What do you think?
Rate this book
The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing
An accessible, contemporary guide to the art of dramatic writing
During the ten years that Stuart Spencer has taught playwriting, he has struggled to find an effective playwriting handbook for his courses. Although most of the currently popular handbooks have good ideas in them, they all suffer from the same they're poorly organized; are composed mostly of quirky, idiosyncratic advice on how specific playwrights have gone about writing their own work; and are full of abstract theorizing on the nature of art. As a result, they fail to offer any concrete information on how to construct a well-written play or any useful guidelines and exercises. Moreover, few of these books are actually written by working playwrights. Out of frustration, Spencer wrote his own book. The result, The Playwright's Guidebook , is a clear, concise, and engaging handbook. Spencer addresses the important principles of structure, includes insightful writing exercises that build upon one another, explores the creative process, and troubleshoots recurrent problems that playwrights actually face.
During the ten years that Stuart Spencer has taught playwriting, he has struggled to find an effective playwriting handbook for his courses. Although most of the currently popular handbooks have good ideas in them, they all suffer from the same they're poorly organized; are composed mostly of quirky, idiosyncratic advice on how specific playwrights have gone about writing their own work; and are full of abstract theorizing on the nature of art. As a result, they fail to offer any concrete information on how to construct a well-written play or any useful guidelines and exercises. Moreover, few of these books are actually written by working playwrights. Out of frustration, Spencer wrote his own book. The result, The Playwright's Guidebook , is a clear, concise, and engaging handbook. Spencer addresses the important principles of structure, includes insightful writing exercises that build upon one another, explores the creative process, and troubleshoots recurrent problems that playwrights actually face.
400 pages, Paperback
First published March 1, 2002
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 35 reviews
November 6, 2017
This is exactly what it claims to be, a primer on writing a play. It has a lot of merits, and would be a good addition to anyone's shelf, regardless of your level of theatre experience because it does something very well: It breaks everything down into bite-sized pieces and offers exercises to flex your muscles and suggestions for how to solve problems that might arise out of the process. Spencer heavily bases his technique on the writings of Aristotle, but uses an approachable vernacular that anyone could understand. For myself, it was helpful in reminding me of all the things I already knew about theatre after multiple decades around it, which was important because so often you begin to take certain things for granted. As a guidebook to the basic building blocks of theatre and methods for creating a work from scratch it achieves its purpose.
I did have one bone to pick, and that came from Spencer's section on historical plays. It might be because I am a historian who lives in the theater world, but I found his assertions about this to be downright harmful. He openly admits to being a "crank" on the topic and it shows. He says that people don't go to plays to get history, and if you see something like Shakespeare's Henry V for the history you are a fool. Well, let me tell you then, there are a LOT of fools out there, because I have genuinely lost track of the amount of people who have approached me with the firm belief that whatever historically-set play they've seen is the Absolute Truth. He also asserts that if you write about something more obscure in history, the likelihood of anyone who knows about it actually seeing it is extremely tiny. That's not true either. There are a lot of us historians out there, and we do see your plays, and how you treat history on the stage does matter. Of course some amount of historical inaccuracy is going to be forgivable and understandable in a dramatic context but I found myself actually angry at his spending several pages discussing why someone doing extensive research was wrong(!!) and then concluding that the play written by the person he was chiding ended up being beautiful and successful. Spencer's belief? None of the extra research mattered because it wasn't explicit in the play. I vehemently disagree with him.
This otherwise useful work is in desperate need of a new edition. I say this because in the 15 years since it was released so much of the theatre world has changed and many of his tips could use expansion. The existence of online ticket apps and lotteries, as well as the current trend of showing productions in movie theatres (the National Theatre, Allegiance, Newsies, etc.) and on television are just some examples of what any modern guide should include in its section on advice for seeing plays, not to mention BroadwayHD streaming service. It would also be invaluable to up-and-coming playwrights to have the selection of plays listed as suggested readings expanded. The number of superb plays of the recent decade and a half is not small, and it is a shame to not have them added to the appendix.
I did have one bone to pick, and that came from Spencer's section on historical plays. It might be because I am a historian who lives in the theater world, but I found his assertions about this to be downright harmful. He openly admits to being a "crank" on the topic and it shows. He says that people don't go to plays to get history, and if you see something like Shakespeare's Henry V for the history you are a fool. Well, let me tell you then, there are a LOT of fools out there, because I have genuinely lost track of the amount of people who have approached me with the firm belief that whatever historically-set play they've seen is the Absolute Truth. He also asserts that if you write about something more obscure in history, the likelihood of anyone who knows about it actually seeing it is extremely tiny. That's not true either. There are a lot of us historians out there, and we do see your plays, and how you treat history on the stage does matter. Of course some amount of historical inaccuracy is going to be forgivable and understandable in a dramatic context but I found myself actually angry at his spending several pages discussing why someone doing extensive research was wrong(!!) and then concluding that the play written by the person he was chiding ended up being beautiful and successful. Spencer's belief? None of the extra research mattered because it wasn't explicit in the play. I vehemently disagree with him.
