Today I met with a newborn playwright. By "newborn" I mean she has never written a play. Prior to our meeting, I recommended she read the book I consider "The Bible" for writers, be they essayists or novelist, but most definitely for the playwright: The Art of Dramatic Writing by Lajos Egri.
"Examining a play from the inside out, Lajos Egri starts with the heart of any drama" or comedy: it's characters. Good dramatic writing hinges on the playwright's characters and their relationships. Together their intent is to move the story forward. At the age of ten, Lajos wrote his first three-act play.
Like Lajos Egri, I am a firm believer in character development. I believe that a well-defined character will, as Omar Khayyam in Poem #545, The Moving Finger Writes; and having Having Writ,The Testament of Omar Khayyam (1907) by Khayyam, Omar/ Alexander, Louis Charles, to lead the playwright by the finger, if you will, through the story that the character wants the playwright to write.
Character development is achieved by what the character has to say, how she says it and when he speaks, or not. What that character says or does not say will have consequences. How that character voices his dialogue will affect other characters who in turn, because by definition, she, too, has the power and force (so she thinks) to move the finger and move on, to lead the playwright in her direction. When and whether the playwright gives voice to a character also affects the development of other characters. It's a game each character plays: with the playwright as the foilist, with or without the button.
Remember: Writing is Re-writing.
"Examining a play from the inside out, Lajos Egri starts with the heart of any drama" or comedy: it's characters. Good dramatic writing hinges on the playwright's characters and their relationships. Together their intent is to move the story forward. At the age of ten, Lajos wrote his first three-act play.
Like Lajos Egri, I am a firm believer in character development. I believe that a well-defined character will, as Omar Khayyam in Poem #545, The Moving Finger Writes; and having Having Writ,The Testament of Omar Khayyam (1907) by Khayyam, Omar/ Alexander, Louis Charles, to lead the playwright by the finger, if you will, through the story that the character wants the playwright to write.
Character development is achieved by what the character has to say, how she says it and when he speaks, or not. What that character says or does not say will have consequences. How that character voices his dialogue will affect other characters who in turn, because by definition, she, too, has the power and force (so she thinks) to move the finger and move on, to lead the playwright in her direction. When and whether the playwright gives voice to a character also affects the development of other characters. It's a game each character plays: with the playwright as the foilist, with or without the button.
Remember: Writing is Re-writing.
Laird believes the president Srinivasan should be examined during the term of their activities. Written Episode Update
ReplyDelete