expected to:
1. Write at least one scene for one-act play applying various elements,
techniques and literary devices.

8. 2
Multiple Choices. Read the items below and choose the letter of the best answer.
1. The writer creates a story in which the character and events form a
system of symbolic meaning.
a. Symbolism
b. Irony
c. Allegory
d. Imagery
2. The fiction writer can use a word, object, action or character in the story
to suggest or mean something other than its dictionary or literal
meaning.
a. Symbolism
b. Irony
c. Allegory
d. Imagery
3. A figure of speech in which the writer makes a direct comparison between
two unlike things, usually with the words, “like” or “as”.
a. Simile
b. Metaphor
c. Personification
d. Hyperbole
4. A figure of speech in which the writer assigns human qualities or
attributes or abilities to an animal, an object, or an idea.
a. Simile
b. Metaphor
c. Personification
d. Hyperbole
5. A figure of speech in which the writer makes an implied comparison
between two unlike things, without using “like” or “as”.
a. Simile
b. Metaphor
c. Personification
d. Hyperbole

9. 3
The one-act play writer’s choice of “literary techniques” is an important
element of writing. There are many techniques available to the writer such as;
allusion, alliteration, allegory. Some popular techniques/devices include symbolism,
imagery and figurative language – such as: simile, metaphor, personification and
hyperbole.
The writer can use any number of literary techniques to tell his/her story.
Unlike the other elements of fiction, which must be part of the story, the one-act play
writer has a choice about the literary techniques to use. The writer’s choice often
depends on the type of genre he/she is writing a personal preference. Moreover, the
writer uses more techniques in a novel than a short story. The writer uses these
techniques in his/her writing for the purpose of creating a more interesting,
meaningful, authentic, and entertaining story.
The following identifies the most common literary techniques that fiction
writer uses:
❖ Allegory – the writer creates a story in which the characters and
events form a system of symbolic meaning.
❖ Symbolism – the fiction writer can use a word, object, action, or
character in the story to suggest or mean something other than
its dictionary or literal meaning. Symbols can be universal or
cultural. These types of symbols are known to both the writer and
the reader.
❖ Irony – the writer can use verbal, situational and dramatic irony.
Essentially, the audience knows more about the character’s
situation than the character does.
❖ Imagery – the writer uses language that appeals to the senses to
create “word pictures” in the mind of the reader.
Lesson
1
Writing A Scene For One-Act
Play

10. 4
READ THIS!
Read this one-act scene and answer the following question/s:
CLOTHES FOR THEIR SOULS
by: Michael Rudd
CHARACTERS
ANOMALY
GUARDS
VOICE-SOPHIA
VOICE-FATE
VOICE-THAN
SETTING
A prison cell with a block on the floor and a single window.
[Lights up on ANOMALY holding a book.]
ANOMALY: [V.O.] I see these untruly speaking Voices. Bastards of
Ausonius! Sanctimoniously weak. Voices. Mindless
chattering. Vindicating decay ...
ANOMALY: [Reading] "We are one in all and all in one..."
[He begins laughing. Enter GUARDS with a bowl of food. ANOMALY slips the
book into his clothing.]
GUARDS: Here is food.
ANOMALY: For me?
GUARDS: It is for the prisoners.
ANOMALY: I am the only prisoner.
GUARDS: It is. For all prisoners to share.
ANOMALY: There is only myself. So, it is just for me, then? ... Do any of you know
why I am in here?
[The GUARDS set the food down and exit.]
ANOMALY: [V.O.] Lemmings.
But. They were uncertain. Uncertainty is doubt, and if there's doubt there
is hope. There is hope. But how do I show them, their nakedness. They
have clothes on their souls.

