drama essay writing

Essays About Drama: Top 5 Examples and 5 Prompts

The word drama covers many meanings and subjects; if you are writing essays about drama, discover our guide with interesting essay examples and writing prompts featured here.

What is drama to you? Many know it as a situation or event in which emotions run high. For others, the grand, intricate stage plays of Shakespeare and others of his time come to mind. Regardless, these and all other definitions of drama share one thing in common: emotion.

In all its forms, from theatre to television to cinema to even day-to-day interaction, drama is always centered around emotion, tension, and conflict- things we experience daily. Drama is, quite literally, our life, complete with all its imperfections, troubles, twists, and turns. 

For help with your essays, check out our round-up of the best essay checkers

1. The History of Drama by Homer Stewart

2. why the news is not the truth by peter vanderwicken, 3. drama reflection essay (author unknown), 4. kitchen sink dramas by rodolfo chandler, 5. love yourself, not your drama by crystal jackson, 6. shakespeare’s theater: an essay from the folger shakespeare editions by barbara mowat and paul werstine, 1. what is drama, 2. types of drama, 3. the history of drama, 4. is the world over-dramatized today, 5. a dramatic incident of the past.

“Perhaps the most theatrical form of drama was opera which is still popular in today’s society. Broadway is certainly a sight that attracts thousands of people annually. In addition, the playwrights of today are striving to make the theatrical experience meaningful to the lives of viewers so that it is not just simply “pleasant entertainment”. Many themes that drama plays in modern times focus on are social problems, tragedies involving the elements of love and hate and as well as social problems that affect the inhabitants of today.”

Stewart gives readers a brief history of drama and its subjects. In different eras, the plays were based around themes and ideas prevalent in those times; for example, the Romantic Period focused on the “experiences of ordinary people.” He also references several playwrights, including Friedrich von Schiller and Percy Bysshe Shelley. In modern times, drama is centered around critical social issues while still managing to be engaging and entertaining.

“Pulitzer turned them into stories with a sharp dramatic focus that both implied and aroused intense public interest. Most newspapers of the time looked like the front page of the Wall Street Journal still does. Pulitzer made stories dramatic by adding blaring headlines, big pictures, and eye-catching graphics. His journalism took events out of their dry, institutional contexts and made them emotional rather than rational, immediate rather than considered, and sensational rather than informative.”

Vanderwicken criticizes the state of news today, saying that many stories are dramatized and outright fabricated to make them more entertaining. He attributes this to Joseph Pulitzer of Pulitzer Prize fame, who introduced He also gives historical examples of instances where the media has exaggerated – news today is too dramatic, and it must change.

You might also be interested in these essays about Macbeth .

“I felt that this learning experience is a very huge step because it takes us from doing a play which is very immature in to something that is big and has maturity in it. It helps me to practice in fluency, public speaking and mostly self-confidence. In the play I developed my ways of acting and how to put emotions in to the character, in which those emotions were not really me.”

This essay describes lessons one can learn from performing drama, such as confidence and speaking fluently. The author also reflects on an experience performing in drama, where the author learned to be more expressive, speak better, and become more hardworking. There is also a brief discussion on the elements of drama, including plot and setting. Drama is important and can teach you essential skills and lessons. 

“In the late 1950s in Britain, the “Kitchen Sink movement”, which is also known as “Kitchen Sink realism” occurred. This cultural movement stemed from ideas about working class activities. A typical writer of kitchen sink dramas is John Osborne, for example his drama “Look back in anger” which aroused many strong opinions when it was first performed as a drama. It is set in a small flat in the west midlands, which is typical of working class people.”

Chandler describes a period in drama where “kitchen sink dramas” depicted working-class stories. He uses John Osborne’s “Look Back in Anger” as an example, briefly describing the play. Jimmy, one of the characters, was known as an “angry young man,” This term was later used to describe young people critical of the social and political state of the world.

“We learn to recognize co-dependence, narcissism, and toxicity for what they are rather than making excuses because we liked the look of someone. In other words, we grow up. We stay in love with our own toxic patterns and keep the cycle of damage going, or we recognize the collateral damage of all our drama and start wanting better for ourselves. We make choices. We experience consequences. If we grow up, we’ll even connect the two.”

Jackson’s essay discusses drama from another perspective, the drama that comes with love life. She gives readers tips on how to care for yourself better and look past all the tension, confusion, and drama that comes with dating. If we look at potential partners from a deeper, more constructive point of view, we can avoid toxic relationships and have a healthy love life. 

“When performance required that an actor appear “above,” as when Juliet is imagined to stand at the window of her chamber in the famous and misnamed “balcony scene,” then the actor probably climbed the stairs to the gallery over the back of the stage and temporarily shared it with some of the spectators. The stage was also provided with ropes and winches so that actors could descend from, and reascend to, the “heavens.””

In their essay, Mowat and Werstine discuss the conventions of performing Shakespearean drama during his time, including the performance of some scenes in different areas of the theater and men playing women’s roles. They also discuss how the theaters they performed in, such as the Globe Theatre, enhanced the plays’ dramatic effect.

5 Prompts for Essays About Drama

The word drama has many meanings and is used differently, as seen in the essay examples above. In your essay, give the word’s etymology, explain the different sides of drama, from theatre to school life, and give examples of how they exemplify the meaning. Explain how they are all connected as well. 

Drama in the context of theatre has four primary forms: comedy, tragedy, tragicomedy, and melodrama. Discuss each type of drama and elaborate on its characteristics. If you wish, compare and contrast them as well. Be sure to give examples of plays when explaining them.   

In your essay, you can also discuss the different periods in the history of drama. Explain what occurred in these periods, how drama changed, and their effects on modern drama. You need not explore too many periods; just make sure you write about key developments and explain them adequately. 

In the world today, the resilience of survivors is glorified and dramatized, while we see media outlets making headlines out of mere gossip and celebrity news. From this, it can be argued that society is centered around making a drama out of nothing. Why is this the case? Discuss your opinion on this issue- feel free to research if you need inspiration. 

Look back to a past event marked by tension, emotion, and drama. Narrate the events and explain how they made you feel- did you learn anything from them? This can be either your own experience or just an event from history or the news. You can read this essay for further inspiration. 

Note: drama can mean different things to different people, so what you consider “dramatic” is up to you.For help picking your next essay topic, check out our top essay topics about love .

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75 Drama Writing Prompts To Spice Up Your Script

It's time to tap into the human experience..

Little Children

The drama genre captures the essence of life's trials and triumphs, inviting audiences and readers alike into worlds both vastly different and strikingly similar to their own.

The following drama writing prompts are designed to ignite the imagination of writers.

Check them out below.

