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the best *play* you've ever read

I've been told from fellow screenwriters that some of the best ways to develop a good sense of writing dialogue realistically is to read a lot of plays that are considered the best of all time.

Just out of curiosity, what are some of the most influential plays you guys have read that have improved your writing?
 
I've been told from fellow screenwriters that some of the best ways to develop a good sense of writing dialogue realistically is to read a lot of plays that are considered the best of all time.

I'm not sure I agree with this. Plays and movies are different mediums, different expressive forms. It's possible for a good writer to be good in both. Reading a lot of plays will probably make you a better playright. I think observing human behavior, conversations will make you a better screenwriter. Also it depends on what kind of movie you want to make. I like minimalist expression in my movies. Some like more of it.

Maybe the writers can weigh in.
 
Reading plays can definitely give you a great ear for dialogue. But, as a produced playwright, and somebody who sees up to 100 plays a year or more, I'll give you some cautions:

#1. Plays are NOT movies, as a trueindie says above. If you want to read scripts in order to make you a better screenwriter, then read more film scripts rather than plays.

#2 The term "realistic dialogue" is tricky. Play dialogue can sometimes be a little less "realistic" than you might think, even if the play is set very realistically. Some of the same dialogue that works great in that play would come across sounding stilted and wooden in a film format, or overly expository.

However, the great part about reading plays for the purpose you mention is that they are ALL dialogue. It is the primary way the story is told.. So great playwrights really get a feel for making their characters speak in interesting ways, with interesting rythyms.

But always remember that depending on the type of film you are making you most likely don't need that much dialogue.

If you are interested, below are are some playwrights and plays I'd recommend for what you are seeking. Many of these plays were turned into successful film adaptations, some are among our greatest. I marked notable successful adaptations with an asterisk.

This list is specifically modern American playwrights, writing (for the most part) realistic plays.

  • Tennessee Williams: Streetcar Named Desire*, Cat on Hot Tin Roof*, The Glass Menagerie*, Summer and Smoke
  • Arthur Miller: All My Sons, Death of Salesman*, The Crucible*, The Price
  • Eugene O'Neill: Long Day's Journey Into Night*, The Iceman Cometh
  • Sam Shepard: True West, Fool for Love, The Curse of the Starving Class, Buried Child
  • Tony Kushner: Angels in America*
  • David Mamet: Glengarry Glen Ross*, Speed the Plow, Sexual Perversity in Chicago*, American Buffalo
  • Tracy Letts: Killer Joe*, Bug*, August Osage County*
  • Neil LaBute: The Shape of Things*, Reasons to be Pretty, Fat Pig
  • Neil Simon: The Odd Couple*, Lost in Yonkers*, Biloxi Blues*, The Prisoner of Second Avenue*
  • Edward Albee: Who's Afraid of Virginia Woolf*, A Delicate Balance, The Goat
  • Donald Marguiles: Collected Stories, Dinner With Friends*
  • Yazmina Reza: Art, The God of Carnage*
  • Lanford Wilson: Burn This, Fifth of July, Balm in Gilead
  • David Rabe: Streamers*, Hurlyburly*, The Basic Training of Pavlo Hummel
  • Lorraine Hansberry: A Raisin in the Sun*
  • August Wilson: Ma Rainey's Black Bottom, Fences, Jo Turner's Come and Gone
  • William Inge: Bus Stop*, Picnic*, Come Back Little Sheba*
  • Stephen Adly Guirgis: Our Lady of 121st Street, The Last Days of Judas Iscariot, The Mother****er with the Hat
  • Richard Greenberg: Take Me Out, Three Days of Rain
  • Jon Robin Baitz: The Substance of Fire*
  • Suzan Lori Parke - Topdog Underdog
  • John Patrick Shanley: Doubt*
  • David Auburn: Proof*
  • Margaret Edson: W;t*
  • David Lindsey Abaire: Good People, Rabbit Hole*
  • Annie Baker: Circle Mirror Transformation, Body Awareness, The Aliens,
  • Robert Schenkkan: The Kentucky Cycle
  • Horton Foote: Dividing the Estate, The Trip to Bountiful*
  • Mort Crowley: The Boys in the Band*
  • Marsha Norman: 'night, Mother*
  • Terrence McNally: Love, Valour, Compassion, Frankie and Johnny in the Clair de Lune*
  • Howard Korder: Boy's Life
  • Theresa Rebeck: The Family of Mann, Spike Heels, Seminar, Mauritius
 
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I'm not sure I agree with this. Plays and movies are different mediums, different expressive forms.
Just because plays and movies are different doesn't mean a writer
can't learn from reading plays. Would you disagree that reading
novels can help a screenwriter? They are different mediums and
expressive forms.

