The ghostwriter may need to explain a few things to the client who may not have experience in the dramatic arts. But a good play doesn’t explain. A good play reveals.
A narrator that speaks to the audience can be a powerful device. Shakespeare used this convention well. Tennessee Williams wrote beautiful passages for Tom in A Glass Menagerie. A narrator can also be a crutch that weakens the play. The narrator is a storyteller. Spinning a good yarn is a balance between intrigue and revelation.
A play without a narrator can also sputter if the writer doesn’t trust gesture, the unspoken word and the satisfaction of brevity. A play must be pregnant with implication. Not an essay wherein the writer explains it all to us.
The ghostwriter may need to take liberties that give the chaos of a “life story” the shape of drama. Make strong decisions then plot the actions of each character in each scene. Next, add the dialogue.
Take seriously what need not be spoken. Nothing wrong with saying “I love you.” But an action or deed might express the sentiment in a deeper, more consequential way.
Also, the ending of the play is nothing more — or less — than the fulfillment of the action that was initiated at the beginning. This does not imply that every action is followed by a wish fulfilled. Defeat might also complete the action. If the action is not clearly stated, words will not help fix the problem.
Other ghostwriting posts:
- How to Ghostwrite a Stage Play: The Beginning
- How to Ghostwrite a Stage Play: Prepare to Fail
- Ghostwriting Lesson: Capturing Voice and Story Takes Time
- How to Ghostwrite a Stage Play: Finish First Draft
