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Excerpt from Experiments in Play Writing: In Verse and Prose "With such a theme as Mr. Lambe had selected the danger was that he might spoil it by over-elaboration. He has skilfully avoided this pitfall and has produced a powerful novel. The early scenes are concerned with the moving times of the liberation of Bulgaria, and perhaps Mr. Lambe might with advantage have curtailed this section of the book. Still, to anyone but the novel reader pure and simple it is full of interest, and when the author is free of politics and plunges into his story he holds the reader's attention to the end." - Daily Telegraph. "Mr. Lambe's knowledge of the inner workings of Bulgarian politics seems to be as extensive as it is certainly interesting... Real and important contribution to the history of the Balkan Principalities." - Daily News. "Wants nothing of human interest." - Academy. "The tragical drama is as full of human as the first part of historical interest." - Publisher's Circular. "A vivid and realistic picture of social life and political intrigue." - Spectator. "This absorbing story... Were there no truth in the romance there would still be fascination; as it is there is fascination in double measure." - Christian World. "When Mr. Lambe's novel first appeared it met with unanimous approval, and now, since its revision, the story will no doubt find a new circle of readers. The author... gives us many realistic pictures which have a remarkable fascination. The story is full of deep and dramatic interest, and the novel-reader will find it engrossing." - Liverpool Mercury. "So great is the output of novels that there must be many persons capable of appreciating By Command of the Prince who have not yet read or even seen the book. It cannot, therefore, be amiss to state here in the plainest language that Mr. Lambe has written one of the most noteworthy of the first-class works of fiction which have appeared during the last few years. By Command of the Prince is the account of a tragedy which belongs to criminal history, and Mr. Lambe's great talents have been lavished upon the task of presenting real events with as little addition of fiction as an historical novel can possibly contain. The first half of this noble and tender narrative consists of an account of the later years of Prince Alexander of Battenberg and of Bulgaria. This furnishes the platform from which we mount to the heights of the moving human drama, which Mr. Lambe has constructed out of public and private accounts of all the circumstances which culminated in the great Bulgarian murder trial of 1897. The only fault of the book is that the agony is too long drawn out. In conception, in execution, and above all in intention, this is a volume of which England in general, and Cambridge in particular, may well be proud. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Winner of Best Writer at The Stage Debut Awards 2020 That's actually what me and Leah came here to talk to you about. Look- there's no easy way of saying this, but... Leah and I are getting married. The dresses are chosen, the venue's been booked and the RSVPs are flooding in. But with her wedding to Leah drawing nearer, Tara's future is thrown into jeopardy when her Nigerian parents refuse to attend. This kind of love is unheard of, they say. It's not African. High above London, suspended between the stars, three of Tara's ancestors are jolted from their eternal rest. Stubborn and opinionated, they keep watch as family secrets are spilled and the rift widens between Tara and her parents. Can these representatives of generations passed keep the family together? And will Tara's decision ever get their blessing? An epic family drama played out between the heavens and earth, The High Table is the hilarious and heart-breaking debut play from Temi Wilkey.
The latest edition of the bestselling guide to all you need to know about how to get published, is packed full of advice, inspiration and practical information. The Writers' & Artists' Yearbook has been guiding writers and illustrators on the best way to present their work, how to navigate the world of publishing and ways to improve their chances of success, for over 110 years. It is equally relevant for writers of novels and non-fiction, poems and scripts and for those writing for children, YA and adults and covers works in print, digital and audio formats. If you want to find a literary or illustration agent or publisher, would like to self-publish or crowdfund your creative idea then this Yearbook will help you. As well as sections on publishers and agents, newspapers and magazines, illustration and photography, theatre and screen, there is a wealth of detail on the legal and financial aspects of being a writer or illustrator. New for 2021: Raymond Arbutus Performing and publishing poetry Sam Delaney Creating and making money from your podcasts Ana Garanito Adapting books for stage and screen Clare Grist Taylor Advice from an 'Accidental' agent Adam Hamdy Festival fever: your guide to why, how and what Russell Lewis Writing series for TV Jonathan Lorie How to become a travel writer Julia Mitchell Writing an award-winning blog Frances Moffatt Illustrating non-fiction books Hari Patience In praise of fan fiction Sarah Such Cross format representation: what an agent can really offer Temi Wilkey Getting a play published and performed Rachel Winters Would like to meet: writing romcoms
With recent advances in digital technology, a number of exciting and innovative approaches to writing lives have emerged, from graphic memoirs to blogs and other visual-verbal-virtual texts. This edited collection is a timely study of new approaches to writing lives, including literary docu-memoir, autobiographical cartography, social media life writing and autobiographical writing for children. Combining literary theory with insightful critical approaches, each essay offers a serious study of innovative forms of life writing, with a view to reflecting on best practice and offering the reader practical guidance on methods and techniques. Offering a range of practical exercises and an insight into cutting-edge literary methodologies, this is an inspiring and thought-provoking companion for students of literature and creative writing studying courses on life writing, memoir or creative non-fiction.
Louis Catron imbued experienced and fledgling playwrights with inspiration, guidance, and a passport to maximizing their writing skills as well as their overall ability to transform written words into a stage production. He understood that being a playwright is more than putting pen to paper. It involves expressing a personal point of view, bringing a vision to life, developing dimensional characters, structuring a play’s action, and finding producers, directors, and actors to bring the work to life. In the second edition Norman Bert infuses the enduring merits of Catron’s original work with examples, technological developments, and trends geared to today’s readers. Bert’s play references are familiar to contemporary students, including examples from plays written since 2000. He includes useful information on web-based research and the electronic submission process. A new chapter focuses on the playwright’s responsibility to lay the groundwork for production elements like casting, design, theatre architecture as it impacts audience–performer relationships, staging modes, and the uses and expectations of stage directions. Also new to this edition are reading resources for delving deeper into topics discussed.
To write for the theatre you need to know about theatre. Ideas are easy to come by. Examine your background, interest, and beliefs. Examine the world around you. Exercises can help you come up with ideas. Choose the audience you want to reach and write to that audience. To learn to write dialogue listen to and record everyday conversations. Dialogue should sound like ordinary conversations but has more direction. Know as much as you can about your central characters. Do a character analysis. Choose the character traits to emphasize. A character should come across as both typical and individual. Most plays have a plot, which involves conflict between the protagonist and the antagonist. The parts of a plot are: inciting incident, rising action, turning point, climax, and falling action. Other types of organization for a play are circular and thematic. Before starting to write, you need to develop a central idea. Plays exist for a number of reasons—entertainment, to bring attention to something, and to teach. You need to decide what you want to accomplish. It’s easier to gain an audience’s interest if you start with a theme they agree with. A play needs a sense of universality. A play should be unified, but it also needs contrast. Since theatre is a collaborative art, the director, actor, and designers may see the different facets differently than you do. It’s not difficult to have a well-written produced. Possible markets are schools, organizations, and professional theatre. Finished plays have to follow a particular format. About the Expert Marsh Cassady has had thirty-eight plays published and/or produced—including Off-Broadway. A former theatre professor with a Ph.D. degree, he started a playwriting program at Montclair State in New Jersey that included beginning and advanced classes, workshops, and individual projects. He also taught creative writing, including playwriting, at UCSD. Marsh is the author of sixty published books in a variety of genres from theatre textbooks to novels to true crime, and hundreds of shorter pieces. For about thirty-five years he led all-genre writing workshops in San Diego and in Rosarito, BC, Mexico, where he has lived since 1997. HowExpert publishes quick 'how to' guides on all topics from A to Z by everyday experts.