Customer Reviews

The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing

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Over the years, I've bought so many "how-to-write" books, that I also had to buy a special bookcase in which to stack them all. While reading all of these books has not yet transformed me into a famous literary genius, it has made me somewhat of an connoisseur of writing books. If you are looking to purchase one more writing book, I would recommend "The Playwright's Guidebook".

The main strength of this book is Spencer's ability to distill the concepts of story structure and character into workable and easy-to-grasp ideas. Spencer is able to say in a few chapters what Robert McKee needs 500+ pages to say. I have read a multitude of books explaining how stories are assembled, but it was this book that brought it all together for me.

Another strength to this book is the quality of the practical advice, which is all too rare in writing books. I rarely do the exercises in any book, but I found myself plugging through the exercises in this book.

This is not to say that the book is entirely infallible. When trying to discuss "what" to write rather than "how" to write, Spencer resorts to the touchy-feely concept of the writer's impulse, which is really not that helpful (but then, all writing books falter on this point. Apparently, you actually have to use your own imagination at some point. Bummer). Another quibble that I have is with Spencer's running example of a guy wanting a glass of water. The triviality of the example tends to undercut Spencer's authority. But these are minor points that really don't detract much from an otherwise outstanding book.

Not only has this book helped me become a better writer (I recently had my first story published using what I learned from this book), but it has increased my enjoyment of reading and watching other stories because now I better understand the innerworkings of fiction.

I got my money's worth from this book. What more can you ask for?

Most people won't listen to advice until they're good and ready. I had "The Playwright's Guidebook" in my office for over a year. When I finally read it, either I was good and ready to hear what Mr. Spencer had to say or what he said made a lot of sense. (Basically it was both.)

I've read Syd Field and taken McKee's course on Story Structure, yet I found this book to be of greater value. Why? Because Mr. Spencer doesn't lay down directives (as is common with most how-to books). Instead, he offers suggestions. His observations are level-headed and his approach is open-minded. This is one instructional book that won't tell you that a plot point must land on page such-and-such.

Mr. Spencer encourages you to freely follow your creative impulse and get your story on paper. Then he lets you decide whether your story is as effective as it can be. The book discusses sensible ways to get the most out of your play. It's often like a trouble-shooting guide. If you feel something's not working in your piece, chances are, this book will help you figure out exactly where the problem lies.

Mr. Spencer is not a drill instructor barking out the sure and only way to commercial bliss. He comes across as an experienced teacher (which he is) giving you the opportunity to find your own way to successful writing.

I'd like to add that this is an invaluable asset whether you're writing a play, a film or a novel. That's because "The Playwright's Guidebook" is a comprehensive study of drama, of why it works and why it often fails. No matter where you are in your writing career, you'll most likely benefit from reading this book. If you've been writing a long time, you'll be reacquainted with fundamentals you may have forgotten. You'll also pick up some fresh ways of looking at your craft. If you're a novice, you'll learn things that are essential to building an interesting story.

Take my advice: familiarize yourself with this book and then write the story that's in you.

In preparation for a job teaching playwriting at a midwestern university, I read most of the playwriting books out there. Spencer's text covers the same topics as most playwriting books: creative inspiration, character development, and dramatic structure. However, unlike most texts, Spencer uses anecdotes and personal observations to illustrate his points. The result is an insightful and helpful manual for new writers that also succeeds in being INTERESTING (a very rare trait in writing texts).

While most of this book covers well trod ground, there are some unique aspects to Spencer's approach. His introductory essay on the differences in writing for fiction, film and theater should be a must read for every new student. I also appreciated his "Impulse" exercises. Too many texts delve into the process of writing without ever discussing how someone finds something to write about in the first place. The other exercises in the book are very good, but as a teacher I would have appreciated even more of them. Also, Spencer's discussion of how to build plots is a little thin. I'd recommend combining this book with some hard core instruction in dramatic structure.

In the world of playwriting texts, there are alot of useful books, but very few interesting ones. This one manages to be both. I highly recommend it.

Spencer, a professor of playwrighting at Sarah Lawerence College, has written a wonderful handbook on the craft for amateur writers. He discusses in depth all aspects of the craft: from the simplest elements of structure to more complex elements of action, event and character, to problems such as rewriting and writer's block. He provides multiple examples for every topic ranging from simple references he creates, to personal experiences, to pointing out examples in well-known plays.

Spencer also provides excersises and prompts at the end of every chapter (along with many more at the end of the book), allowing the reader to experiment and build on the lessons he or she has just learned.

Reading this book is equivalent to taking a semester course or workshop with Spencer, and the lessons it provdies are invaluable. Recommended to anyone who wishes to delve into the realm of playwrighting, or to those who simply wish to improve their talents.

A very detailed description of how to write scripts by using easy to understand concepts that can be applied to any writing project, not just scriptwriting. The writing is clear and easy to follow. Highly recommended.

Spencer leads you through what will matter: What do your characters want? What is conflict? What is plot? Best of all, he offers you ways to be a better writer without tying you down to a list of things you must do. Will some academics want this book? Probably not, because it doesn't fit into imparting knowledge from on high or demand that you always do A, then B, then C.

This how to guide to playwrighting was packed with so many helpful tips that several readings are necessary to obtain them all. Very practical and helpful advice that makes this guide not only a must for aspiring playwrights but writers of all fiction genres.

As a retired person, interested in reading, writing and lunatics, I purchased this book to help me with technical terms and tools of the playwright's craft. I am writing a play and the advice I received from friends is that I need to read plays and then read more plays.

I've read plays, enjoyed each one and found that there is no one way to write a play. That's why I purchased The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing

I find the Playwright's Guidebook to be very helpful. It is very easy to find information within its pages. Concepts are explained in a way students of the theater would appreciate. And I do.
For anyone who would like to know more about plays and how they work, this is the book for you.

This book provides a foundation for writing that is both simple and profound. I have recently begun writing screenplays after tweny years as a playwright, and the lessons about drama that I have learned from Stuart Spencer are once again, as always, in the forefront of my mind as I continue with my creative work. Without a PLAYWRIGHT's GUIDEBOOK, a writer is at sea, lost and anxious, perhaps in the midst of what one needs but with no way to navigate it. This brilliant and straightforward book explains to the writer what seemed unexplainable, and allows her to click on the light in the all too familiar dark room of trying to find one's way through a play. See the light with the help of Spencer!

Yes, as some reviewers have noted, the text about the creative impulses of the mystical writing process tends to be a bit precious for my tastes. That new-ageyishness aside, the practical advice offered more than makes up for the author's gushing love for the gifts of the muses. I, as a writing teacher, especially enjoy the attention he pays to developing an understanding of the fuel of good drama-- need, obstacle, conflict. (I should note that some of his terminology seems a tad off to me-- he uses "action" to mean what actors and directors commonly refer to as "objective" or "intention"; he uses "event" to refer to a climactic moment) But, buy into his terminology and his attention to creating a structured play proves valuable. So many novice playwrights forget to think about these fundamental ideas-- and their plays might contain taut dialogue, but often lack fuel. I also find that the exercises in this book also prove useful. I'd recommend this book- just keep something sour or salty on hand to cut the occaisional moments of sweetness!