75 Drama Writing Prompts

Creating drama writing prompts can be an engaging way to inspire stories filled with conflict, emotion, and character growth. Here are 75 prompts designed to spark your creativity, whether you're writing a play, screenplay, novel, or short story:

• A character discovers a hidden letter revealing a family secret.
• Two strangers are the only survivors of a plane crash in a remote area.
• A young lawyer takes on a case that challenges their moral compass.
• A forbidden romance between members of rival families.
• An ambitious artist struggles to balance their passion with personal responsibilities.
• A whistleblower faces the consequences of exposing corruption in a powerful corporation.
• A time traveler tries to prevent a historical tragedy, but falls in love with someone from the past.
• A group of friends on a remote camping trip uncover something sinister.
• A detective becomes too emotionally involved in a case.
• An immigrant's journey to build a new life while facing prejudice.
• A soldier returning home struggles with PTSD and reintegrating into society.
• A family is torn apart by a will that reveals unexpected conditions and secrets.
• A couple's marriage is tested when one of them is diagnosed with a terminal illness.
• A community is shaken by a series of mysterious disappearances.
• An athlete faces a career-ending injury and must find a new path in life.
• A politician's career is threatened by a scandal from their past.
• A scientist makes a breakthrough discovery that challenges ethical boundaries.
• An undercover agent gets too close to the criminal organization they're infiltrating.
• A child prodigy wrestles with expectations and their own desires.
• A person gains the ability to hear others' thoughts, uncovering more than they bargained for.
• A parent and child reconcile after years of estrangement.
• A heist gone wrong forces criminals to confront their own morality.
• A celebrity's fall from grace and their journey to redemption.
• A young adult must choose between familial duty and personal dreams.
• An ancient curse haunts a family generation after generation.
• A character faces a moral dilemma after finding a bag of money.
• A betrayal among friends leads to a web of lies and revenge.
• A natural disaster traps a group of characters, revealing their true selves.
• An aging athlete attempts a comeback against all odds.
• A character is accused of a crime they didn't commit.
• A couple adopting a child faces unexpected challenges.
• A rivalry between two chefs in a high-stakes culinary competition.
• A survivor of a cult struggles to adjust to normal life.
• A character receives a heart transplant and begins to take on the traits of the donor.
• An actor's obsession with a role leads to blurred lines between fiction and reality.
• A character embarks on a quest to find a lost parent.
• A dystopian society where emotions are forbidden.
• A small town's dark secrets are uncovered by a new arrival.
• A character must navigate the dangerous world of organized crime to protect their family.
• A magical realism story where a character can see the future but cannot change it.
• A journalist fights to expose the truth in a corrupt society.
• A character struggles with addiction and the journey to recovery.
• A forbidden love story set in a futuristic society.
• A story of survival in a post-apocalyptic world.
• A family's generational curse comes to a head with the youngest member.
• A character's life changes after swapping bodies with a stranger.
• A person tries to rebuild their life after losing everything.
• A tale of revenge between two powerful families.
• A character discovers they are part of a government experiment.
• A love triangle with a supernatural twist.
• An artist finds a mysterious painting that holds the key to their past.
• A character must choose between love and duty.
• A story exploring the complexities of identity and gender.
• A group of survivors on a deserted island uncover a mystery.
• A ghost seeking to resolve unfinished business in the living world.
• A political thriller set in a volatile regime.
• A character becomes entangled in the world of espionage.
• A forbidden relationship challenges societal norms.
• A family is haunted by a tragic event from their past.
• A story of redemption for a character who has lost their way.
• A rivalry between two magicians becomes dangerously intense.
• A journey through a fantastical land to break a curse.
• A character must save their sibling from a cult.
• A prophecy foretells a great calamity, and characters must prevent it.
• A story of friendship tested by a moral dilemma.
• An exploration of the impact of technology on human relationships.
• A character is forced to confront their past when an old friend reappears.
• A rivalry turns into an unexpected partnership to overcome a common enemy.
• A person must navigate the complexities of a polyamorous relationship.
• A character's ability to manipulate dreams becomes a curse.
• A small town detective uncovers a national conspiracy.
• A character is reincarnated with memories of their past life, affecting their present.
• A historical drama about a revolution that changes the fate of a nation.
• A character faces discrimination while trying to reveal their true identity.
• A tale of sacrifice, where a character must give up something precious for the greater good.

These prompts can serve as a foundation for stories that explore deep emotional truths, challenge societal norms, and capture the complexities of the human condition.

Feel free to adapt and combine prompts to create unique and compelling narratives.

Now, go get writing before your estranged uncle reveals a tragic secret about your family heritage.

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'Swimming with Butterflies': From Passion Project to Big Brand Film

Karl stetler on his journey to finding funding for his latest film..

Every project starts from somewhere emotionally—and this one started as creative recovery from some pretty severe burnout.

But that has nothing to do with how I was introduced to three times Paralympian Lizzi Smith (now competing in Paris on September 6 and 9—watch via Peacock!), or why Invisalign bought the project.

Let’s start from the beginning.

Finding the Story

I was introduced to Lizzi through a fellow producer and EP who also happened to represent her as an athlete. He’d seen “The Good Wolf” , a short sports documentary I’d shot and directed about six years ago and we’d casually kept in touch, championing each other’s work in the interim.

A great reminder on why building relationships over time is important.

He suggested I meet Lizzi for coffee while in Austin for a film premiere in October 2023—where we had a soulful conversation about her story, what she was wanted to share, and what was important to her. No pressure or expectations or brands.

After mulling over her story and what she wanted to say, I pitched a story direction to her that she connected with, created a deck, and then pitched a few brands on her story and what we could do.

They all said no.

However her story really, really resonated with me as a filmmaker on a number of levels. It was about being defined by more than the thing you do. About finding confidence in yourself. About believing you are enough. All things that continue to challenge me—and I loved how she spoke about facing those challenges.

Her message was exactly what I wanted to share with my 4-year old daughter.

So I said yes.

Developing the Film

Over the next six months I brought in collaborators from previous projects, pitched them on what I wanted to do and why. I outlined a budget I could afford without getting myself in trouble. And that was it. I did not have any plans or real hopes that we’d sell it, I just knew it had been a while since I did something for my soul, and this was it.

So, where did Invisalign come in?

Lizzi is a brand ambassador, and about two weeks before the shoot they reached out to talk about getting some footage of her before the Paralympics—and she said, “oh, we’re actually shooting next week!” I updated my collaborator deck to an Invisalign focused deck, showcasing how the story aligned perfectly with their journey of confidence, and sent it over to my co-EP who knew their team.

We didn’t hear back, I flew out to Austin, and we started filming in May.

Then on day two of our three-day production, Invisalign called while on set to tell us they were interested in the project as is—and to organically add a product shot somewhere in there. Great! Done and done.

I’ll also be transparent that it was not sold for a lot, but enough to give cast and crew a modest pay bump, and to avoid it being a mark against my bank account.

Most importantly, it gave Lizzi’s story a platform — and that was the win I was most excited about.

This is Not Exactly a Business Model

But why did Invisalign say yes?