I agree that observing human behavior, conversations can make
one a better screenwriter. But so can reading plays and novels.

I'll second ahennessey's Mamet suggestion; Speed-the-Plow and
Glengarry Glen Ross are great for screenwriters to read. Great list
there.
 
to be frank, english language doen't have got much impressive work .
few to name to be good or better.one among them is shakesphere.

Try to get out of that boundary , and try to seek literature work out of english domain.

There are fundamentalist region on planet .but again the work of people from these region are not bounded by fundamentalist idea.
they are rather open minded and revolutionising.

Shakesphere personality is made lonely in western world ,by the kind of work he has achieved.
he recieved no company from any one in western world.still now , he remains alone.
even bieng brought up in non-brhminclass civilization and tribal people language like that,
he emerged out to become a personality find respect among outside the region .


in terms of other part of planet ,he really had company even before he was born and after his demice .
for western world he is the one.but, for others part of the world he is one among their great visionary personality in writing.

His plays are not read in english in developed language , rahter they are translated to these developed language. it's difficult for western students to grasp the modern thinking in matured way.
they do it robotic way rahter than brahmin class way.

may be japanese and chinese stories and play might help you in great way .

i saw one of the japanese play /show osheen (if i right) , story of a girl during world war , who looses her lovely family members. becomes younger love , married , family again.

Even tough , shakesphere lived in cave man civilization(non-brahmin class) , being writer he was exception to his identity origin.

THE IDENTITY OF AUSTRALIANS ARE CONSIDERED TO BE THAT OF LOW CLASS SPECIES.
IT IS TRUE.
BUT,AGAIN, IT IS IMPORTANT TO KNOW THAT, IT WAS THE SAME WAY THAT WHOLE ANGLICAN TRIBE EXISTED .
IF IN FUTURE , SHAKESPHERE LIKE PERSONALITY EMERGED FROM LOW CLASS IDENTITY OF AUSTRALIA BY BECOMING EXCEPTIONAL : DON'T BE SURPRISED. JUST BOW DOWN TO HER/HIM.
hE WILL BE IDENTITY OF BRAHMIN CLASS RAHTER THAN PATHETIC AUSTRALIAN CRAP IDENTITY.

It's the same case with most of the writers around the world .
they are different from their class of their civilization.

and again, ANGLICAN CIVILIZATION ????
The perception of world civilization is different such that , anglican identity can't be tagged into civilization.
may be , modern day civilization of europeAn world , where german intellect speaks in english with french intellect. that's the identity of civilization.

ANGLICAN TRIBE.
ANGLICAN TRIBAL PEOPLE.
ANGLICAN TRIBAL CULTURE.

that's how brahmin class dictionary quotes.

ANGLICAN TRIBAL CLASS LANGUAGE????

STOP !!!

IT'S ENGLISH ,INTELLECT CLASS USES IT.
and ofcourse , some people misunderstanding themself to be part of brahmin class ,claims to be part ethnic of that par !! JUST BECAUSE THEIR MOTHER TONGUE IS ENGLISH !!! OR THEIR NATION'S OFFICIAL LANGUAGE IS ENGLISH !!!!

FOR GET ABOUT BRAHMIN CLASS OF ANGLICAN INVITING PEOPLE LIKE THESE TO PARTIES,
THESE KIND OF PEOPLE ARE NOT EVEN ALLOWED TO TOUCH THE GARBAGE , AFTER PARTY.
BECAUSE , BRAHMIN CLASS ASSUMES , THESE KIND OD LOW CLASS SPECIES MIGHT MALIGN THE GARBAGE MORE BY HTEIR TOUCH!!!

THE BRAHMIN CLASS EXPECTS INTELLECT FROM ALL OVER THE WORLD TO COME AND MAKE THEIR LANGUAGE DEVELOP.
IT'S ALWAYS RED CARPET FOR THERSE PERSONALITIES.
BUT AGAIN, IT IS THESE ASPECTS THAT SHOULD MAKE SOCIETY DETERMINED AS "CIVILIZATION"

SHAKESPHERE ISN'T ENGLISH,
NEWTON ISN'T EUROPEAN,
EINSTEIN ISN'T JUST PART OF SUBJECT PHYSICS.
(FUNNY THING: Einstein work in physics department. his work get notified in math department more.
i.e., CALCULUS !!He din't invented it. he just decorated it perfectly.
AGain , his work on physics about relativity (nothinh inveted, just perfected) states finiteness is practicle.
know what his math work in calculus say on infiniteness??.))

