Welcome to our first drama workshop and our first WordPress gathering. Although I wouldn’t have chosen for us to work exclusively online as a community of writers, I value the opportunity that it will afford us, in May, to look back and weigh the merits of the two versions of our class: the before and the after–or, more accurately, the before and during (COVID-19 time).
The points I have included below are not ones that you’re required to address in your comments. I offer them as suggestions only. I will probably address some of them in the follow-up remarks that I’ll post at the beginning of our second session.
- From the first line of the play, we know what one of the characters wants. What do other characters want? How do the conflicts among their desires advance the action?
- In Imaginative Writing, Janet Burroway notes that “good dialogue will convey most of its tone as an integral part of the lines, and when this is the case, there is no need to announce the tone of voice in a stage direction” (327). Are all of the tonal directions necessary? If not, which ones could be omitted?
- The particular day, year, and hour of the setting are essential to the play. Are any other time or setting cues essential as well?
- What is the symbolic significance of the ’87 black Chevy Silverado? What other set pieces take on symbolic significance?
- What plays, if any–ones in Imaginative Writing or others that you’ve read–would you recommend to the writer as models or possible sources of inspiration?
- And lastly, some what ifs: What if Harry and Henry were never on stage at the same time? What if Sally was alone with Harry at the beginning of scene 1? She could still make the same mistake, and Harry could still correct her–but then what?
Post your response of twenty-five words or more as a reply. If you address a point that one of your classmates has written in a previous reply, mention that classmate by name in your own reply.
You are welcome to post more than once.