11. 5
ANOMALY: Hey―that's not half bad―"clothes on their souls..."
[From offstage, there is the sound of CHILDREN passing by. They begin to
sing the two songs "Row, row, row your boat" and "Ring around the rosy"
simultaneously, dissonantly. Hearing this, ANOMALY grabs the bowl of food,
dumps it out, then rushes to the window and begins to use the bowl to play
percussion to their song. During this, enter GUARDS.]
CHILDREN: [O.S.] Row, row, row your boat
(Ring around the rosy)
Gently down the stream
(A pocket full of posy)
Merrily, merrily, merrily, merrily
(Ashes, ashes)
Life is but a dream
(We all fall down)
[Their voices fade away. ANOMALY keeps playing as he turns back but ceases
once, he sees the GUARDS.]
ANOMALY: [Tossing the bowl to the GUARDS and sitting on the
block.] Mulţumesc―it was exquisitely delicious. Oh―but please do
inform the chef that the filet mignon was a bit undercooked. But I'll
gladly overlook that with a complimentary dessert.
GUARDS: Stand up and hear our Voices.
[Enter THAN, FATE, and SOPHIA.]
THAN, FATE & SOPHIA: Good morning, Anomaly.
ANOMALY: Anomaly? Is that what I'm being called? Groovy. Very
enigmatic. Which one of you thought of that?
SOPHIA: Incongruity within the collective was recognized.
ANOMALY: By you?
THAN & FATE: By all.
ANOMALY: Oh. By all.
SOPHIA: By all.
ANOMALY: By every single individual. Collectively speaking, of course.
SOPHIA: Anomaly, we are not incapable of processing the singular. We have
simply seen the wisdom and strength of the plural.
ANOMALY: You are so hot.
SOPHIA: We―
ANOMALY: I have processed that singular.
THAN: Excuse me?

12. 6
ANOMALY: Certainly. And I can see the wisdom in our plural.
SOPHIA: We are the Voices.
ANOMALY: You are so much more. You are Sophia!
THAN: Anomaly!
ANOMALY: Than, I told you you're excused.
THAN: Go to hell!
ANOMALY: Ha! That would be your solution―
FATE: One bad apple will spoil a barrel.
ANOMALY: ―But does Wisdom follow?
FATE: It is our decision for the collective―
ANOMALY: I am not the kind of guy to leave it up to Fate.
FATE: You have no choice in the matter.
ANOMALY: Yes, I do. I have every choice!
SOPHIA: Anomaly.
ANOMALY: Sophia.
SOPHIA: Why are you here?
ANOMALY: What?
SOPHIA: What are the circumstances that led you to this?
ANOMALY: Well, all the hotels in town were booked.
FATE: Do not waste our time.
ANOMALY: What are you looking for? Some kind of confession?
SOPHIA: It was collectively agreed prudent to interview the Anomaly, vis a vis.
ANOMALY: "Collectively agreed prudent" ... Did any of you fine gentlemen agree to
this?
THAN: That is not their purpose. We are the Voices.
ANOMALY: Of course, my mistake. They are just guards. Hmm. Will you tell me
then―what do you want to know?
THAN & FATE: Why.
ANOMALY: "Why"?
FATE: Yes, "why."
ANOMALY: Hmm. I don't think so.
THAN: Excuse me?
ANOMALY: There's the door―
THAN: ENOUGH!

13. 7
SOPHIA: Peace.
ANOMALY: Yes! Enough! Because you, Than, don't want to know "why?"―you
only want to know "when?" When will this formality be
over? When will this bad apple be extracted?
THAN: Sooner than you think!
ANOMALY: Not soon enough for you!
SOPHIA: Please, calm―
ANOMALY: But there is a query with an even more perilous outcome. How?
THAN: How?
ANOMALY: Yes, how. How will each one of these guards feel and how will they
react?
SOPHIA: To what?
[ANOMALY kisses SOPHIA. The GUARDS stare but do not move.]
THAN & FATE: GUARDS!
[The GUARDS separate ANOMALY from SOPHIA and restrain him. THAN
knocks ANOMALY to the ground.]
THAN: And what about me, what about how I would react?!
[SOPHIA, FATE and the GUARDS stare at THAN and ANOMALY.]
THAN: What?
SOPHIA: Not "what." How long?
THAN: Don't be childish.
SOPHIA: Than. How long have you deceived us?
FATE: What are we talking about?
THAN: We are talking about the unfortunate spoiling of a Voice. Guards!
[The GUARDS grab SOPHIA and ANOMALY.]
ANOMALY: It's a beautiful thing, the blossoming of Wisdom. Like a flower in
spring.
THAN: Execute.
GUARDS: We hear.
[All GUARDS comply save one. No one notices this. Exit THAN, FATE, and the
other GUARDS. The remaining GUARD picks up the book which has fallen
away from ANOMALY.]
GUARD: [V.O., reading.] "And it seems to us that our spirit is clear as a lake
troubled by no eyes save those of the sun. And in our heart―strange are
the ways of evil!―in our heart there is the first peace we have known in ...
years."

