Ms. Gokturk                                                     



Final Project (100 points)


 “Button, Button” by Richard Matheson

Everything Matters! By Ron Currie, Jr.

Macbeth by William Shakespeare (& film/s)

“My Oedipus Complex” by Frank O’Connor

Oedipus the King by Sophocles

Stranger Than Fiction (film)

The Truman Show (film)



YOUR TASK:  Choose a project option that will best illustrate your understanding and synthesis of the course materials.



Fate / Free Will

Choice / Consequence

Secrecy / Deceptive Appearances


Existentialism / The Absurd

Dysfunctional Relationships



Your project must fit with the course material.  Your piece should be intelligent and illustrate/use themes/motifs from the course.


All written parts of the project are submitted to pasted into one document. Landscaped, 2 columns, single spaced, narrow margins. 


All projects include a rationale that explains 1) what inspired you, 2) what your goal was and if you feel it was achieved, and 3) how your project fits the course.


The project demonstrates an appropriate level of thought and effort. This means that it is well developed (quantity) and insightful (quality).


The project is proofread and error-free.

OPTIONS for Creative Projects


OPTION: SHORT STORY (3-4 pages single spaced, landscaped, two columns, narrow margins) (3-4 pages single spaced, landscaped, two columns, narrow margins); this is a solo project.


Write a complete short story that fits seamlessly into this course. You might use characters we met or create a composite.



Stick to ONE time and place in your story. If you must leave, use flashbacks.



The individual is vital and has a role.

Will you use 1st or 3rd person?  Avoid JOURNAL ENTRIES! Develop your character deliberately.



Contemplate the problem/s your character would face in this world.

Have a clear opposing force. What does this character face as obstacles?





Please proofread your work! 


·         Maintain a consistent tense.  Past or present.

·         Review punctuation in dialogue and when using quotation marks.  Periods and commas are always inside the quotation marks.

·         New speaker = new paragraph.

·         Paragraphs are indented. 

·         Don’t TELL.  Show the story.  Use ALL the senses to paint a picture! Pick a specific moment in time and in place.  DO NOT jump around.  Use flashbacks for memory but keep the character in the “present” place.

·         Don’t be lazy.  Really use your imagination and search for the words to make it come to life for your readers.

·         Proofread.  There’s no excuse for sloppy.  It detracts from the reading. One point will be deducted for the obvious sloppy: not capitalizing a first letter in the word that begins a sentence, using ‘i’ instead of “I,” and any abbreviated “texting” wording.



School cameras are available to be loaned.  This can greatly improve your films.  Only choose film if you know how to edit.


Film format ideas: interviews, documentary, movie, music video, TV show, reality show, serial, news magazine, parody/satire, SNL, StopMotion, commercials, etc.


Note that filming and editing is very time consuming and requires a certain degree of patience and know-how. All films should feel developed and polished.


OPTION: ORIGINAL FILM (group project)

All the same guidelines as above for the story, but no written script written.  Rather, a polished, well-edited movie on Youtube or on a thumbdrive is your submission. Your rationale can be videotaped as an after credits segment or before the movie starts rather than a written statement. Or, written and included before or after the film. 


Create an original film (5 minutes or less) that fits seamlessly into this course. The more people, the better developed, please. Your story should find a way to make it clear that you have digested the literature from this course.


OPTION: LIT BASED SHORT FILM OR TRAILER (solo or small group project)

Create a short film (5 minutes or less) or a movie trailer for one of the works we read, or create a movie trailer for the entire course.


Your project should highlight the author’s purposes, but the way you analyze it/them should be through your own creative analysis.



Design a game that encompasses one or all the works/themes of the course. 




OPTION: AMUSEMENT PARK (solo, partners, or threes group)

Design an amusement park around ONE work of literature we read OR the course themes. NO VISITOR SHOULD DIE at your park.


Design the the map/brochure with a detailed key, which the park visitor will be given upon entering your park.  Be sure that your brochure supports your map with clear summaries about their experience and how it relates to the myth. The “key” to your map should be the exploration of how the aspect of the park connects to the work or theme/s.  Each “key” point should be a well-developed paragraph that shows the park point and explains how it connects. OR: create a long commercial advertising and documenting all the parts of your park.


What might you find at a theme park? 

