View single post by Edd
 Posted: Wed Jun 15th, 2016 08:32 pm
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Joined: Sat Jun 10th, 2006
Location: Denver, Colorado USA
Posts: 1631
I generally dislike dialog that is nicely, grammatically correct, with every sentence complete and tidy. I generally dislike dialog that doesn't add to the depth of character. A NIGHT WALK was no exception. BUT, as a shorty in a festival, it's pretty good. If the play were only a couple minutes, and you have a beginning, middle and end, leave it alone for a while before going back and writing more. Listen to how folks speak. We do not talk in complete sentences. In a Theatre, an audience does not have the patience to listen to dialog that doesn't push the story forward, or deepen the depth of the character. We all have defining quirks. Find your character's quirks and explore them. But, that's me. I do believe, as a playwright, that Realistic dialog makes good drama; not to be confused with Naturalism (think Osborne). Realism only needs to be real within the context of the piece (think Beckett). I ramble, so forgive me, but the bottom line is: Get a little more funky with your dialog. SECRET: REMOVE ALL THE NAMES FROM YOUR SCRIPT. READ IT. HAVE SOMEONE ELSE READ IT OUT LOUD, AS WELL. ARE THE VOICES DISTINCTLY RECOGNIZABLE AS THE CHARACTER WHOSE LINE IT IS? IF YES, YOU HAVE DONE YOUR JOB. START THERE FOR YOUR REWRITES. Lastly, lose the narrator. Happy writing, Michael. ~ECW