  Drama
This week: Edited by: darkin
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"When I am dead, I hope it is said,
'His sins were scarlet, but his books were read'."
-Hilaire Belloc
My name is Darkin and I'll be your guest editor for this issue of the Drama Newsletter.
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Amazon's Price: $ 14.99
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** Image ID #1227858 Unavailable **
Critiquing Dramatic Writing
What is drama? Drama is tension, pure and simple tension. It is the conflict of two or more people over an act, item, or belief. It isn't just he said/she said type of writing.
Writing drama can be difficult for some authors. You have to take characters, give them personalities, something to be conflicted about, and let them "resolve" their differences. But reviewing drama is fairly easy, if you just follow a few simple rules.
When reading a dramatic tale to review ask yourself these questions before you go about writing up the review. Remember, this is in addition to standard critiquing rules.
What is the main theme or subject of the story? As the reader, you should have a firm grasp on what the story is about. The theme shouldn't be blaring, but it also shouldn't be hidden from the reader's view.
How well is the theme developed throughout the story? Nothing is more confusing to a reader than to have a story start off with a certain theme, then suddenly change gears without any reason. See if the theme is consistent through the story.
Does the story have serious conflict? Come on, it's drama. Where would it be without serious conflict? Two characters arguing about which movie to see isn't very dramatic, unless one or both of the characters has a hidden agenda. Let the author know if the story is falling flat on conflict.
What kind of drama tale is it? Drama stories fall under many categories: comedy, tragedy, historical, and satire among others. Keep that in mind when reviewing the tale.
Is the story easy to believe, or does it contain fantastic events? Let the writer know if their story is too unbelievable. While some stretching of reality is good for a regular genre story, drama tales should be more firmly grounded in plausibility.
Is there enough suspense? Conflict without suspense or tension isn't very dramatic. Each character should have something to lose or the tension won't be there.
Does the story make the reader think? Drama storys tend to make the reader think. If the story you've read doesn't make you think, let the writer know.
Critiquing drama takes looking at it with a different eye than most genre fiction. Drama has rules to follow, just like any other kind of genre writing. Those rules apply to the critique too.
Thank you for taking the time to read. Happy Writing!
darkin
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Here are some items I found while traveling the highways and byways of Writing.Com!
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I would love to know what you thought about this issue. Please use the comments box below to let me know Here is some of the comments from my last guest editing of this newsletter.
darkin
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Submitted By: Red Writing Hood <3 
Submitted Comment:
*with tongue in cheek, she says (which takes incredible talent - you know, speaking with your tongue in your cheek, well, without causing serious mouthily harm, anyway)  *
"Apathy - lack of emotion or interest"
So, can apathy really be an emotion if it is actually the lack of emotion?
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I would think that having a character who doesn't have emotion in a sea of ones that do would be a wonderful story...so yes, I think lack of emotion can be considered an emotion
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Submitted By: likenion
Submitted Comment:
Great newsletter!
I think that emotions should be the primary weapon of each and every author. Having a real character with developed psyche and adiquite reactions is a great plus to every kind of story.
Good job!
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Submitted By: fleckgirl
Submitted Comment:
Darkin - A GREAT newsletter! I agree whole-heartedly that the emotional intensity described in our stories, or portrayed by our characters is one of the main draws for a reader. Thanks for the list of those not utilized often enough and again - good job with the newsletter!
Fleck Girl
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Submitted By: Mark 
Submitted Comment:
Hi Darkin, you of course make me wonder about the simplistic emotional writings I do. I know they should be more complex - no emotion is ever alone. Characters can benefit greatly from a slight addition of a secondary emotion. Whether it conflicts, contrasts, enhances or distracts - it is a good thing.
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Drama: September 26, 2007 Issue [#1976]
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