Lesson plan:

1. Explain the constraints of filming rather than writing a book

As a starting point identify the 'constants' in the Round the Twist stories - for example, the same major characters in every episode, identical settings, continuous relationships - Dad/Miss James, Pete/Fiona, Pete vs Junior Gribble and so on. 

Share the following background information with students to give the adaptation process some context. 
 

Esben Storm, co-script writer and director of the two Round the Twist series describes some of this process:  With Round the Twist  we started off with the quirky short stories. Each featured different characters, settings and styles. So we had to create a context into which we could incorporate the basic plots and twists of the short stories. It became apparent that we needed three kids, two of whom were twins, a single father and a seaside home. They became the Twist family...  From A Television Comedy Study Guide, 1996 ACTF (p.10).

 

Paul Jennings said:  When I started to write Round the Twist I had to think of a setting, somewhere for the family to live. I wanted it to be unusual. In the end, I thought of a lighthouse. It would be terrific to live in a lighthouse. I rang up the big bosses - Dr Patricia Edgar [Executive Producer] and Antonia Barnard [Producer]. They told me they would think about it. Making the interior - the inside of the set, would be very expensive...In the end the phone call came back. Yes. You can have your lighthouse. I was rapt.  Paul Jennings, Round The Twist, (1990) Puffin Books (p.6)

2.Class discussion

Distribute copies of, or write on the board, this very simple Guide to Writers which has been adapted from actual instructions given to writers of an old tv family cowboy series Bonanza. 

GUIDE TO WRITERS

Definitely no fires.  No floods.  No deaths of major characters.  No major characters are to commit a crime.  No major character to be seen drinking alcohol.  No bathroom scenes.

3. Individual writing

Ask students to prepare a Guide toWriters for Round the Twist.

4. Class discussion comparing student reponses

Compare the lists and ask students to justify the reasons for such rules. 
Considerations could include:  characters, locations, the requirements of the continuing narratives, and the age of the target audience. 

5. Explain the purpose of a storyline

Explain to students that writing a script for a television episode begins with writing a brief storyline which outlines the entire story in one page or less. A storyline does not include any dialogue. It is a brief overview of the main story and characters. 

Here is a short synopsis from a Round the Twist episode.

Spaghetti Pig Out, ep 5 vol.1, Round the Twist 2, ACTF  A bolt of lightning hits the video remote control at the lighthouse and suddenly it works on people. The PAUSE button freezes everyone. The FAST FORWARD gives real meaning to an instant meal. But it is the REWIND that causes the most trouble, especially when Gribble pigs out in a spaghetti-eating competition and feels a little sick as a result.

6. In pairs

Working in pairs or small groups, students can select one of Paul Jennings short stories to write a short Round the Twist television series storyline. 
Students can brainstorm ideas for their Round the Twist version of the new story. 
Remind students that they will need to consider the Round the Twist setting, characters and plot to determine who will do what and where and consider the magic and fantasy devices that are a feature of the television series. 

7. Class discussion about dialogue

 Look at the difference between the amount of dialogue in the print version of a story and the television version. Discuss the ways in which dialogue in a television/film text contributes to telling the story before beginning the following activity, which focuses on the importance of the dialogue in communicating a story to an audience. 

8. Students create dialogue

Give students the materials described above, or a multimedia software tool, and these instructions.

1.Choose and cut out large photographs of two or three different people from the magazines. 
2.Arrange the photographs on a sheet of paper. 
3.Draw and cut out a set of blank speech bubbles. 
4.Place a speech bubble coming from the mouth of each character. 
5.Using the speech bubbles, create and write a conversation between them. Make the dialogue simple and direct. 

9. Students tell their stories

Ask students to tell the class how this conversation, combined with the look of the selected characters, creates a story. Speech bubbles can be changed to lengthen the exchange or to change it. Students can read each others comic 'stories' in small groups. 
Reflect on this process, discussing and listing the types of dialogue which worked best in communicating the story to others. 

10. Students write the script

Explain to students that the next step in the process is to write the script  which describes what happens in the story, what characters say, where the action is set and the time of day. 

Students can now write a very short script for a possible scene from their Round theTwist synopsis, if possible with only two key characters. They need to include dialogue between the characters and instructions explaining who is doing what, whenand how. This also needs to include the characters' reactions and expressions - for example, 'Bronson has a scared look on his face as he approaches the dunny in the dark'. Any ideas for music and sound effect instructions should also be added. 

11. Students perform the script 

Students can present the new scenes by: 

• script reading (Readers' Theatre), 
• dramatisation of the scene, 
• a visual comic strip version of the scene. 

12.View a film clip

Discuss how some things work better in film, others in book form. Nails, ep 5, vol. 4 Round the Twist 2, has some examples such as the hilarious kiss scene which is only included in the television version of the story. 

View the scene and discuss why it is only in this television version and not in the original short story. What are the elements that make it so funny? Would these work in a written version? For comparison, ask students to find some examples of stories in books which they think might not translate to the screen very well. Encourage them to give reasons why. 
Which scene?

Video Clip: Nails, ep 5 Vol.4, Round the Twist 2, ACTF 
Scene: Play audition in school hall. 
Begins: Exterior of school. Gloved hand appears at door as Andrew enters. 
Ends: Rabbit says, 'Yeah, lose the gloves'. 
Dur: 3'30" 

Other books dramatised in ACTF television series Bip The Snapping Bungaroo, Narelle McRobbie, illustrated by Grace Fielding (1990), Magabala Books --> Into The Unknown, Lift Off Series 1, ep6. Felix and Alexander, Terry Denton, (1986) Oxford -->Real Friends, Lift Off Series 1, ep20.  How The Birds Got Their Colours, as told by Mary Talbot, retold and illustrated by Pamela Lofts (1983) Ashton Scholastic --> Lost,  Lift Off Series 1, ep21. Snookle, a short story from Unbelievable, Paul Jennings (1986), Penguin Puffin A Load of Old Rubbish, Lift Off Series 1, ep1.