By David Rush
David Rush takes starting playwrights throughout the first draft of a play and deep into the revision approach. Drawing on examples from such classics as Othello and The Glass Menagerie, Rush presents precise types for writers to guage their paintings for weaknesses and concentrate on the in-depth improvement in their plays. Rush encourages writers to ensure their performs are transparent and targeted. He exhibits tips to maintain performs dramatically compelling and provides how one can stay away from universal error that lead them to uninteresting, complicated, or useless. He then distills the essence of conventional revision into key questions and discusses usually missed instruments, phrases, and techniques that transcend demonstrated equipment of assessment. (20100814)
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Additional info for Building Your Play: Theory and Practice for the Beginning Playwright
Or) I couldn’t understand what the conﬂict was. (Or) Why couldn’t she have simply called the police? These indicate your work might be lacking sufﬁcient obstacles. Ask yourself the following questions: 1. Do you have sufﬁcient obstacles for your agent of action to deal with? 2. Are they strong enough? Are the stakes high enough? 46 5XVK3W&KLQGG $0 OBSTACLES 3. Have you chosen effective obstacles? Do they help reveal your agent of action’s personality? 4. Are there others—possibly from the list—that you can invent, which will be more useful and pertinent?
You have to open your eyes. See how far back in time you have to go? And that’s just to get the cereal. You also need a side strategy. You also have to get the milk; and this has its own series of substrategies. You have to open the new carton of milk you bought last night; you have to ﬁnd the carton in the back of the crowded top shelf; you have to open the refrigerator; and you have to get to the refrigerator. Now you have to get a spoon. You have to ﬁnd a clean one in the drawer. However, you notice there are no clean ones.
What’s wrong with this situation as it’s described? Several things. Let’s note them and ﬁx them. As we do, keep in mind your play and consider how these same steps might help you clarify what’s fuzzy or invent what’s missing: It’s vague and unfocused. We don’t know who our agent of action is. Let’s say it’s John. It has no direction. John has no speciﬁc goal. “Trying to tell Steve” is somewhere in the ballpark, but still a little too vague. Let’s give him something more speciﬁc: let’s say he wants to stop the marriage.
Building Your Play: Theory and Practice for the Beginning Playwright by David Rush