Because Lizzi’s story "aligned" (#dadjokes) with their core marketing theme of confidence. She was already on their radar. The Invisalign VP of Marketing already loved Lizzi—all entirely independent of this project.

In short: we got lucky.

But… we got lucky because we all took a chance on something we believed in. There was no expectation of a return other than creative fulfillment, the joy of collaboration, and in a practical sense for me. Another project I could pitch with down the road.

This industry is too hard to rely on external success—whether selling pitches to brands, or getting into festivals. I’ve chased that for 14 years, and only glimpsed "success" only a handful of times. Certainly not enough to justify the journey.

Filmmaking is a pie eating contest — so make sure you like what you’re eating.

But what will sustain me, is making films from a place of passion. Films that I love, that mean something to me. That will enable a career I’m happy with.

Filmmaking is not a sprint. And it’s not a marathon.

It’s a part of our life, but just one part. Keep going and enjoy it.

Check out some neat BTS videos from Karl here and here .

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What this handout is about

This handout identifies common questions about drama, describes the elements of drama that are most often discussed in theater classes, provides a few strategies for planning and writing an effective drama paper, and identifies various resources for research in theater history and dramatic criticism. We’ll give special attention to writing about productions and performances of plays.

What is drama? And how do you write about it?

When we describe a situation or a person’s behavior as “dramatic,” we usually mean that it is intense, exciting (or excited), striking, or vivid. The works of drama that we study in a classroom share those elements. For example, if you are watching a play in a theatre, feelings of tension and anticipation often arise because you are wondering what will happen between the characters on stage. Will they shoot each other? Will they finally confess their undying love for one another? When you are reading a play, you may have similar questions. Will Oedipus figure out that he was the one who caused the plague by killing his father and sleeping with his mother? Will Hamlet successfully avenge his father’s murder?

For instructors in academic departments—whether their classes are about theatrical literature, theater history, performance studies, acting, or the technical aspects of a production—writing about drama often means explaining what makes the plays we watch or read so exciting. Of course, one particular production of a play may not be as exciting as it’s supposed to be. In fact, it may not be exciting at all. Writing about drama can also involve figuring out why and how a production went wrong.

What’s the difference between plays, productions, and performances?

Talking about plays, productions, and performances can be difficult, especially since there’s so much overlap in the uses of these terms. Although there are some exceptions, usually plays are what’s on the written page. A production of a play is a series of performances, each of which may have its own idiosyncratic features. For example, one production of Shakespeare’s Twelfth Night might set the play in 1940’s Manhattan, and another might set the play on an Alpaca farm in New Zealand. Furthermore, in a particular performance (say, Tuesday night) of that production, the actor playing Malvolio might get fed up with playing the role as an Alpaca herder, shout about the indignity of the whole thing, curse Shakespeare for ever writing the play, and stomp off the stage. See how that works?

Be aware that the above terms are sometimes used interchangeably—but the overlapping elements of each are often the most exciting things to talk about. For example, a series of particularly bad performances might distract from excellent production values: If the actor playing Falstaff repeatedly trips over a lance and falls off the stage, the audience may not notice the spectacular set design behind him. In the same way, a particularly dynamic and inventive script (play) may so bedazzle an audience that they never notice the inept lighting scheme.

A few analyzable elements of plays

Plays have many different elements or aspects, which means that you should have lots of different options for focusing your analysis. Playwrights—writers of plays—are called “wrights” because this word means “builder.” Just as shipwrights build ships, playwrights build plays. A playwright’s raw materials are words, but to create a successful play, they must also think about the performance—about what will be happening on stage with sets, sounds, actors, etc. To put it another way: the words of a play have their meanings within a larger context—the context of the production. When you watch or read a play, think about how all of the parts work (or could work) together.

For the play itself, some important contexts to consider are:

• The time period in which the play was written
• The playwright’s biography and their other writing
• Contemporaneous works of theater (plays written or produced by other artists at roughly the same time)
• The language of the play

Depending on your assignment, you may want to focus on one of these elements exclusively or compare and contrast two or more of them. Keep in mind that any one of these elements may be more than enough for a dissertation, let alone a short reaction paper. Also remember that in most cases, your assignment will ask you to provide some kind of analysis, not simply a plot summary—so don’t think that you can write a paper about A Doll’s House that simply describes the events leading up to Nora’s fateful decision.

Since a number of academic assignments ask you to pay attention to the language of the play and since it might be the most complicated thing to work with, it’s worth looking at a few of the ways you might be asked to deal with it in more detail.

There are countless ways that you can talk about how language works in a play, a production, or a particular performance. Given a choice, you should probably focus on words, phrases, lines, or scenes that really struck you, things that you still remember weeks after reading the play or seeing the performance. You’ll have a much easier time writing about a bit of language that you feel strongly about (love it or hate it).

That said, here are two common ways to talk about how language works in a play:

How characters are constructed by their language

If you have a strong impression of a character, especially if you haven’t seen that character depicted on stage, you probably remember one line or bit of dialogue that really captures who that character is. Playwrights often distinguish their characters with idiosyncratic or at least individualized manners of speaking. Take this example from Oscar Wilde’s The Importance of Being Earnest :

ALGERNON: Did you hear what I was playing, Lane? LANE: I didn’t think it polite to listen, sir. ALGERNON: I’m sorry for that, for your sake. I don’t play accurately—anyone can play accurately—but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life. LANE: Yes, sir. ALGERNON: And, speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell?

This early moment in the play contributes enormously to what the audience thinks about the aristocratic Algernon and his servant, Lane. If you were to talk about language in this scene, you could discuss Lane’s reserved replies: Are they funny? Do they indicate familiarity or sarcasm? How do you react to a servant who replies in that way? Or you could focus on Algernon’s witty responses. Does Algernon really care what Lane thinks? Is he talking more to hear himself? What does that say about how the audience is supposed to see Algernon? Algernon’s manner of speech is part of who his character is. If you are analyzing a particular performance, you might want to comment on the actor’s delivery of these lines: Was his vocal inflection appropriate? Did it show something about the character?

How language contributes to scene and mood

Ancient, medieval, and Renaissance plays often use verbal tricks and nuances to convey the setting and time of the play because performers during these periods didn’t have elaborate special-effects technology to create theatrical illusions. For example, most scenes from Shakespeare’s Macbeth take place at night. The play was originally performed in an open-air theatre in the bright and sunny afternoon. How did Shakespeare communicate the fact that it was night-time in the play? Mainly by starting scenes like this:

BANQUO: How goes the night, boy? FLEANCE: The moon is down; I have not heard the clock. BANQUO: And she goes down at twelve. FLEANCE: I take’t, ’tis later, sir. BANQUO: Hold, take my sword. There’s husbandry in heaven; Their candles are all out. Take thee that too. A heavy summons lies like lead upon me, And yet I would not sleep: merciful powers, Restrain in me the cursed thoughts that nature Gives way to in repose!