This otherwise useful work is in desperate need of a new edition. I say this because in the 15 years since it was released so much of the theatre world has changed and many of his tips could use expansion. The existence of online ticket apps and lotteries, as well as the current trend of showing productions in movie theatres (the National Theatre, Allegiance, Newsies, etc.) and on television are just some examples of what any modern guide should include in its section on advice for seeing plays, not to mention BroadwayHD streaming service. It would also be invaluable to up-and-coming playwrights to have the selection of plays listed as suggested readings expanded. The number of superb plays of the recent decade and a half is not small, and it is a shame to not have them added to the appendix.
August 5, 2018
This is a fantastic resource for anyone who has ever had the intention of writing a play. Part 1 is like being in a class wherein you learn about structure, action, motivation and subtext, and so forth. Each of the chapters are followed up with writing exercises wherein Spencer asks you to write a scene that applies those concepts. For example, by the end of chapter 2 you are writing a short action scene for practice. By the time you get to chapter 9, you've likely already been following an impulse in your writing, so following the prompt within the chapter, or select one from the appendix is a natural step for developing at minimum a one act play (20 to 60 pages). The rest of the book is filled with useful tips for revision and continuing with the creative process.
I used this book as the primary text for a graduate level class in playwriting in which I was taking. In addition to this text, we also read and discussed five plays throughout the process. Specifically, we discussed how the concepts introduced by Spencer were applied to the plays we were reading. I am not so sure if this book would have been as meaningful to me if I a) wasn't taking it as a part of class, and b) didn't already have extensive and specific training in my undergraduate theatre program. Not that you need extensive theatre training for this book to make sense to you. But, I do think you should be well exposed to a variety of plays and should probably read a variety of plays while you are working through this book. But, if you are interested in becoming a playwright, I would imagine you've read and studied numerous plays up to this point and/or you've gone to or been in a number of theatre productions.
That all being said, I will be revising this text regularly as I write more plays and continue to develop the one that I am on right now. I will also use this text as I develop lessons for my own drama students and for my drama club members as they get into playwriting.
I used this book as the primary text for a graduate level class in playwriting in which I was taking. In addition to this text, we also read and discussed five plays throughout the process. Specifically, we discussed how the concepts introduced by Spencer were applied to the plays we were reading. I am not so sure if this book would have been as meaningful to me if I a) wasn't taking it as a part of class, and b) didn't already have extensive and specific training in my undergraduate theatre program. Not that you need extensive theatre training for this book to make sense to you. But, I do think you should be well exposed to a variety of plays and should probably read a variety of plays while you are working through this book. But, if you are interested in becoming a playwright, I would imagine you've read and studied numerous plays up to this point and/or you've gone to or been in a number of theatre productions.
That all being said, I will be revising this text regularly as I write more plays and continue to develop the one that I am on right now. I will also use this text as I develop lessons for my own drama students and for my drama club members as they get into playwriting.
February 18, 2019
Stuart Spencer's volume is precisely what the title suggests: a guidebook for the aspiring (or even established) playwright. Spencer takes the reader/writer through the steps of writing a script for the stage from keeping in mind your medium, following up on "impulses" (ideas), structure, how not to get bogged down in research if you're basing things on real events, and even how to go about trying to get work out there. Though about the stage, chances are you can apply these lessons to prose as well (I know I already have). As such, it's a genuinely useful volume for the practical and sensible advice that Spencer (a playwright and teacher in his own right) has to offer. Well worth seeking out for writers looking for some help or inspiration.
(On a related note to that: You know, it's funny. One of my best friends gave this to me as a birthday gift in November 2007 and, when I read it then, I didn't feel like I got much from it. Coming back to it more than a decade later, perhaps because of being more receptive to these sorts of books thanks to another friend introducing me to Julia Cameron, I feel I got far more out of it. "Older and wiser," perhaps?)
(On a related note to that: You know, it's funny. One of my best friends gave this to me as a birthday gift in November 2007 and, when I read it then, I didn't feel like I got much from it. Coming back to it more than a decade later, perhaps because of being more receptive to these sorts of books thanks to another friend introducing me to Julia Cameron, I feel I got far more out of it. "Older and wiser," perhaps?)
