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I'm afraid that you're probably not really going to get a fully detailed response on here regarding where to start as a playwright as most writer's processes are different, especially on the format of scripts as that subject seems to be up for debate recently depending on the theatre. Also, I believe I can safely make the inference that most successful playwrights aren't redditors (or if they are, they're probably not subscribed to r/playwriting, else this subreddit would be a little more active). However, what I can do is point you toward some great resources that are utilized by most every aspiring/professional playwright that I know.

Backwords & Forwards: A Technical Manual for Reading Plays by David Ball is a fantastic book for anyone interested in dramatic literature. This is a book that will guide you in analyzing plays (and any story really) with a concentration on the actions of characters, the consequences of those actions, and how they fit into the arc of the story. It does this by taking you through Shakespeare's Hamlet from the end of the play to the beginning, as opposed to Act I to Act V. This is an invaluable resource that is used by playwrights, dramaturgs, actors, directors, and most everybody working in the field of theatre. It is also a resource that is a staple in most theatre graduate schools.

Another resource that is generally agreed upon as a proper manual for the art of playwriting alone is Naked Playwriting: The Art, The Craft, And The Life Laid Bare by William Missiouri Downs. Downs takes you through the basics of crafting a play and exposes you to the various philosophies regarding processes with little personal bias. It's not a dry read at all and will guide you through the use of examples. It will teach you not only the standard formatting for dramatic writing, but also the pros and limitations of writing for the stage. This book has helped me significantly as a playwright.

A good supplementary text would be Audition by Michael Shurtleff. Michael Shurtleff was a very important Hollywood/Broadway casting director who discovered the likes of Barbara Steissand, Robert DeNiro, and Dustin Hoffman, as well as many others. This book is generally held up as the Bible for actors. Why an acting book, you ask? Most of the good playwrights that I know are also good actors, which points to the fact that the more you know about acting, the better playwright you will be. Not only will it familiarize you with the craft, but it will also allow you to provide opportunities for great acting within your work as a writer.

Unfortunately, I'm not too familiar with any good resources about writing for musical theatre, however the main principles of writing straight plays holds true for all musicals. I'm sorry that I couldn't provide you with anything more extensive or personal, but if you are serious about writing for the stage, these are the best resources I can give you. But if you want to definitely get better, there is nothing more important than reading as many plays and seeing as much live theatre that you can get your hands on.

Hope this helps! And good luck.

I have attempted to write the definitive play on shamanism and visionaries. I had high hopes for this play and sent it to a few prominent theater companies, but I think it is too outré for a professional theater to take a chance on. But it might be perfect for a new theater company looking to make its mark.

Shamanism is often seen as a primitive form of theater with shamans considered to be the earliest form of actors. This argument is made in the book Way of the Actor: A Path to Knowledge and Power by Brian Bates. But my main interest in shamanism is its relationship to artistic inspiration. For example, according to the Wikipedia article on Artistic inspiration

> In Greek thought, inspiration meant that the poet or artist would go into ecstasy or furor poeticus, the divine frenzy or poetic madness. He or she would be transported beyond his own mind and given the gods' or goddesses own thoughts to embody.

This ecstasy sounds a lot like the ecstasy experienced by a shaman in a trance state. Being given the gods' or goddesses own thoughts to embody sounds a lot like channeling a god.

Recently I sent this play to Primary Stages' Einhorn School of Performing Arts Drills for a workshop but I sincerely doubt they will accept it.

This month I'm going to experience sensory derivation at Blue Light Floatation in New York City. This is the sort of thing a genuinely adventurous creative person should attempt. Maybe I will work the experience into a revision of the play.

Firstly, I am sure that Frozen and Elsa are copyright material, as is "Let it Go"... While I doubt someone would sue you for doing a play with kids, you may want to talk to school officials and make sure they're okay with the risk of doing so...


That said, you could easily write a script in the 'style' of Frozen. You could create as many little Elsa-clones as you'd like, provided you do not use the name Elsa...

It may be easier to do something like A Fairy's Tale (http://www.amazon.com/A-Fairys-Tale-Brian-Mitchell/dp/1605130109)

Best wishes!

>Hey, thanks for that. I will leave a link to the play. I am aware that it is a rather big play, but it is the play that I have most of my focus on. I can write something smaller as well, if you like my writing. I would love to hear your feedback.King Fury the Terrible

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When theater people talk about Samuel French format, they're talking about a format for submission of plays, not a publication format. Sam French is the most common, standard play submission format, but each theater can have its own specifications. Here are some examples of Samuel French format:

http://www.playwrightslocal.org/wp-content/uploads/2018/04/Samuel-French-Formatting-Guide.pdf

http://broadwayeducators.com/wp-content/uploads/2013/05/Sample_Format_Page.pdf

http://downloads.bbc.co.uk/writersroom/scripts/stageus.pdf

When you say Samuel French format, you're talking about Acting Editions like these? Small, thin booklets used by actors as they learn the play? Published by Sam French or Dramatist's Play Service? They are called acting editions:



https://www.amazon.com/Rebecca-Acting-Clifford-Williams/dp/0573113653



https://www.amazon.com/Remember-Mama-Acting-John-Druten/dp/0573011974/ref=sr_1_3?s=books&ie=UTF8&qid=1542057843&sr=1-3


https://www.amazon.com/Wit-Acting-Margaret-Edson/dp/082221704X


https://www.amazon.com/gp/product/0573651302/ref=dbs_a_def_rwt_hsch_vapi_taft_p2_i5


https://www.amazon.com/Side-Man-Acting-Warren-Leight/dp/082221721X

The first thing that comes to mind is "Audition" by Michael Shurtleff. A good chunk in there is how to break down a monologue in moments and beats although he's specifically talking about this in relation to the audition process.

If you've already gotten the part and are looking for another great book about the different parts of a script, or how to break down a monologue (from an Actor's view, but I think it translates to the writing process) I would read "Respect for Acting" by Uta Hagen.

Audition can be found here

and

Respect for Acting

The Black Lives Black Words anthology is pretty great read.

https://www.amazon.com/Black-Lives-Words-Short-Plays/dp/1786821516

I would suggest reading Sondheim's books.

Finishing the Hat, and Look, I Made a Hat

And Everything Was Possible

Both are gonna give you very indepth details in the making of a musical, though specific to Sondheim.

From what I remember, the Lyricist and the Bookwriter went over the outline together. Then the bookwriter would start writing the play and send scenes as they were done. The lyricist/Score writers would then use those scenes as inspiration for songs.

The book that got me through my first draft was [Naked Playwriting] (https://www.amazon.com/Naked-Playwriting-Craft-Life-Laid/dp/1879505762) by William Downs and Robin Russin, I would recommend it to anyone looking for advice!

So incredibly incorrect.

https://www.amazon.com/105-Five-Minute-Plays-Study-Performance/dp/1575259109/ref=sr_1_1?ie=UTF8&qid=1491322548&sr=8-1&keywords=Five+Minute+Plays

Get these books by David Mamet:
Three Uses of The Knife, and True and False: heresay and common sense for the actor

Probably something you can use here:
https://www.amazon.com/Joshua-James-Project-ebook/dp/B00H0UU4PE