Enter MACBETH, and a Servant with a torch

Give me my sword. Who’s there?

Characters entering with torches is a pretty big clue, as is having a character say, “It’s night.” Later in the play, the question, “Who’s there?” recurs a number of times, establishing the illusion that the characters can’t see each other. The sense of encroaching darkness and the general mysteriousness of night contributes to a number of other themes and motifs in the play.

Productions and performances

Productions.

For productions as a whole, some important elements to consider are:

• Venue: How big is the theatre? Is this a professional or amateur acting company? What kind of resources do they have? How does this affect the show?
• Costumes: What is everyone wearing? Is it appropriate to the historical period? Modern? Trendy? Old-fashioned? Does it fit the character? What does their costume make you think about each character? How does this affect the show?
• Set design: What does the set look like? Does it try to create a sense of “realism”? Does it set the play in a particular historical period? What impressions does the set create? Does the set change, and if so, when and why? How does this affect the show?
• Lighting design: Are characters ever in the dark? Are there spotlights? Does light come through windows? From above? From below? Is any tinted or colored light projected? How does this affect the show?
• “Idea” or “concept”: Do the set and lighting designs seem to work together to produce a certain interpretation? Do costumes and other elements seem coordinated? How does this affect the show?

You’ve probably noticed that each of these ends with the question, “How does this affect the show?” That’s because you should be connecting every detail that you analyze back to this question. If a particularly weird costume (like King Henry in scuba gear) suggests something about the character (King Henry has gone off the deep end, literally and figuratively), then you can ask yourself, “Does this add or detract from the show?” (King Henry having an interest in aquatic mammals may not have been what Shakespeare had in mind.)

Performances

For individual performances, you can analyze all the items considered above in light of how they might have been different the night before. For example, some important elements to consider are:

• Individual acting performances: What did the actor playing the part bring to the performance? Was there anything particularly moving about the performance that night that surprised you, that you didn’t imagine from reading the play beforehand (if you did so)?
• Mishaps, flubs, and fire alarms: Did the actors mess up? Did the performance grind to a halt or did it continue?
• Audience reactions: Was there applause? At inappropriate points? Did someone fall asleep and snore loudly in the second act? Did anyone cry? Did anyone walk out in utter outrage?

Response papers

Instructors in drama classes often want to know what you really think. Sometimes they’ll give you very open-ended assignments, allowing you to choose your own topic; this freedom can have its advantages and disadvantages. On the one hand, you may find it easier to express yourself without the pressure of specific guidelines or restrictions. On the other hand, it can be challenging to decide what to write about. The elements and topics listed above may provide you with a jumping-off point for more open-ended assignments. Once you’ve identified a possible area of interest, you can ask yourself questions to further develop your ideas about it and decide whether it might make for a good paper topic. For example, if you were especially interested in the lighting, how did the lighting make you feel? Nervous? Bored? Distracted? It’s usually a good idea to be as specific as possible. You’ll have a much more difficult time if you start out writing about “imagery” or “language” in a play than if you start by writing about that ridiculous face Helena made when she found out Lysander didn’t love her anymore.

If you’re really having trouble getting started, here’s a three point plan for responding to a piece of theater—say, a performance you recently observed:

• Make a list of five or six specific words, images, or moments that caught your attention while you were sitting in your seat.
• Answer one of the following questions: Did any of the words, images, or moments you listed contribute to your enjoyment or loathing of the play? Did any of them seem to add to or detract from any overall theme that the play may have had? Did any of them make you think of something completely different and wholly irrelevant to the play? If so, what connection might there be?
• Write a few sentences about how each of the items you picked out for the second question affected you and/or the play.

This list of ideas can help you begin to develop an analysis of the performance and your own reactions to it.

If you need to do research in the specialized field of performance studies (a branch of communication studies) or want to focus especially closely on poetic or powerful language in a play, see our handout on communication studies and handout on poetry explications . For additional tips on writing about plays as a form of literature, see our handout on writing about fiction .

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Carter, Paul. 1994. The Backstage Handbook: An Illustrated Almanac of Technical Information , 3rd ed. Shelter Island, NY: Broadway Press.

Vandermeer, Philip. 2021. “A to Z Databases: Dramatic Art.” Subject Research Guides, University of North Carolina. Last updated March 3, 2021. https://guides.lib.unc.edu/az.php?a=d&s=1113 .

Worthen, William B. 2010. The Wadsworth Anthology of Drama , 6th ed. Boston: Cengage.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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• Literary Terms

When & How to Write Drama

• Definition & Examples
• When & How to Write Drama

How to Write Drama

• Start with characters . The best dramas are usually character- driven. They have a cast of main characters (usually fewer than 10), plus a handful of supporting characters. These characters should all be very distinct from one another, and the main characters should be authentic and life-like. This way, the audience can relate to them and cares what happens to them.
• Introduce conflict. All stories revolve around conflict, and this is especially true in drama. The conflict could be anything – the simplest example is political conflict or war, but you might also have competing love interests, clashes in personality, or simply a struggle against misfortune.
• Don’t forget about comic relief. Unless you’re writing a tragedy (see section 6), there should be at least some amount of humor in your drama. Otherwise, the negative emotions will get overwhelming and the experience will be too unpleasant for the reader. Give a few funny lines to your characters, or add an amusing situation somewhere to cut the tension – just make sure that this comic relief arises naturally from the story and it doesn’t feel like you’re cramming it in.

When to Use Drama

Drama is great for a creative writing project. It offers opportunities to work on character development, story structure, and a whole other set of writing skills. Every once in a while, you may also find a place for drama in formal essays , but you have to be careful.

For example, history essays are often more enjoyable to read if you craft them with a “dramatic” eye – focusing on a small set of main characters, contrasting these characters and their various desires, and fully describing the conflict at the center of the story. These techniques, in combination with good research and persuasive logic, can turn a good essay into a great one. However, you do have to be careful – too much drama in a formal essay can start to seem distracting, and you don’t want to give the impression that you’re more committed to the entertainment value than to the research and analysis.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

How to Write a Band 6 HSC Drama Essay

Want to nail your HSC Drama essay in the HSC exam? Or, maybe only just realised that you have to write a HSC Drama essay in the exam and need some help?

You’ve come to the right place!

We’ve come up with this 5 step guide to writing a Band 6 worthy HSC Drama essay by breaking down the rubric and giving you tips on how to understand your text, analyse it and write about it!

So, what are you waiting for? Let’s jump in!

The HSC Drama Essay Step 1: Understanding the Bands and the Rubric Step 2: Understand your Texts Step 3: Use TETE Tables Step 4: Answer the Question Step 5: Draft, Rewrite, Polish

The HSC Drama Essay

Drama essays are often overlooked because most kids take Drama to do the practical/acting components.