February 1, 2015
Stuart Spencer's book is faithful to its title, namely it is an unpretentious guidebook, trying to guide the aspiring playwright (or a student) to use the various techniques playwrights have accumulated over centuries and added to their arsenal.
The book is structured in 4 main chapters titled Structure, The Creative Process, Dealing with Problems and Some Advice. It also has a set of Appendices suggesting materials to read and also extra material to enable writing exercises.
Although it is mainly targeted to Theatre students, you can skip the exercises but still benefit from the plethora of hints and concepts such as the Action, Motivation, Subtext, Exposition and so on.
There are references to several great plays and it could be useful to study the text of these plays before or while reading the book.
All in all a very useful book for practitioners of the act of writing for Theatre.
The book is structured in 4 main chapters titled Structure, The Creative Process, Dealing with Problems and Some Advice. It also has a set of Appendices suggesting materials to read and also extra material to enable writing exercises.
Although it is mainly targeted to Theatre students, you can skip the exercises but still benefit from the plethora of hints and concepts such as the Action, Motivation, Subtext, Exposition and so on.
There are references to several great plays and it could be useful to study the text of these plays before or while reading the book.
All in all a very useful book for practitioners of the act of writing for Theatre.
January 15, 2008
Stuart Spencer gives you a lot to think about, not just about writing plays but about art and life, and how that ties in with what you're trying to create. Some of the things he talks about can also apply to a lot of other writing disciplines, not just plays. Thought-provoking, well-written and just spot on.
May 17, 2010
I am currently re-reading this great guidebook in preparation to teach playwrighting at the penitentiary this summer and at main campus in the fall. It was written by my playwrighting teacher from Graduate School, and I think it is really simple and easy to understand. I can't wait to see how the prisoners do with it.
March 4, 2012
Though the vocabulary Spencer uses may not be in line with what the reader already knows (multiple meanings of beat & scene; how action means a character's objective, goal, need), the concepts he presents are straightforward, logical & helpful. He clarifies action, conflict & event, reminding playwrights to focus on structure first.
March 9, 2010
I will surely read this book over and over again. Stuart Spencer offers excellent advice to writer's of any skill set or experience. A must read for aspiring writer's of any genre, especially playwrights.
August 2, 2013
THE playwriting must-read. Just read it.
Read
June 30, 2021The Playwright's Guidebook by Stuart Spencer does exactly what its title implies. Stuart is a playwright who applies a theory of playwriting that was expounded by Aristotle. Essentially you have a character who wants something and your story is whether or not the character gets what they want. Other authors have covered this ground; what makes Stuart's book more useful is that he gives examples and exercises that enable the reader to write their own play. There is also discussion about the problems faced by playwright's. Interestingly, Stuart defines writer's block not as a state where the writer does not know what to say, but a situation where the writer has lost touch with the motivation for the story. Stuart gives examples of what constitutes good, structured storytelling with reference to a number of celebrated plays. I would recommend this book to new playwrights and also as a useful reference for more experienced writers.
June 14, 2020
As a first-time playwright, this book was a great introduction for me. Spencer lays a solid foundation of how to start writing your play, and throughout the book provides fantastic examples and writing exercises. What I appreciate most about this book is that it wasn’t framed as a “you have to follow all theses rules to write a good play,” kind of book. There are “rules,” but they are treated as basic guidelines and starting points. Not every play is going to follow all of the guidelines that Spencer discusses, and Spencer himself acknowledges this.
This was a great read, and I highly recommend it!
This was a great read, and I highly recommend it!
November 5, 2019
Absolutely loved this book. It definitely has a place on my bookshelf!
It is NOT a beginner's read. I'd suggest reading it after you've mastered basic writing (i.e. more than beginning/middle/end structure). Also, it wouldn't hurt to read/study a few classics, like "Death of a Salesman" by Arthur Miller. He provides wonderful examples to illustrate the creative process. If you are familiar with the classics, you'll understand a lot more of this guidebook.
It is NOT a beginner's read. I'd suggest reading it after you've mastered basic writing (i.e. more than beginning/middle/end structure). Also, it wouldn't hurt to read/study a few classics, like "Death of a Salesman" by Arthur Miller. He provides wonderful examples to illustrate the creative process. If you are familiar with the classics, you'll understand a lot more of this guidebook.
February 7, 2018
I've read other books on dramatic writing and story structure. This book is one of the only ones that doesn't ramble on about the Hero's Journey or story arc. Instead, it includes simple explanations of dramatic devices with writing exercises to apply those devices. I loved working through the exercises and plan to go back to the Appendix of "images" to inspire more scene-writing.
August 9, 2020
This is a great helper for those who want to learn how to become a playwright. Spencer's insight into creating a story that comes alive on the stage is powerful. The exercises and explanation will guide you in learning about yourself as a writer as well as how to present your ideas to the stage.