14. 8
Processing Questions:
1. Describe how Michael Rudd opens the one-act play?
___________________________________________________________________________
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2. What technique does the one-act play send to the readers?
___________________________________________________________________________
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3. What do you think is the message of the story?
___________________________________________________________________________
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4. If you were to write a one-act play, what theme would you like to tackle that
can target the present senior high students? Why?
___________________________________________________________________________
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15. 9
One-act play
One-act play is a short play consisting of only one act, as distinct from plays
that occur over several acts. In one-act play, all elements that are mentioned are
usually present. There is setting, a plot, a structure, characters, conflict, theme.
and the type of atmosphere present. In one-act plays, there is only one setting and
the plot or conflict of the story is rather simple.
A short story works best. Remember to give the one act play the necessary
plot, action and characters to make it a complete story. Research other one act
plays to get ideas and inspiration for yours. Develop the action first, then compose
the dialog before you decide anything else
If plays are the small siblings of movies, then a one act play is the infant of
the family. One act plays are short plays, but complete stories. They are plays that
take place in only one scene and are generally less than an hour long.
A good one-act play focuses on one main action or problem; there’s no time to
get into complicated layers of plot. It’s a good idea to keep your play to one set and
as few scenes as possible. A one-act play is 9-12 pages with four characters or less.
❖ Theme
- Ask yourself, “what is the play about? Revenge? Self-discovery?
Romance?
- Your mind needs to be clear about the theme
- Characters, plots need to point to and support the theme
❖ Plot
- Different in one-act play from a full-length play. In a one-act play,
there is only time for one significant event
- Determine the place for hero, where all can be won or lost
- Events leading to this can be included without being shown to
audience
- The events that follow must be inferred or understood by the
audience
❖ Character
- There is not much area to develop all the characters – limit-four
- The hero or the protagonist’s character needs to be more developed
and focused on
- The antagonist can be developed to show conflict

16. 10
- Some other characters can also be a little bit developed to move the
story forward
-
- Protagonist/Hero - the leading character or one of the major
characters in a drama, movie, novel other fictional text
-
- Antagonist/Villain - a person who actively opposes or is
hostile to someone or something; an adversary
❖ Dialogue
- Economy is the key aspect here
- Each line must be crafted carefully to focus on the theme, the
incident and the character of the protagonist
- The dialogues need not be terse, but concise and full of meaning
- Dialogues irrelevant to the plot, must be altered or omitted
immediately.

17. 11
So, how does a writer write One-act play?
Develop the action first, then compose the dialog before you decide anything
else. Keep the plot simple for a one act play and it should move consistently
throughout the play.
Develop the characters. Write out a character sketch beforehand to help you
flesh out your characters and bring them to life. Give your characters a motive in
life (or lack thereof) and up the stakes by making them face a problem. This is
central to any story.
Generate the setting. The setting for a one act play will be one scene, but you
have to still develop the scene so the audience sees everything about the story line.
Include as many of the five sense as you can. Lighting helps the setting. Make sure
you write in notes about how the lighting should look.
Add in the stage directions after you write the action. Write notes about
how each character should respond and what props you'll need. For example, if the
characters should be facing another direction and talking to another character,
note it in the script.
Find performers that fit each part. Hold auditions to find the right actors and
actresses. Be upfront with them about whether this gig is a paying gig or a
volunteer gig.
Make copies of the play for each cast member. Save the document in case
you need extra copies. Give copies of the one act play to each member of the stage
and prop handling too.
Practice the play. Ask for feedback from all the people involved in the play.
Hire or ask an expert to help with the production too. Hold one final practice before
opening the show. This should be a dress rehearsal. Treat this final as the real
thing and tie up any loose ends.

18. 12
Activity 1
Directions: Fill-in the one-act play web-graphic organizer below with ideas in your
mind.