In reality, the theory tasks are the most influential on your final mark. The theory exam is worth 40% of your external mark!

Honing your HSC Drama essay writing skills will take you straight to the top, believe me!

Most Drama students forget to study for the written exam until it’s too late. Getting this skill under your belt early will put you well ahead the rest of the pack.

This article is here to help you with any trouble you’ve had with Drama Essays in the past, in 5 simple steps! Let’s go!

Step 1: Understanding the Bands and the Rubric

What is a band.

Bands are the system NESA uses to grade each of your exams in the HSC.

Your results will be placed in a certain Band based on your percentage results. There are six bands, Band 6 being the highest and most difficult band to achieve.

It is easy to think of the Bands with reference to their percentages:

• Band 6 – 90-100%
• Band 5 – 80-89%
• Band 4 – 70-79%
• Band 3 – 60-69%
• Band 2 – 50-59%
• Band 1 – 0-49%

The only way you can understand a rubric is if you translate into language that you understand.

As an example, I have taken the Australian Drama and Theatre Rubric (the HSC Drama Core Study) and broken it down into simpler terms.

Australian Drama and Theatre (Core Study)

This topic explores, theoretically and experientially , the traditional and contemporary practices of Australian drama and theatre and the various ways in which artistic, cultural, social, political and personal issues and concerns are reflected in different contexts. Students investigate how different Australian practitioners use dramatic forms, performance styles, techniques and conventions to convey ideas and influence the ways in which audiences understand and respond to ideas and images presented in the theatre.

I have bolded the important terms. Every exam question that you will get, or practice, will be derived from this rubric. It is paramount that you understand this.

In essence, NESA is saying that in this unit, you will research and act out your set texts to get a rich and deep understanding of how the playwrights explore contextual Australian issues.

These may surface in the form of a reflection, diatribe, subtle comment, or ramification of the artistic, cultural, personal and social imperatives of Australia in the plays’ contexts.

Your job, as the student, is to analyse how the playwrights wrote their plays , and what techniques they used (appropriate to the styles of Australian Theatre) and what they wanted the audience to feel/think after watching their play!

Step 2: Understand your Texts

Read your texts.

Obviously, the first step to understanding your texts is by reading them! If you were thinking that you could get away without reading your texts, let me tell you now that that is not an option – especially if you want to write a Band 6 worthy HSC Drama essay!

Make sure you understand the text and can recount it off the top of your head if you were asked.

For an example, let’s use  The Removalists by David Williamson (1971).

This play is about two police officers, one a senior officer and the other is the new cop on the block, who helps a young woman and her sister, who is being abused by her husband, to move out of the house and return her to safety.

Extrapolate the important themes

Once you’ve read your text, you need to be able to identify the most important themes from the text.

Usually, your themes will be quite apparent as they will be linked to the central idea of the text you’re studying.

For example, in The Removalists an example of a core theme of the play is sexism. This apparent sexism is a reflection of the blatant sexism in Australia in the 1970s.

Step 3: Use TETE Tables

You may know them as TEE Tables from previous English essays you have written, however, HSC Drama essays are slightly different.

You will be using a TETE table instead for Drama to break down your paragraph into a set of columns to build up an in-depth collection of evidence to support your essays!

You will be using a table much like this one. I have filled it out using an example from David Williamson’s The Removalists to show you how it works.

I know this can be tedious, and no one ever said that writing an essay was a hobby, but if you work hard now, you will reap the rewards later!You should have one of these in every paragraph, giving you 4 for a Drama Extended Response.

Step 4: Answer the Question

Like any essay, we need to come up with a strong thesis.

In order to do this, we need to be able to understand what the question is asking. This might involve highlighting the key words of the question and asking ourselves what it is that the question wants us to do.

Let’s try doing this with the following practice question:

Compare how the plays that you have studied use the development of tension to take their audience on a particular journey.

Firstly, let’s break up the question by identifying the key words:

• Development of tension
• Audience on a particular journey

From here, we can ask ourselves three mini questions, pulled from the essay question, to really understand what NESA wants us to answer:

• What tensions are in the two plays I have studied?
• How do the playwrights develop these tensions – What dramatic techniques/elements do they use?
• How are these two things different in the two plays?

It is important that you answer these questions in the introduction of your essay, as it will show the marker that you have understood and addressed the question.

Be sure to link back to these questions throughout the essay to reinforce your response.

The next step is to write paragraphs which more specifically address the question!

Writing Paragraphs

In each paragraph, you should follow this structure: SCEEL!

• Statement – A topic sentence which refers to the question, the set text and a theme in the text.
• Context – A sentence about the context of the play, which is relevant to the themes you will be discussing in the paragraph.
• Example – Experiential learning. Include an example from the text which supports your argument.
• Explain – Explain the elements of drama included in the example and how they highlight the presence of the theme. Then, discuss the effect on the audience.
• Link – Make a statement which links to the next paragraph, as it will be a comparison/contrast paragraph.

Let’s look at an example SCEEL Paragraph:

As you can see, it is very different to an English paragraph. You do not need to use fancy or superlative language. Just be sure to write clear sentences that do not cloud your thesis.

Step 5: Draft, Rewrite, Polish

First draft.

The key to a good first draft is by reading over the question, breaking it down, and creating a dot-point plan of what you’d like to say in your response.

You should mention themes, the experiential learning you’re planning on using and so on. The essay doesn’t need to be perfect just yet. Just have a crack at writing!

Second Draft

Turn your first draft into full and proper sentences.

Be sure to pay attention to spelling, grammar, and sentence structure! If you pay attention to these things in practice essays, you will be ready to go for the real thing.

Turn your scaffolded paragraphs into 250-300 word paragraphs, and make sure that the experiential learning reads clearly, as you are often portraying a scene with movement and visuals.

Third Draft

This is the time to pick up on things that you feel need improvement.

You want to aim to increase the flow of the essay.

Put your laptop into ‘review’ mode so that you can track any changes you make.

There you go!

That’s the most boring part of the course covered and done with a Band 6. Now you can get back to the good stuff… acting!

This is a full-on guide to smashing the HSC Drama essays, so thank you for sticking with me – you will be better off for it!

With these techniques and steps, you have the ingredients to make a wonderful HSC Drama essay!

Looking for some extra help with HSC Drama?

We pride ourselves on our inspirational hsc drama coaches and mentors.

We offer tutoring and mentoring for Years K-12 in a variety of subjects, with personalised lessons conducted one-on-one in your home or at our state of the art campus in Hornsby!

To find out more and get started with an inspirational tutor and mentor get in touch today! 

Give us a ring on 1300 267 888, email us at [email protected] or check us out on Facebook !

Lucinda Smith-Stevens graduated from Pymble Ladies’ College in 2016. She is an intern at Art of Smart. She hopes to study a Bachelor of Arts at the University of Sydney in 2017, focusing on Media and Communications subjects. Lucy loves drama and public speaking, having completed a CVCA diploma in Speech and Drama. Lucy is also passionate about helping other students through the HSC in humanities subjects, General Mathematics 2 and essay writing skills.