Contribution the worlD of litrature by english is not big.
but, impressive in what ever way it has happened.

contribution to the world of ENGLISH LITRATURE IS NILL FROM CANADA.

contribution to the world of ENGLISH LITRATURE IS NILL FROM U.S.
contribution to the world of ENGLISH LITRATURE IS NILL FROM AUSTRALIA.
contribution to the world of ENGLISH LITRATURE IS NILL FROM NEWZEALAND.
contribution to the world of ENGLISH LITRATURE IS NILL FROM NON ENLISH SPEAKING UK MEMBER NATION.
 
R U SHOCKED ??

From previous posts of yours I've been shocked that you can believe you're such a good scriptwriter when it's obvious that you don't even know what a script is. I'm even more shocked now that in addition to being ignorant and deluded you appear to be a racist!

I think we're getting near to the point where you need to be banned from this community!

G
 
...
IT'S ENGLISH ,INTELLECT CLASS USES IT.
and ofcourse , some people misunderstanding themself to be part of brahmin class ,claims to be part ethnic of that par !! JUST BECAUSE THEIR MOTHER TONGUE IS ENGLISH !!! OR THEIR NATION'S OFFICIAL LANGUAGE IS ENGLISH !!!!
JoeJohn, do you know this is not a forum for Indian and South Asian films? "Indie" refers to "independent". "Indie Talk" is about "independent films". It is not a reference to "Indian". We are from multiple countries around the world of all ethnic groups, races and religions.

Independent films, or indie films, are films made by individuals. You are welcome to participate but you need to respect the community's rules. IndieTalk is an international community of filmmakers from all over the world. We help support each other in developing skills and networking.

When I read your comments, I think you believe we are all of Indian or South Asian origin who speak English to show off or put you down. Most of us are not. We welcome others from all countries. Of necessity, English is the primary language for this bulletin board so that various international filmmakers can exchange ideas and intellect.

There may be groups specifically dedicated to South Asian and Indian films. I am sure there are members of this group who are from that area or share your interests. You are right. There are many international film and literature resources to draw upon. The adaptation of Vikas Swarup's book to produce the movie "Slumdog Millionaire" is just one example. I often find inspiration in foreign tales.

You may be a good storyteller but there is much more you need to make a movie. In another post you mention you have a camera. That's good. Making a film is about storytelling--not only with what is said ("dialogue") but with what is seen ("shots"). A good script helps a director guide the actor and lay out a scene for shooting. There is a lot to learn. And there are people here who are willing to help.

Based on the conversations, I think there has been a misunderstanding. We discuss independent films or indie films. Occasionally, members will discuss Indian films or bollywood productions. Again, many of our members are native English speakers with no South Asian ancestry. While you are welcome to learn and contribute, you must understand you are working with people of all ages, races, religions and nationalities who only share an interest in making movies.
 
I never said i'm asian.

even if indie, it is never based on language perfection.
if based on perfection of language, then how come any one can be accepted just because they speak good english!!!????.
how are educated rated as.
lot of peopple know to write/read english very well.
but , what about maturity?
guys who are good in numbers and alphabets do well in math and spelling bee.
in same way , kids good in grammer and spelling can never be good in script writing or story writing.


And about racism ,

The matured class i come from has right to scold the dirty immatured class when time comes.\
no matter how much you cry in this forum , i will be punching you in the face as long as i see it wrong.

you get right to complain to admin only when you show some perfection and love for your passion.
your member ship is expired get it renewed.
then i'll surely beg sorry.

indie for english speaking people !!!!
script writing for english knowing people !!!!!
IF MY CLASS PEOPLE HEA YOUR WAY OF CONCLUDING THEORY
THEY WOULD HAVE YELLED:
humanity in crisis !!!

The members of this club even some times question about you , how come people like these be given consideration as part of human species.
just because they know how to talk like humans ???
even parrot can talk . if trained , it read and write tooo. just like you people are doing now.
for people where super man is intellectual , what else can be dirties than you guys mind set.

negro is a tribe name,
jew is religion name,
paki is state name ,

what else should get termed NEXT,

INDIE -english SCRIPT WRITER !!!

YOU PEOPLE ARE SUCH SHAME TO INDUSTRY , INSTEAD OF JUST SPENDING TIME NEXT TO WORD DICTIONARY, BETTER START TO SPEND TIME WITH THE ENVIRONMENT AND CLASS WHICH TEACHES YOU PERCEPTION OF THE WORD AND EVOLUTION.