19. 13
Activity 2 Writing a scene
After reading a story, learning about one-act play – its elements, techniques
and literary devices, think of yourself as a writer of a one-act play. Write at least one
scene applying the various elements, techniques and literary devices.
You may choose one topic below as the theme of your one-act play.
1. Doctor Strange curing the last patient of Covid-19
2. Cong. Mario Cruz giving away gadgets for online classes
3. Mrs. Santos teaching her child about the module
Or, you may create a one-act play using your own theme. Write your idea inside the
box.

20. 14
Direction: Fill in the blanks with the correct words. Choose answers from the word
choices below.
10-15
9-12
Adult
Antagonist
Complete
Dialog
Five
Four
Infant
One
Plot
Protagonist
Setting
Theme
Two
1. One-act play is a play that has only __________ act.
2. A one-act play consists of __________ pages;
3. With __________ characters or less.
4. The leading character or one of the major characters in a drama, movie, novel
other fictional text is called __________.
5. While a __________ is a person who actively opposes or is hostile to someone
or something; an adversary.
6. Give the one act play the necessary plot, action and characters to make it a
__________ story.
7. If plays are the small siblings of movies, then a one act play is the __________
of the family.
8. Each line must be crafted carefully to focus on the __________, the incident
and the character of the protagonist
9. Compose the __________ before you decide anything else. Keep the plot simple
for a one act play and it should move consistently throughout the play.
10.The __________ for a one act play will be one scene, but you have to still
develop the scene, so the audience sees everything about the story line.

21. 15
Writing your own ONE-ACT PLAY SCENE
Create your own One-act scene applying the various elements, techniques and
literary devices. Choose among the pictures below as the theme in the play. (Use
another sheet of pap er if necessary)
Source: Pixabay.com (No attribution required)
Wikimedia Commons (No attribution required)

22. 16
_____________
Title

23. 17
Multiple Choices. Choose and encircle the letter of the best answer.
1. What step of one - act play give the casts a motive in life and up the
stakes by making them face a problem?
a. Generating ideas
b. Developing characters
c. Develop the action
d. Practicing the play
2. What literary element reveals the main idea, lesson or message of a play?
a. Theme
b. Plot
c. Setting
d. Conflict
3. Which of the following elements gives the time and place background of the
play?
a. Plot
b. Characters
c. Theme
d. Setting
4. The audience absorbs the message of the one-act play through the succession
of events which is revealed in a _________________.
a. Plot
b. Characters
c. Theme
d. Setting
5. What literary element requires the writer of a one-act play to make a
concise yet meaningful expression of the characters?
a. Dialogue
b. Setting
c. Theme
d. Plot

24. 18
Activity 3
At this point of your life, you are probably experiencing boredom inside the
house because you are advised to stay at home ever since the virus spread out all
over the country. The threat of COVID 19 has put so much restrictions to your social
life.
Write a one-act play that encourages the youth like you to cooperate with the
government’s policy in securing the people’s safety against COVID 19. Observe the
technicalities in writing a one-act play.
Creative Title Here: ___________________________________________________
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25. 19
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26. 20
Assessment
1.B
2.A
3.D
4.A
5.A
WhatIKnow
1.C
2.A
3.A
4.C
5.B

27. 21
References
Elements of Fiction retrieved November 26, 2020 from:
https://davehood59.wordpress.com/2010/02/10/elements-of-fiction-literary-
techniques/#:~:text=There%20are%20many%20techniques%20available,to%20tell
%20his%2Fher%20story.
Creative Writing One-act Story retrieved November 26, 2020 from
https://www.10-minute-plays.com/dramas/clothes_for_their_souls.html
One-act play vs. Drama retrieved November 26, 2020 from
https://www.quora.com/What-are-the-differences-between-a-one-act-play-and-a-
drama
Stokpic. (2020, September 6). Assorted educational illustrations. Pixabay.
Retrieved from
https://pixabay.com/images/search/educational%20illustrations/
ABS-CBN. (October 26, 2020) Wikimedia Commons. Retrieved at
https://commons.wikimedia.org/wiki/File:ABS-CBN_-
_gate_and_tower_(Quezon_City;_07-10-2020).jpg

28. For inquiries or feedback, please write or call:
Department of Education – Schools Division Office Navotas
Learning Resource Management Section
Bagumbayan Elementary School Compound
M, Naval St., Sipac Almacen, Navotas City
Telefax: 02-8332-77-64
Email Address: navotas.city@deped.gov.ph