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Essay on Drama

Students are often asked to write an essay on Drama in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Drama

Introduction.

Drama is a unique tool to explore and express human feeling. It’s an art form that allows people to communicate and connect with each other.

Types of Drama

Drama can be categorized into genres like tragedy, comedy, and melodrama. Each one has its own style and way of engaging the audience.

Role of Drama

Drama plays a significant role in education. It helps students develop critical thinking and boosts their confidence.

In conclusion, drama is a powerful medium that can entertain, educate, and inspire. It’s an integral part of our culture and society.

250 Words Essay on Drama

Introduction to drama, the evolution of drama.

Drama has evolved significantly from its inception in ancient Greece, where it was intertwined with religious rituals. The Renaissance period saw the rise of dramatic forms like tragedy and comedy, with playwrights like Shakespeare and Marlowe leading the way. The 20th century brought about realism, absurdism, and postmodernism, pushing the boundaries of traditional drama.

Elements of Drama

Drama comprises various elements such as plot, character, theme, dialogue, and spectacle. The plot is the sequence of events, the backbone of the drama. Characters are the individuals involved in these events. The theme represents the underlying message or the main idea. Dialogue is the spoken words by characters, and the spectacle includes all visual aspects of the performance.

Impact of Drama

Drama has a profound impact on society and individuals. It can challenge our perspectives, evoke emotions, and promote empathy by allowing us to experience different realities. Moreover, it serves as a platform for social commentary and critique, often inciting change.

In conclusion, drama is a dynamic and influential form of literature that has the power to reflect and shape society. Its evolution and elements make it a compelling study, offering insights into the human condition and our societal structures.

500 Words Essay on Drama

Drama, a genre of literature, is a complex and influential art form that has been an integral part of human culture for thousands of years. It is a medium through which stories are told and emotions are expressed, using a combination of dialogues, actions, and visual elements.

Historical Overview

The core elements of drama include plot, character, theme, dialogue, rhythm, and spectacle. The plot provides the structure, while characters bring life to the story. Themes present underlying messages or moral lessons. Dialogue acts as the vehicle for characters to express their emotions and thoughts. Rhythm, often achieved through the pace of dialogue and action, creates a sense of timing and flow. Lastly, spectacle, which encompasses visual elements like costumes, sets, and special effects, adds a sensory dimension to the experience.

Drama can be categorized into various types, each with its distinct characteristics. Tragedy, a form that dates back to ancient Greece, focuses on the downfall of a heroic or noble character. Comedy, on the other hand, aims to amuse the audience, often using satire, wit, and humor. Melodrama, characterized by exaggerated characters and exciting events, appeals to the audience’s emotions. Lastly, tragicomedy, a hybrid of tragedy and comedy, balances elements of both to explore the complexities of life.

Drama’s Influence on Society

In conclusion, drama is a multifaceted and dynamic art form that continues to evolve and adapt to the changing times. It offers a unique blend of storytelling, visual spectacle, and emotional engagement, making it an enduring and impactful part of human culture. Whether it’s on a grand theater stage or a small community playhouse, drama continues to captivate audiences, offering them a mirror to reflect on their own lives and the world around them.

That’s it! I hope the essay helped you.

Happy studying!

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ESSAY SAUCE

FOR STUDENTS : ALL THE INGREDIENTS OF A GOOD ESSAY

How to write a drama essay

We devise many ways of passing and enjoying our leisure time, visiting movie theatres and watching live plays comes in handy as a substantial way of enjoying our free time.

Plays are one of the most up and coming, influential ways of conveying a message, as well as a good career move, whether you are acting or play writing. Essay writing when taking a major in Drama playwrights is an essential evaluation of your knowledge and understanding of your course, it is always advisable to have that in mind.

The below tips offer some fundamental guidelines on  how to write a drama essay .

Before you start essay writing there are several things you have to consider:

• Have an undisputable idea of the direction and focus that you want to take when writing your drama essay is very important. It needs to be informative and interesting. Choose a topic to indulge your audience i.e. use of new technology, how it’s improved life, raise points that explains your theme and why they should be more accepting of the change in technology. A persuasive drama essay is where you raise your point of view or ideology that meant to instill the change you advocate i.e. global warming, its effect and why we need to take care of the environment. You should make sure you ease their understanding of the theme and focus at hand; in this case what really is global warming. This needs to be laid out in leman terms because this will set your reader at ease and help them understand where you are going.
• After you have chosen the direction of your play or drama essay, choose the subject matter to relate and keep your audience interested. Having prior knowledge of the subject matter is always an added advantage before making the final decision of the topic to focus on.
• Understanding how to write a drama essay is not just about how good of a writer you are, or how good an actor you are. It involves a lot of research. Once you have the outline of your theme, embark on the necessary research, making use of all the available resources like online searches, libraries and databases, which will be especially useful if you have taken a persuasive theme, as they will provide you with more detailed information, which you will use to break down into understandable messages for the reader to take onboard. Google searches and online questionnaires will open up more ideas about recent activities, this way keeping your essay up to date and your readers interested. This is useful for informative theme based making sure your topic of focus is essentially to generate more audience/readers’ as you will have to consider their ideas and simultaneously tackle issues they are most likely to relate to.
• Use the materials you found from your research as baselines and backups for your main theme rather than fully encompassing your entire essay with references.

Make use of the standard way of writing essays:

• Introduction  where you introduce your stand and angle you are choosing to direct your drama.
• Main body  where you expound on your theme supporting it; be sure to use references here when necessary to improve on your credibility.
• Conclusion  where summarize all your points laid out throughout the essay cementing your stand and ultimately achieving the ultimate goal of informing or persuading.
• Be sure to maintain focus on your theme throughout the essay while aligning and explaining your points.
• It is advisable, when writing, to make use of the MLA or Harvard way of referencing. You should use the references as a way of backing up your points and views you have previously made. This may however differ according to instructions that may have been handed to you by your tutor.
• You should make use of bullets when stating points because you can elaborate on them in the paragraphs. It will allow the reader to indulge and see your flow and explanations.

Revising and re-doing

• When you have finished writing, you should go through your work to ensure you have corrected all spelling mistakes that may have occurred when writing. Also check for grammatical eras that you may have over looked and generally evaluate the general flow of your essay piece; does it make sense? Have you achieved your goal of persuading or informing your readers? Are you satisfied? Have you executed and made use of all available resources to you to get the necessary point across that you wanted to?
• Be sure to use collective words i.e. ‘strolling’ meaning to walk leisurely, because this will help you achieve the objective of your essay using a minimum of words.

If you take all these points into consideration before starting the essay, you will definitely be able to make an informed decision on your angle of approach and therefore assuring you achieve a well-written Drama essay.

