  Drama
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“The trouble ain't that there is too many fools, but that the lightning ain't distributed right.”
Mark Twain
“It is hard to free fools from the chains they revere.”
Voltaire
"I wasn't born a fool. It took work to get this way."
Danny Kaye
"The essence of drama is that man cannot walk away from the consequences of his own deeds."
Harold Hayes
Hello, I am Joy , this week's drama editor. In this issue, we are going to discuss the drama of the fools.
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Welcome to the Drama newsletter
Once in a while, you may have stumbled and felt like a fool, just as I have. Anyone can act foolishly when his knowledge on any given subject is not enough or when he has misjudged a situation.Yet, acting foolishly once or twice is different from being the dramatic fool.
The drama of the fool springs from his free-spirit even if he is enslaved by a king as a court jester or by a domineering husband as a harried housewife. Fools can be happy, sad, angry, clownish, outwardly frivolous, kind, or cruel. They feel free to cross boundaries in thought or action. They can bust other people’s follies or they can bungle up their own worlds. They are able to manipulate, criticize, misjudge, or tempt others due to the child still alive inside them. They can also yield to temptation more easily, opening the door to some serious drama.
Fools have been around since Homo Sapiens came up with literature. Although a stock character in Greek and Roman theaters, the image of the fool has evolved through the centuries. In Shakespeare's Twelfth Night, Feste the jester is described as wise enough to play the fool. Feste is playful and foolish, but has a dark, mysterious, and revengeful side. Then, the noblest and the most intellectual Shakespearean fool, King Lear’s Fool, adores Cordelia, one of the king's daughters, and is not afraid of the king to tell him the truth. In fact, the character of the Fool is the main component in developing the character of the king in King Lear. In our time, having evolved from the court jesters, stand-up comics say and do the most unexpected, daring things on stage to entertain the masses.
On the more serious side, in tragedy or comedy, fools can make very strong main characters, like Don Quixote de la Mancha, Forrest Gump, and Mozart and Salieri in the movie Amadeus. Another fictional fool, Prince Myshkin in Dostoevsky’s The Idiot, portrays the highest good in mankind.
As your story's character, the fool is playful and can lead others to surprising and sometimes shocking places. His most prominent trait is his love of freedom: first, in thought; second, in action. Due to this trait, most fools may avoid romance and involvements, although they may feel lovesick. Fools also penetrate in and jump among different layers of the society freely, with disregard to what anyone may say; for at heart, they are roamers who do not care much about rules and legalities.
Fools fear losing their freedom and cannot tolerate being bored. Being childlike inside themselves, they adore children and try to entertain them by clowning around. The greatest motivation for fools is curiosity. This curiosity drives their stories forward and causes serious dramatic conflicts in their lives.
If your fool is your main character, you'll have to find guidelines and limits for his behavior. For that, your fool needs other more serious, controlling characters who can act as his teachers or can even become his abusers.
If you write him as a negative character, the fool can be a downbeat con man with charm and charisma. This negative fool does everything in excess and causes shame to those around him. While he absolutely abhors authority figures, he behaves very irresponsibly for lack of morals and ethics, and he can also succumb to illegal substances and criminal behavior. Then, he runs away from the consequences of his actions when things get tough.
Positive or negative, the fool is a character full of surprises and energy. Creating your fool as a protagonist, antagonist, side-kick, or villain, you'll need to remember that the main asset of this character is his free-spirit whether he flashes the truth or mismanages and botches up.
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ENJOY!
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Thank you for reading our newsletters and for supplying the editors with feedback. Now, let's take a look at a tip.
This Issue’s Tip:
 Take care when describing a character’s attitude to his environment. Does he like it, hate it, or is indifferent to it? A character's attitude toward his environment tells a lot about the character.
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Adriana Noir 
Great edition! The tips on how to present the inciting incident are extremely useful. It made me think of "Seven Pounds" which I just watched and thought it would have had a lot more impact if it had been pieced together and offered differently. Sometimes too much intrigue spils the package. *humbsup* Thank you for featuring my story too!
Thank you, Adriana. 
I, too, keep picking on things I watch. Chances are the directors do things their way and disregard the writers' scripts. I am now reading an old book -from the library- that has the original stories of successful movies. The differences are sometimes amazing.
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raynstorm
Thank you so much for featuring my short story, A Child's Voice. I also wanted to say great newsletter. I like how you re-introduced the idea that an inciting incident doesn't have to be a fight, battle or a car crash. The possibilities are really infinite when you think about it and exploring them will not only expand our abilities, but hopefully provide enjoyment as well.
Thank you very much, Rayn.
I think I can sometimes learn from my own mistakes.  I used to open up my earliest stories with a bang and a boom, to feel stumped afterwards or coming up with a wishy washy ending. I have calmed down since.
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Fyn-elf 
Wonderful and helpful newsletter! Thanking you as well for including something from my port...made my day!
Thank you very much, Fyn. Your feedback means a lot to me.
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Drama: June 17, 2009 Issue [#3071]
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