YOU LOW CLASS .
 
lot of peopple know to write/read english very well.

But you are not one of them! According to your post, wouldn't that make you less skilled than a trained parrot?

The matured class i come from has right to scold the dirty immatured class when time comes.

This statement demonstrates that you have no class whatsoever!

no matter how much you cry in this forum , i will be punching you in the face as long as i see it wrong.

Threatening violence proves nothing other than that you are both immature and a fascist.

indie for english speaking people !!!! script writing for english knowing people !!!!!

Don't be ridiculous! There are thousands of people making indies in languages other than English and plenty of good screenwriters creating scripts in languages other than English.

YOU LOW CLASS .

That's possibly true but at least I've got some class, which is more than can be said for you! You have been offered advice and help and instead of thanking those who have offered it, all you can do is be rude and insulting.

G
 
JoeJohn, do you know this is not a forum for Indian and South Asian films? "Indie" refers to "independent". "Indie Talk" is about "independent films". It is not a reference to "Indian".
LMAO!
rotfl.gif




Why are are all you smart people trying to talk sense to JJ?
You're never EVER going to fill up that deficit.
Ever.

Move on and quit feeding the troll bears.



I've been told from fellow screenwriters that some of the best ways to develop a good sense of writing dialogue realistically is to read a lot of plays that are considered the best of all time.
Yeah, your fellow screenwriters are mistaken.
You write good dialog when you can create good characters with something meaningful or entertaining to say.
You won't be able to analyze and deconstruct a hundred other plays to achieve that ability to create.
You have to A) think of a situation, then B) place "interesting" characters in it.

Do you ever find yourself fabricating multiparty conversations that move along a path like a chess game?
Then you're good for writing dialog.
If not then dialog will be slog for you.
Straight up.

You have to understand people.
Managing or working with them helps.
People are amazingly kind but stupid.
Bug watch them.
Remember the dumb things they do.
Then craft your stories.
 
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Just because plays and movies are different doesn't mean a writer
can't learn from reading plays. Would you disagree that reading
novels can help a screenwriter? They are different mediums and
expressive forms.

No, no, you're absolutely right. In fact I think, reading books can be better at teaching one to be a script writer than purely observing human behavior. I was trying to make the point that a Play as an expressive form has a different expressive form of dialog. Books can have expressive forms of dialog similar to films, and I think most books do. So you're right. Reading any book would be good learning.

I agree that observing human behavior, conversations can make
one a better screenwriter. But so can reading plays and novels.

I'll second ahennessey's Mamet suggestion; Speed-the-Plow and
Glengarry Glen Ross are great for screenwriters to read. Great list
there.

My personal favorites when I'm writing scripts is to read:
William Goldman
Larry McMurtry

Personal favorites when I'm writing prose
Gerald Durrell
Richard Wright
David Foster Wallace

Depending on what I'm writing, reading these guys oils my brain, and makes me a faster writer, if I sit down with one of their books before I begin to write.
So for me, reading books is in fact a better tool for writing than simply observing human behavior.
But I do pick up dialog once in a while in public, and I write it down on my phone, if it's interesting.
 
No, no, you're absolutely right. In fact I think, reading books can be better at teaching one to be a script writer than purely observing human behavior. I was trying to make the point that a Play as an expressive form has a different expressive form of dialog. Books can have expressive forms of dialog similar to films, and I think most books do. So you're right. Reading any book would be good learning.
Reading plays is a great way to learn, too. A screenwriter shouldn't cut themselves
off from excellent writing just because it is a different expressive form of dialog. I
suggest you watch a few movies adapted from plays. Then read the play. There are
far more similarities in play and film dialogue than you think there are.
 
Reading plays is a great way to learn, too. A screenwriter shouldn't cut themselves
off from excellent writing just because it is a different expressive form of dialog. I
suggest you watch a few movies adapted from plays. Then read the play. There are
far more similarities in play and film dialogue than you think there are.

I think you're right. My idea of plays that I expressed is from watching plays, and not from having read many plays. Bernard Shaw plays are probably the only ones I read for pleasure in my youth. And I did love them. But I haven't read many plays other than those and can't really talk intelligently about plays in general. But I agree with you that a screenwriter shouldn't cut themselves off from excellent writing.

Maybe I'll pick up a couple of plays from Ahennessey's list there.
Edit: Pretty nice list there Ahennessey.
 
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