We hope you enjoyed reading our ‘how to write a drama essay’ guide.

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6.5–Writing About Drama

Nicole Hagstrom-Schmidt

Drama holds a unique position among literary genres as it exists both as a written text and performed texts. It is similar to film in this regard, but unlike film, the written script itself (as opposed to any performance) is what is analyzed. This is not to say that individual performances cannot be analyzed, but that this approach is far less common in English and literature classes. Theater and performance classes, however, will privilege the individual performance.

If you are to analyze a specific performance for an essay, that performance will likely be available as a filmed version or have primary accounts or images that you can draw from. In essays that focus on a particular performance, you’ll be thinking about the dramatic elements—how an actor portrays their character, how different characters interact, how lightning and sound affect a particular scene, and how the camera or staging frames a character. All performances are adaptations of a script, and as adaptations, you may wish to judge them accordingly. The criteria for an adaptation will vary; however, the strongest analysis will be less concerned with fidelity to a particular script (unless that was an aim of the performance) and more judging the performance on its own merits as a piece of art, entertainment, or criticism.

When writing about a script (as opposed to a specific performance), you may use all of the traditional literary tools associated with close reading, both prose and poetry. The challenge of drama is that the majority of information on setting, character, and theme will be conveyed in dialogue. As a reader, you will need to pay attention to clues (some obvious, some less so, and many open to interpretation) in what characters are saying. Moreover, as plays are meant to be spoken, you can pay attention to the individual sounds characters make. A character may have their own distinct speech patterns as a way for a listener to distinguish them more readily from other characters, or the playwright may choose to write in verse following a particular poetic structure.

Writing about drama often entails writing about the culture in which the play was created and performed. For most cultures, drama serves as a way to think through popular ideas, whether those be humanity’s relationship with the divine, power structures, and the multiple facets of human identity. As you read and write, what sorts of ideas seem to be underlying the worldview espoused in the play? How do those ideas compare with the worldviews that would have been popular at the time or are popular today? How does the playwright present those views? Are they to be accepted? Are they critiqued or modified? Once again, look to the dialogue and the relationships among the various characters. A character’s actions (or inaction) and the other characters’ reactions to them will often indicate a playwright’s intended meaning.

The final note on writing about drama for you to consider is that most drama is designed to be flexible in meaning. What you are looking for in an analysis is not necessarily the “correct” interpretation, but one that is supported by the script and the reasonable ways it may be performed. Multiple meanings exist in drama by design as the final form of a performed text only occurs after analysis and play by readers, directors, actors, and the many contributors it takes to put on a performance. Ultimately, you will need to be attuned not only to words in the script but also the many ways those words can be delivered.

Attribution:

Hagstrom-Schmidt, Nicole. “Drama: Writing About Drama.” In Surface and Subtext: Literature, Research, Writing . 3rd ed. Edited by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney. College Station: Texas A&M University, 2024. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License .

6.5--Writing About Drama Copyright © 2024 by Nicole Hagstrom-Schmidt is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

Nick Macari's professional workshop on story development and writing.

How to write a DRAMA – Mac’s Real Insights and Tips

UPDATE:: 10-01-23 :: Happy October, folks. As promised, for the non-members here, I’ve compiled all the genre writing articles into a PDF. It’s available for download right here, right now. ::: :::

In Defining Genre , we already defined the parent genre, Drama as;

• more serious in tone
• focusing on character arc development and theme
• digging deep into the humanity behind the story
• encompassing not one primary human emotion (as with other genres), but many, or all of them.

In Getting Drama on Point , I gave some practical general tips in establishing drama in any written work. Today, in this first article on the “ workings of genre” , we’re going to look more at depth at the parent genre.

Before we get started, let’s digress for a moment;

Character Driven vs. Plot Driven

Read a dozen different blogs on this topic, and you’ll get a dozen different answers on this. Some of them a bit more off than others. The truth is, many folks make it more complicated than it needs to be. After all the answer is literally right in the title.

Here’s the crux of it;

Character driven is just how it sounds, the story is literally, driven by the characters… and when we say the characters, we primarily mean the main character. More specifically, the main character(s) are more often the catalyst for their own problems/obstacles in the story. (The external manifests from their internal.)

Marky Marks Gambler movie is a perfect example that comes to mind. The dude is a gambling addict and as soon as he gets money, he runs to the casino and gambles it all away. When he meets the love interest in the story, his addiction takes priority, he puts it ahead of the girl, and creates a further mess of things. At every turn, his own personal issues manifest into the major problems/obstacles/events of the story.

Contrast this to plot driven, where the source of problems/obstacles are more often initiated outside the realm of the main character’s influence. (The external manifests from the external.)

When Luke is chilling on Tatooine, he’s got nothing to do with Vader capturing Leia. In fact, we can go further back, and say, Luke had nothing to do with being born as Vader’s son. These external problems/obstacles/events arrive irregardless of the problems Luke faces as a person.

So in a character driven story, the character makes a mess of things, then has to deal with his mess. In a plot driven story, life makes a mess of things and the character has to deal with the mess. Notice there is always a mess… and we get to see the character’s internal struggle whichever way conflict arises.

In both of the definitions, I specifically use the term “more often” because the truth is much of fiction is both character driven, and plot driven at the same time. Meaning at times the characters are driving the bus, other times, the plot is.

We only “define” stories as character driven or plot driven, when the clear majority of bus driving is done by one or the other.

While we could analyze this topic further, producing more specific rules for every possible version of story, the amount of fiction outside this presented definition of character driven vs. plot driven is pretty small. It pays, to keep it simple.

Before we get back to all the points we’re going to discuss about writing the Drama, note that by understanding the difference between these two approaches to story, we can apply this focus to one specific area for big results;

Make KEY TURNS your character’s fault

Particularly;

• The 1st Act Turn
• The Midpoint Turn
• The 2nd Act Turn

While it’s not 100% required to do this to create an effective story, (again, you can let the plot drive the bus at times) anchoring these three key turns of the story, to your character (or more specifically your character’s flaw), instead of some outside forces, will push the story deep into Drama territory.

Ok, so now that we have a clearer idea of character driven vs. plot driven, let’s get back to it.

First and foremost, writing the drama is about characters and their relationships.

This may sound obvious.

And of course, to some degree, all writing is about the characters and their relationships. But where other genres may take advantage of characters and their relationships, for the drama, it is the primary vehicle of the story .

It is, after all, certainly plausible to enjoy the spectacle script , for the thing(s) it makes a spectacle of; watching a boxing movie for the boxing, a kung-fu flick for the kung-fu, and a war movie for the clash of heavy weaponry, none of these movies outside the drama genre require an in-depth understanding of what personal sacrifices the boxer made, what personal demons the martial artist struggles with, or how the soldier manning the 50 caliber gets along with his drunkard brother.

