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Tim Fountain

So You Want To Be A Playwright?

How to write a play and get it produced — a manual for playwrights.
Playwright and former literary manager Tim Fountain guides the budding playwright over the many hurdles involved in getting a play on — from finding a story that only you know, through the detailed construction of the play, and on to the strategies you can use to get it on stage.

— What kind of play do you want to write?
— Where do you get your ideas from?
— How much exposition do you need?
— Where do you find your characters' voices?
— What should you do when you get stuck?
— Where should you send your play? The book also deals with the actual production: choosing directors, designers and actors, and coping with rehearsals, previews and press nights.
Includes appendixes of vital websites, and contact details for new-writing theatres, agents and publishers.
'A marvellous and invaluable guide… full of wisdom and no-nonsense practical advice on the tricky but thrilling business of making plays' (Willy Russell)
139 печатни страници
Притежател на авторското право
Bookwire
Оригинална публикация
2012
Година на публикуване
2012
Издател
Nick Hern Books
Вече чели ли сте я? Какво мислите за нея?
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Цитати

  • Marcin Grotaцитирапреди 4 месеца
    The best plays are complex, not necessarily complicated. No amount of tortuous plot twists can substitute for depth, and depth comes from telling a clear story well.
  • Marcin Grotaцитирапреди 4 месеца
    It’s the moment the playwright poses an active question both for his characters and, by implication, the audience. It’s the ‘What happens if . . . ?’ moment. It’s the point where the protagonist embarks on a gamble and embraces the challenge set to him or her by the narrative. Never be afraid to simplify your story to a single sentence that clearly expresses this: ‘What happens if a woman tries to escape an abusive relationship?’ ‘What happens if a man attempts to take over the family business?’
  • Marcin Grotaцитирапреди 4 месеца
    If you are the sort of writer who starts writing dialogue and after a few months ends up with lots of fragments but without the emergence of a play with the structure and muscularity needed to sustain a whole evening, then perhaps a bit of planning may be in order.
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