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Playwriting: From Formula to Form [Paperback]

William M. Downs (Author), Wright (Author)
5.0 out of 5 stars  See all reviews (2 customer reviews)

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Book Description

August 14, 1997 0155038613 978-0155038615 1
Structure is how a play logically fits together and can be archived through formula or form. To understand the complexities of structuring with form, the beginning playwright must first learn the fundamentals of formula. Covering everything in the playwriting process from the initial concept through production, PLAYWRITING: FROM FORMULA TO FORM presents a workable method for anyone interested in the craft. Exercises and techniques are presented to help students master the fundamental principles of good playwriting, giving them the freedom to be creative. Chapters on film and television writing as well as how to market a finished script and to select an agent, provide "real world" information on surviving as a writer in today's market.

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Product Details

  • Paperback: 352 pages
  • Publisher: Wadsworth Publishing; 1 edition (August 14, 1997)
  • Language: English
  • ISBN-10: 0155038613
  • ISBN-13: 978-0155038615
  • Product Dimensions: 9.1 x 6.4 x 0.5 inches
  • Shipping Weight: 1 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #691,252 in Books (See Top 100 in Books)

More About the Author

William Missouri Downs earned his MFA in acting from the University of Illinois, but switched to playwriting when his first play won his acceptance to the Circle Repertory in New York. There he studied playwriting under Lanford Wilson and Milan Stitt. He then moved to Hollywood where he earned an MFA in screenwriting from UCLA, and wrote for several NBC television shows including Fresh Prince Of Bel Air and My Two Dads.

Bill has written twenty plays which have been produced all of the world from New York to Singapore and from Israel to South Africa, including LORT theatres like the Kennedy Center and the Berkeley Rep. A few of his plays include: Innocent Thoughts the winner of the National Playwrights Award, Jewish Sports Heroes and Texas Intellectuals which took first place at the Mill Mountain Theatre's Festival Of New Plays, Cockeyed which won the Greenhouse Festival of New Plays, and Kabuki Medea which won the Bay Area Critics Award for best production in San Francisco. In addition Samuel French and Playscripts have published several of his plays.

He is also the author of a number of books including The Art Of Theatre (Wadsworth) an introduction to theatre book used at over 100 universities, Naked Playwriting (Silman/James) a popular writing guide, and Screenplay: Writing the Picture (Silman/James), which is used at top film schools in the United States and Poland.

Head of the playwriting program at the University of Wyoming, Bill has won over a dozen teaching and research awards. He also teaches in the Religious Studies Department. His favorite thing to do is to find ancient temples and theatres - this quest has taken him to Egypt, France, Turkey, England, Greece, Italy and China.

In March his new play Forgiving John Lennon will open at the Detroit Rep and his play Backstage will open in Vienna.

 

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8 of 8 people found the following review helpful:
5.0 out of 5 stars Playwriting, April 20, 2000
By 
W. Lanford (Spartanburg SC) - See all my reviews
(REAL NAME)   
This review is from: Playwriting: From Formula to Form (Paperback)
This book sets out in specific terms the formula for a sucessful play with reasons and pitfalls of both ignoring and following the formula. It is ideally suited to classroom use and has an inclusive glossary. The examples plays used will spark discussion although I found them the least helpful portion of the book. It is clear and concise and as useful as any book can be in this area. The roles of protagonist, antagonist and inciting incident are explored not only in contemporary but historical terms and the lessons contained would benefit any writer of any type not just the beginning playwright. It is a book I will pick up over and over again while writing as a guide not only in the idea stage but final polishing. I highly recommend it as it is very readable and practical. It was used with great results in a playwrighting seminar I attended.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars A Vital Nuts and Bolts Source, March 9, 2002
By 
William Hare (Seattle, Washington) - See all my reviews
(REAL NAME)   
This review is from: Playwriting: From Formula to Form (Paperback)
This work, written by two playwriting professors from Wyoming University, covers all the basics that any beginning, medium level or veteran playwright would ever need. In fact, the book is outlined much in the manner of a top rate survey course, possessing the vital ingredient of bold head outlines and charts. It would be easy for playwrights to develop their own checklists, flow charts, or a series of note cards covering the essentials of the craft from the lifting of the first curtain to the drawing of the final curtain. Also, when the playwrights make a point about motive, plot development, or dramatic conflict, they follow up their assertions with examples from established works extending back as far as Greek drama.

For those who write both plays and screenplays, this work is highly valuable in that the authors point out the basic differences of the two pursuits, and how some writers become trapped by confusing one with the other. The authors point out the difference between the visual medium of film with the reliance on a camera and cinematic effects alongside the on the scene visuality and focus on the well stated word that chracterizes the immediacy of a theatrical experience.

Downs and Wright devote extensive detail to the importance of plotting and characterization, providing road maps to keep the industrious writer on track. In addition, they provide play samples. This serves two excellent purposes: 1) reading how a well crafted play develops on the printed page; 2) demonstrating the proper editorial technique for writing a play so that improper form can be avoided, and the damaging recognition of technical presentation flaws by skilled theatrical readers.

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