The story may not be credible to someone who has gone blind but the subject is the realationship between the husband and wife and that dynamic seems true. In order for something to be dramatic there needs to be a tension between people in a scene that makes the audience wonder “Who is going to win, who is going to lose.” The characters (author) uses whatever they have to get their way. Tone of voice, body language, facial reaction. And readers hang on these elements as clues to the outcome.
One of my favorite books for writers isn’t even directed to them. It is called “Handbook for Actors” by NYU students of the playwrite David Mamet. Now he has written numberous books about writing and about the theater, but this one by people he was teaching cuts to the chase in a way his other explanations don’t. The book lists some terms for creating drama on stage that I think work just as well on paper. Here they are. We will talk more about them and apply them to some examples in upcoming posts. But first read through the list and think about what these mean in terms of your own writing.
action: The physical pursuance of a specific goal.
analysis: The process whereby the action of a scene is determined. It is derived from these three questions.
1. What is the character literally doing?
2. What is the objective of what the character is doing in the scene?
3. What is the action like to me? It’s as if…
as-if: The answer to question 3 of the analysis. It is a simple projection that makes specific for you the action you have chosen in step 2 of the analysis; it is a device serving to bring the action to life for you.
beat: A single unit of action. A scene (chapter) may have one or more of these.
beat change: The point during a scene where a new action begins. It occurs when a new piece of information or an event takes place over which the character has no control and which by its very nature must change what the actor is doing.
cap: The event or condition indicating that an actor has succeeded in his action.
character: The illusion created by the words and given circumstances supplied by the writer and director combined with the actions and externals of the actor.
given circumstances: Any piece of information or activity written into the work or demanded by the director comprising the imaginary framework within which an action is performed.
living in the moment: Reacting impulsively to what the other character(s) in a scene does, according to the dictates of your action.
objective: The single element that defines what the character is doing in a scene, without which the scene will not work.
subtext: What is going on underneath the text. For example, if on the day your husband ides, you are buying a pair of gloves, the subtext of his death would greatly affect the way you felt, even if the action of buying gloves is everyday. Nothing of the subtext is ever going to occur unless the actor puts it there.
through-action (goal): The single overriding action that encompasses all the actions an actor pursues from scene to scene, from the beginning of a play to the end.