 Drama: May 01, 2013 Issue [#5631] |
  Drama
This week: Using the Loss Card for Drama Edited by: Joy  
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“Granny Weatherwax was not a good loser. From her point of view, losing was something that happened to other people.”
Terry Pratchett, Witches Abroad
“There is no teacher more discriminating or transforming than loss.”
Pat Conroy, My Losing Season: A Memoir
Hello, I am Joy , this week's drama editor. This issue is about loss and how it affects the characters in fiction.
Your Drama Newsletter Editors: zwisis NickiD89  kittiara Joy
Thank you for reading our newsletters and for supplying the editors with feedback and encouragement.
Note: In the editorial, I refer to third person singular as he, to also mean the female gender, because I don't like to use they or he/she.
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Welcome to the Drama newsletter
Loss is one of the major unpleasant occurrences we all face in life. We each cope with it in our own way.
Loss evokes two psychological responses: emotional reaction and the use of our very own coping mechanisms. Loss, therefore, gives way to high drama in its entirety.
In dramatic fiction, loss can be used as a theme, a background reality, or a catalyst in putting the wheels of conflict in motion. Whether the loss is great or small depends upon how a character looks at the situation at hand. The loss in fiction can be the result of someone dying, the damage to one’s good name, the loss of one’s fortune, physical or mental health, the place where one lives, one’s respect for himself or someone, or the loss of innocence.
Most stories have some type of a loss in them. For example, Death of a Salesman by Arthur Miller addresses the main character Willy Loman’s loss of identity as the result of his inability to accept change. Although under very different circumstances, the loss of identity theme is also the main driving force in Margaret Atwood’s The Handmaid’s Tale.
In To Kill A Mockingbird, as told by the younger sister Scout, Jem Finch’s loss of innocence---in other words, his transformation from an innocent teen, who believes in the goodness of his town’s people, into someone wise beyond his years--- happens after he witnesses the biased trial of Tom Robinson.
But then, how do we show how a character handles loss?
 The first step is to identify and write the loss in detail. The best way to do this is to tell the situation in concrete and unemotional terms, as if its news on T.V., if only to make space for the character’s later reaction and to leave something for the imagination of the reader. For example: The red Mazda struck a house and caught fire on White Elm Road near 4th Avenue early Monday morning. Jean Waelsh, the neighbor, said she was in bed when she heard the crash at about 2:45 a.m.
Then comes the character’s first reaction. Denial is the first step in any loss. “No, the accident didn't happen." "No,I can’t be having cancer!” “No, she can’t be dead!” “This didn’t happen. It can’t, it won’t happen.” Even if the character’s action is socially acceptable at first sight, chances are he is denying or rejecting the incident inside himself.
The more warped a character, the stronger will be his denial. This denial usually leads to anger or bargaining. "I hate these car manufacturers for selling us crap." “God, let me pass this test. I promise I’ll study every day after this.”
Next step is the realization that the loss did occur. The minute this realization sinks in, the character feels as if a physical or emotional piece of him is torn out. In this stage, the character may exhibit confusion, dependence on others, and feeling out of touch with the ordinary flow of life.
After this comes the coping mechanism, which is moving forward with acceptance. The character now will attempt to master the loss by gathering information and analyzing in detail the situation leading to the loss. Then, he may intellectualize it, to gain a greater sense of control. “I didn’t like that house, anyway.” “I lost her to disease, but at least, she’s not suffering anymore.” “I may have failed getting the diploma, but chances are I’ll be more successful in the free market.”
The loss experienced in fiction deserves to be the loss of something with deep emotional ties, something like a family member, a lover, a friend, an ability, or an object of significant meaning to the character. If you are writing about the loss of a candy wrapper, you’re probably writing a farce, not drama.
In addition, the loss of something will be more devastating and difficult to handle if the character worked hard toward acquiring it, and thus, the drama will be greater.
As a last note, let your character show reaction and express strong emotions during the process of handling his loss, so he can reach to a constructive end, having changed in some way and having learned from the experience.
Until next time… 
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 Enjoy!
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|  | Lost (18+)
A man on a verge of losing everything, as he desperately tries to explain an anomaly.
#1901084 by robertwriter  |
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This Issue's Tip:
To make a story interesting, before you start writing a story, write down how you or anyone else would expect it to end. Then avoid that ending.
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 Reading Recommendation: A book with drama
If you have a recommendation, a few words on a book or a product review, send it to me or to this newsletter. I'll highlight it here.
A novel by the WdC author, Adriana Noir
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Just Thinking
I am very much a beginer at writing, and I sufer
from the pit falls you listed in your letter. That being said, I found your information to be very useful, and has given me some directions to go. So thank you.
Thank you, too, for the feedback. I'm glad you found the newsletter helpful.
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A*Monaing*Faith 
"There is more pleasure to building castles in the air than on the ground." very well said Lord Gibbon, chuckle inducing and thought provoking indeed...
Good quote, for sure.
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BIG BAD WOLF is Merry 
submitted item: "Anthros Versus Zombies" [18+]
One wonders what's also going on.
Wondering is good for the soul.
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Quick-Quill 
The movie that has impacted me the most is M.Knight Shyamalan's "Devil." At first I didn't want to watch it, but the intricacies of this story is so intrigued me, by the end I was totally hooked and rewound the movie's points in my mind over and over. Not the plot but the ties, the weaving of the characters and how they have a 6 degree of separation. The best plotter/sub plotter I have seen.
Yes, it does take skill to weave the subplots and the plot together.
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jack-tyler
Hi, Joy! Great stuff, this. It always amazes me how many different ways there are to approach a subject. I exclusively use a subplot to "distract" my protagonist's attention from his main problem; he can't give his full attention to the wolf at the door, because there's a rat gnawing on his ankle. Example: Protagonist is a prosecutor. His case is being ripped apart by the defense attorney, and if he loses, a vicious serial killer walks free. He needs to give his full attention to the case, but his vindictive ex-wife is determined to take his daughter to live with her new husband... in Australia. Voila, subplot!
Right! Good subplot, for sure. Thanks for the input.
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