January 3, 2021
4.5 stars
One of the best books on playwriting I’ve read. I intend to refer to it often.
He provides lots of practical tools and tips for everything from your conception of the play to doing your taxes. A wonderful addition to my tool chest
One of the best books on playwriting I’ve read. I intend to refer to it often.
He provides lots of practical tools and tips for everything from your conception of the play to doing your taxes. A wonderful addition to my tool chest
December 5, 2023
Second time working my through it, taking what I need and leaving what I don’t. and whilst it’s a little dated in some aspects, generally it’s a really accessible and kind guide and I’ll prob work through it again next year !
November 24, 2018
If you want to write a play, read this book.
May 4, 2020
This book changed my life, literally. It is a well written practical guide to playwriting. This book put me on the path to writing my first play.
December 14, 2022
Spencer insists on giving words unusual definitions, and spends a lot of time saying what he's not telling us. But he teaches principles that will be good to remember.
November 12, 2023
As promised, it's an insightful primer, and I think an indispensable help for writers at all stages. I absorbed a great deal reading it through and can see myself revisiting it often.
April 2, 2024
One of the most energizing, approachable books on writing I've ever read. It helped me get out of a creative log jam and I will 1000% be returning to it again and again.
October 31, 2021
I found it very interesting and helpful. The advice isn't for everyone but I liked it as an amateur writer!
July 4, 2012
This is the finest book on writing for the theater that I have encountered, and, believe me, I have read them all, from Aristotle's Poetics through Lajos Egri's classic "Art of Dramatic Writing" (1940), and the mountain of books devoted to various magic formulas guaranteed to generate the next Oscar-winning original screenplay. What sets this manual apart is the author's thoughtful consideration of topics which are almost never touched upon in books of this sort, but which are the very topics which the novice most wants and needs advice on: practical, everyday concerns such as how to create time to write, collaboration with producers, directors and actors, even advice about filing taxes. The big issues are not ignored: indeed, the bulk of the book is devoted to structure, creating character and dialogue, building and resolving conflict, and his approach to these topics is the most concise and practical I have come across. However, it is the nuts and bolts, concrete suggestions that bridge the gap from Aristotelian theory to the printed word on the page; and, for the working writer, this is pure gold. Whether you write for stage, large screen, small screen, or the printed page, I urge you to read this book. You will want to write a thank you note to Mr. Spencer (who currently runs courses in history of theater and playwright's workshops at Sarah Lawrence College).
July 28, 2015
A very easy-to-read overview and 'watershed' for all the basics and fundamentals of playwrighting. Topics treated: dramatic structure, characters, motivations...really, the history of all the well-known theatrical conventions and traditions. The language used is simple and effective, all the concepts laid down on the page in terms anyone can understand. Facile examples are prepared to illustrate every point. I found it a bit *too* simple, myself; but of all the 'basic primers on theater' out there, I feel that other readers would indeed appreciate this work the best. The chapter I enjoyed the most was where the author addressed the topic of 'when/why to break the rules'; and consequently 'when/why it works or fails'. That was of value.
June 24, 2007
Edward Albee called this book, "Indespensible." I couldn't agree more. Even if you're not a playwright, learning about how plays are composed allows you to delve into dramatic texts on an additional level. Spencer writes to the point, and gives pragmatic advice, and helpful exercises to aid in teaching lessons. He also gives provides a reading list and some suggestions on getting your play produced and filing your taxes. What more could you want?
November 3, 2015
I've read several books on playwriting, and been part of a professional theatre-writing lab for years, but this is the first book to really teach you how to build up the structure of a play in manageable little chunks (called - confusingly - 'beats'). Somehow I'd written plays without knowing about them, but they will certainly make the process easier. It's a pretty good all-round guide.
December 21, 2016
One word to describe this book fantastic, this book as helped me with my playwright so much and improved my work and also gave me the tools and knowledge to create a great play. The exercises in this book is very helpful. Highly recommend anyone who is interested in writing there own okay to start with this. It's the bible of playwright I swear by it !!!!!
January 30, 2014
A very clear and helpful guide to writing plays. It's taken me so long to find a book on playwriting (as opposed to screenwriting or writing in general). I'm glad I finally found this one. I'll definitely be referring back to it often.
April 5, 2015
It is clear and it helped me to become familiar with terms that I had not picked up in other types of writing. I read it for a writing class. It changed the way I think about drama, I hadn't given it a lot of thought before. Words like "action" did not have a dramatic meaning in my vocabulary.
November 17, 2010
The Playwright's Guidebook is full of good information which is easy to find and understand.
Displaying 1 - 30 of 35 reviews