Rides (thrill, basic, water, kiddie)    games / prizes     food courts / restaurants

paths /  landscaping / transportation     housing / lodging    

parades / interactive characters      dinner theater / shows / musicals

shops / souvenirs      nightlife / music     movies / 3D

services / first aid / special needs      education centers / petting zoo


OPTION: GREEK TRAGEDY (solo or pair project)

Re-tell one of the works we read, a fairytale, a well-known children’s book or a well-known television series in the form of a Greek Tragedy. Use the style and devices found in Greek theater and Oedipus Rex. Please write your tragedy in play format, obviously.  Use your Oedipus text as a reference.  Develop each scene to feel complete.  No rushing. 


Your Tragedy Must Incorporate:

A title

Character List with descriptions

Scenery description

The play format (labeled) – see below

Theme/s (amathia, sophia, fate, etc.) [please footnote when used]         

Psychological motivations of the characters

Chorus [can be updated]

Three actors:  there are only three actors on stage at any one time; actors play multiple roles

Dramatic irony to illustrate character and theme

Peripetiea & Anognorisis[please footnote when used]

Hamartia (Hubris is one) [please footnote when used]

Follow the format (please label each section)

Introduce the main character, the conflict and the setting.  HOOK the audience. Characters speak, perhaps directly to the audience.

Chorus tells us what has happened before the beginning of the action of the play. They should also tell us who they are. If you want, you can have the chorus speak in verse.

Scene 1
Characters act out the beginning of the action of the play. If you want, you can have the chorus interrupt the action to ask questions or make comments. Remember that characters in Greek Tragedy tend to talk a lot about decision making and moral choices ‹what should I do? Am I doing the right thing? Etc. Remember that anything violent should take place offstage, with a character or "messenger" entering to tell us what happened.

Choral Ode 1
Chorus speaks about something connected with the theme of the story, but not necessarily about the story itself. Or, if you prefer, you may use a popular song or poem here that you think expresses the mood or theme at this point in the play. Please include the lyrics in the text (and cite, of course!). 


Episode 2
Characters act out the next part of the story, again with choral comment if you want.

Choral Ode 2
(See Choral Ode 1)


Choral Odes +

(If necessary, you may add more Episodes and Odes here.)


Final Episode
Characters act out the end of the story. The tragic hero has had a reversal in fortune and recognizes how he/she was wrong.

As or after the characters leave, the chorus tells us what we have learned from the story. The “moral” of the story


Tips and Reminders for the Greek Tragedy Project

·         Your main character needs to be neither totally good nor totally evil; however, he or she should have a tragic flaw (hamartia) that causes his/her downfall.  Oedipus may be said to be blind or suffering from wisdom.  Others have cited his temper as causing his problems.

·         Since your audience knows the story, you now get to entertain with the character’s motivations.  Build a backstory that can be revealed as the play moves along.

·         Your main character does not need to be the main character of the fairy tale. Sometimes the more interesting characters are the ones we don’t know (the witch, the wolf, etc.) OR your character may be better fleshed out in your play (why does Goldilocks think it’s okay to break in and enter?)

·         In your Prologue, you need to be sure to introduce the main character, main conflict, and setting.  Remember that in Oedipus, the people have come for his help.  He discusses the problem with the Priest.

·         Your entire play may only take place in ONE day and in ONE spot.  Remember that Oedipus takes place in front of the palace the ENTIRE play.  There are NO flashbacks (you can have chorus or characters discuss the past) and no scene changes.

·         Your chorus should make sense to the fairytale to question your tragic hero, to advise, to provide background information.  In Oedipus, the chorus is town elders (reinforcing the notion of Sophia…) Worst case scenario; you can make the audience the chorus since we judge the characters….

·         Each scene should build another problem caused by the original conflict or reveal the problem developing. Look at how each scene in Oedipus builds: 1: Tiresias names Oedipus as murderer and he reacts, 2: Oedipus lashes out at Creon.  Finds out he’s killed Laius and is adopted; 3: the servant reveals the truth about Oedipus; 4: climax – Jocasta commits suicide and Oedipus blinds himself.

·         The chorus appears between scenes to warn, advise, question, provide vital information. 

·         You should label all scenes, etc.  Use the proper play format as used in Oedipus