File Size: 935 KB
Print Length: 324 pages
Publisher: Touchstone; Revised edition (February 15, 1972)
Publication Date: February 15, 1972
* Formulate your premise. Premise is a statement, idea, or conviction that your story proves true. For example, the basic of Romeo and Juliet would be something like "Love defies even death. "
* Select a pivotal character who will force the discord.
* Orchestrate the other characters. The unity of opposites must be binding. Polar opposites must form a dialectic which creates a unified tension.
* Be careful to select the proper point of attack. Every point of attack starts with conflict.
* Right now there are several types of conflict, such as leaping conflict, but you only want rising or foreshadowing conflict.
* Zero conflict can rise without perpetual exposition, which is transition. For example, a character practicing his daily life doesn't suddenly become a NAZI, it happens in gradual steps--transition.
* Rising conflict, the product of exposition and transition, will make sure growth.
* Characters must conflict--there must be some polarity.
* Crisis will lead to climax. Climax will lead to bottom line.
* Dialogue should come from the tone of the character, not the writer.
Many TELEVISION, film, and novel and building plots and characters lack convincing conflict. The characters are just floating by... until something big happens. Lajos Egri illustrates how to change all this., This book is a classic.
Among the things that makes this book a classic is their simplicity. The book start exploring how you as a dramatic writer may use Premise as the leading sign through out the whole process of writing a story.
Once you have a premise you can work on creating your characters (using the basic to do that). To do this you'll have to know your character's physiology, sociology, pshychology, etc .
Once you have your characters you can work on creating the story using the principle of contradiction, thesis, antithesis and synthesis. You'll have to use clashing forces... (again, you use the premise as discussed at the beginning of the book).
Then the author covers a few of the main elements in writing spectacular material of quality.
In my case I found the chapter of "Jumping" quite enlightening. Once you read this chapter you'll understand why many, many reports just don't work. The particular characters jump and then... they fall to their death... also to the apaty of the audience.
Just what is it that I like about this book? Nicely, I read it... time passes... come back to it again... time passes... and I come back again to learn it!
Where as most books make you feel like writing is extremely difficult, this one always makes me feel like I'm in command and that great story telling is within my understanding., Amazon carries so many authors, but Lajos Egri is the better (in my opinion) in the field of creative writing. Say thanks to You Amazon.
In the first chapter, titled Idea, Mr Egri lets us know "A man sits in the workshop, busy with a creation of wheels and springs. A person ask him what the device is, what it is meant to do. He looks at you confidingly and whispers: 'I really don't know. '"
This particular is apt for not only the play write or author with the very first draft, it can pertain to the reader of Steinbeck or Faulkner or Joyce, BUT if person has read or at least browsed The Fine art of Dramatic Writing, then he/she will have a path to follow whether towards a finished play or novel or maybe the excitement and enjoyment of understanding great writing.
This book is a must in anyone's library., This is a review of the Kindle edition of the book. The information of the work is five superstars. It is a very readable and essential introduction to storytelling. The problem is that the formatting of this Kindle edition is a travesty. I admit the book is a bargain price, but that does not excuse the poor formatting. The book boarders on unreadable for this reason indifferent conversion to an e-book. My advise, buy an old print edition and save yourself some frustration., Egri's book is an excellent work for narrative authors seeking to move to the next stage in their storytelling. Egri's idea on setting up a solid, focused premise around which to develop the narrative has its own disciples today--Robert McKee's Story and Stanley Williams's The Moral Idea being two good examples--but Egri's focus on stage plays sets it apart from almost all of those subsequent works, which are directed in the direction of screenwriting. Nevertheless, in spite of their emphasis on the movie theater, Egri's ideas work for writers of any story form--novels, plays, screenplays. I would recommend this book to the writer seeking to improve his or her sense of story.
But I more than likely buy this edition again under any circumstance!! The particular formatting is bizarre. The particular text is in a little, tiny font with unindented paragraphs with no space between paragraphs. The only way to determine in which a paragraph ends is when a line stops partway over the page, but occasionally outlines ending somewhere in the middle of the page as well as the middle of a sentence and continue the incomplete sentence on the next collection. Throw in occasional misspellings, entire sections omitted from Ergi's original book, no index... this version is a trainwreck! Any author who would do this to a book and its readers has a pretty low regard for both books and viewers., Ever wanted to write a story or a script? This is the first step you can take to learn the rules. The book has very clear and apparent structure, good writing, and it a person concentrated until the end, demonstrating its points with so many examples, that you finally hold the right understanding of the matter
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