The greatest rules of dramatic writing are conflict, conflict, conflict.
If you do not have an alert and curious interest in character and dramatic situation, if you have no visual imagination and are unable to distinguish between honest emotional reactions and sentimental approaches to life, you will never write a competent short story.
I believe that one of the most sound ideas in dramatic writing is that in order to create the universal, you must pay very great attention to the specific. Universality, I think, emerges from truthful identity of what is.
In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.
As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama.
New dramatic writing has banished conversational dialogue from the stage as a relic of dramaturgy based on conflict and exchange: any story, intrigue or plot that is too neatly tied up is suspect.
I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition.
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