Learner: “What do Kit and Sal want? Where would you put the pause?” Read S with role labels and bracketed stage directions intact. Teacher models S7 as Kit's concern, not proof the future audience will think they forgot; S14 leaves actual trials unshown. Compare story narration with dialogue/cues and poem line arrangement; discuss purpose and adaptable stages without imposing a universal orientation–complication formula. Exit: one structural difference and why it serves a purpose.
- 24A — Director's choice: Choose S8 or S11 and write a different harmless stage direction that changes tension. Teacher asks what a reader could infer from the new action. Notice actual authored direction with purpose; next compare two original actions. No acting or moving a real object required, and no predicted response credited as observation.
- 24B — Scene to story: Turn S8–12 into a short narrator paragraph, choosing Kit's or Sal's limited viewpoint. Teacher asks which script facts remain and what internal thought is newly invented. Notice viewpoint consistency; next remove a slip into the other role's private knowledge or intentionally label a broader narrator. This is a literary adaptation, not a factual report.
- 24C — Two possible endings: Make one ending where they choose a pause and one where they keep the earlier sequence; choose which serves gentle suspense, humour or another purpose. Teacher asks how the dialogue/cue changes serve the selected purpose. Notice consequence and reason; next change a cue rather than adding a mandatory lesson/moral. S itself does not supply either tested outcome.