A-Minus
- Performer
- Audition / event
- Title
- A-Minus
- Attribution
- by FreeSchoolPlays.com
- Source
- Original work
- Length
- ~2 min (317 words, whole piece)
- Cut
- Full monologue (5 beats).
"A-Minus", by FreeSchoolPlays.com, via FreeSchoolPlays.com. Free to perform; attribution required.
No, I'm good. I'm great, actually. It's one letter. It's basically the same letter with a tiny hat on it. A-minus. It's still an A. It's just an A that's had a hard week. (a small laugh) I looked it up and an A-minus does not, technically, cause the earth to stop spinning, so, you know. We're all still here.
Ms. Okafor wrote "good effort" on it. Good effort. In red. She has never written a word on my work in three years, and the first thing she chooses is "good effort," which is what you say to a golden retriever that brought you the wrong stick. I did not bring the wrong stick. I brought a nine-page analysis of a poem that is four lines long. I invented context. There was no context and I found some anyway.
(beat, brighter) And it's fine. Because I have a plan. I always have a plan. I emailed her at 6:14 this morning -- polite, warm, three exclamation points, so she knows I'm not a person who cares too much. And then I made a chart. A color chart. Green is "grades that love me." And there is now a yellow. (quietly) I have never had a yellow.
(the mask slips, just a little) The thing is, I know exactly what an A-minus is. It's a permission slip. It's the school going, oh, so you're allowed to slip now, good to know, we'll pencil you in for a whole row of them. And then you're a person who used to be good at things. At a reunion. Holding a tiny sandwich.
(catching herself, big bright smile) But that's not happening, because I'm going to talk to her, and I'm going to be so normal about it. So relaxed. (beat) ...Do I look relaxed? Don't answer that. Just -- help me find where I put the chart.
"A-Minus", by FreeSchoolPlays.com, via FreeSchoolPlays.com. Free to perform; attribution required.
Audition prep notes
Full piece: 5 beats, ~317 words -- short (2–4 minutes), about 2 min at a natural pace.
Start with the objective
Before you run it, name your character's objective in one sentence: what do they want in this moment, and what is in the way of getting it easily? Pace, volume, and movement all follow from that one sentence, not the other way around.
Map the beats
The current text breaks into 5 spoken beats. Use those breaks as a starting map, but test each one: a beat ends where the character's tactic changes, not merely where the paragraph does -- two paragraph-breaks may play as a single acting beat, or one may split into two.
Pacing for this length -- short
This is the classic audition length: build one clear arc from an opening state to a changed state by the end, with a single clean tactic shift in the middle to show range without over-plotting.
Delivery approach -- Comedy
Comic timing lives in the pause before the turn, not the punchline itself. Find the setup-and-turn shape in each beat and hold a beat longer than feels natural before you land it.
Framing for High school (9–12)
Layer subtext on top of a plain objective: name what the character wants, then find at least one tactic change mid-piece (asking becomes demanding, joking becomes pleading). Ground it in one specific, sensory detail rather than a general mood.
Forensics eligibility -- Humorous Interpretation
This piece reads as Humorous Interpretation. That classification is illustrative only -- not official, not an NSDA, NCFL, or UIL certification. Always verify current eligibility with your event's own published rules before entering it in competition.
Generic coaching guidance for actors preparing this piece -- not a substitute for your director's or coach's notes.
Free to read, print, and perform. No royalty, no performance fee. The credit line above is required and is placed automatically on this packet; keep it in your program and audition materials.