So the question simply becomes; how do we capture characters and their relationships effectively enough to carry a script?

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Story in Literary Fiction

• Literary Fictional Story
• Character in Literary Fictional Story
• Narration of Literary Stories
• Desire and Motivation
• Credibility
• Improving Dialogue
• Characterization Improves Dialogue, Motivates Plot, and Enhances Theme
• Techniques for Excellence in Creating Character in Literary Fiction
• How to Change Fiction Writing Style
• Author’s Attitudes
• How Literary Stories Go Wrong
• Preparing to Write the Great Literary Story
• The Anatomy of a Wannabe Literary Fiction Writer
• Victims as Characters in Literary Fiction
• Information and Literary Story Structure
• 1st person POV in Literary Story
• Top Story/Bottom Story
• Strong Voice and Attention to Time
• Humor and Fiction
• Emotional Complexity in Literary Fiction
• Conflict in Literary Fiction
• What Exactly Is a Character-Based Plot?
• Writing in Scene: A Staple for Reader Engagement in Fiction
• Creating Story World (setting) in Literary Fiction
• Perception in Literary Fiction: A Challenge for Better Narration
• Creating Quality Characters in Literary Fiction
• Mastering the Power of a Literary Fictional Story
• Understanding Empathy
• Q & A On Learning to Think About Narration in Literary Fiction To Write Better Stories
• Incorporating Rhythm in Prose Style
• Fiction Writer’s Manual
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• mp3 Short Stories
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• Short Fiction of William H. Coles 2000-2016
• The Art of Creating Story
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• Facing Grace with Gloria and other Stories
• The Necklace and Other Stories
• The Short Fiction of William H. Coles 2001-2011
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by William H. Coles

Drama: core thoughts.

Great fiction is surprise, delight, and mastery. Conflict-action-resolution is the writer’s most essential tool. Dramatic writing is more than just revealing prose. Drama in literary fiction is mainly created through:

• a core story premise,
• unique and fully-realized characterization,
• and logical and acceptable motivation.

Drama in literary fiction is choosing well what information is best for the story and then providing that information predominantly in action scenes.

Suspense: feeling of uncertainty, excitement, or worry over how something will turn out.

Suspense contributes to drama, but it is not the sole element of drama in literary fiction. Suspense in literary fiction is the fear of something happening to a character we like or respect, and the character’s personality affects the outcome of plot elements.

Jane books a flight to New York to plead with her estranged husband. Her pilot arrives too intoxicated to fly the plane, successfully covering up his reduced capacities. Jane boards the plane. The pilot ignores the usual preflight checklist. The fuel tanks are less than a quarter full.

Comment. Fear of something happening to a character, and if we like or respect the character, the suspense is heightened. Yet there is a lack in this plot construction of the character-driven element of literary fiction.

Jane calls her clandestine lover to fly her to New York in his small plane to meet with her estranged husband. She has made her lover distraught at her refusal to give up her efforts to patch her marriage. The lover arrives hung over from drowning his sorrows, and fails to complete a preflight checklist. The plane’s fuel tanks have not been refueled.

Comment. This is not a great story but it does show how character-driven plots differ from circumstantial plots. Note how the second scenario also allows for complexities in the resolution that may reveal more about the characters and contribute to the meaning of the story—say, love is the root of disaster. The lover might sacrifice his life for Jane, or visa versa. Again, character generation of plot to create literary fiction. In popular fiction, the resolution may be simply a plane crash or an emergency landing and the arrest of the pilot.

Withheld information

All stories have withheld information. As an author, you can only tell so much. But why an author withholds information contributes to the quality of the story. And when an author chooses to reveal story information is critical to story success; the expectations are different in genre fiction than in literary fiction.

In melodrama (using stereotypical characters; exaggerated descriptions of emotion; and simplistic conflict, and morality) crucial information is withheld to create suspense for a reader. But it is manipulation of the reader. The reader must accept this manipulation too; this reader knows the narrator knows who killed the rector but will accept not knowing until the end of the story to discover a fact. But in literary fiction, all information crucial for the story (this is an author being true to the story and not using the story) is presented for the sole purpose of engaging the reader. Then the reader becomes involved in (and with) the characters resolving their conflicts—not only in being told what is withheld—and the result is a change in the reader, a realization that nothing in their world will ever be the same because of their involvement in the story.

How story information is used—whether delivered or withheld—is the skeleton of how different authors create their own unique stories. Authors of literary stories must not exploit a reader’s interest and involvement through false handling of story facts. Instead, the reader must become involved in the story action and accept character change–and experience change in themselves.

Literary stories are harder to write and require more intense reading than nonliterary stories. A casual reader, not caring about involvement in the story, will prefer stories based on withheld facts—who murdered whom, for example. This reader (and at times all readers will have this goal) does not want to expend effort to become involved in a literary story. This is how most stories are told and enjoyed today. And it is an admirable skill, for an author, to write to this reader effectively. But literary fiction needs to be an alternative choice for readers in the mood to be involved.

Let’s say you write a story about a pregnant teenage girl traveling alone cross-country for an abortion. For many authors, the story may be about the revelation of who fathered the child. And the discovery of this withheld information will delight many readers.

But you could reveal all the circumstances of the pregnancy. What if it were incest and her father raped her, or what if the gym coach at school had seduced her on the trip to the finals in field hockey. Everything is up front. Now you set forth the structure to bring the reader into how the girl will solve her conflict—an unwanted pregnancy by someone she hates. You will reveal her nature and her capabilities. You will find a premise: forced love destroys a normal life, for example. And you will engender understanding in the reader that enlightens, or changes existing thought.

Drama is action

Most beginning writers do not have the instincts to write stories by creating conflict, action and resolution in a series of scenes that present a story happening that will involve the reader. For most part, beginners simple tell story happenings, often with complicated and inflated prose that is static and boring.

Examples of description and showing

Narrative description (telling):

Paul was jealous that Helen could sing with so much passion that others couldn’t take their eyes away from her as she performed.

In scene (showing):

Helen held the floor-stand microphone with both hands. The piano player played the introduction hunched over the keyboard. Helen took a deep breath and sang with a soft breathy voice, her eyes closed until the refrain when her gaze swept the audience of strangers, all watching her. She sang three verses and smiled at the end without a bow. The crowd applauded. Paul approached Helen as she climbed down off the stage. “I wish I could sing like that,” Paul said. “I don’t have your ear for perfection.”

In scene action and showing should be the major portion of a literary story. But it is still true narrative telling, when condensed–and not as a vehicle for asides, and recall and reflection–can be useful to advance the story efficiently.

A) Narrative telling. (Quick, effective.)

The ship sank.

B) In-scene showing. (More story time, more engaging.)

The ocean liner listed, taking on water through the hole the torpedo made in her portside. The bridge shuddered from two explosions in the engine room, and as the crew struggled to release the lifeboats. And the bow disappeared beneath the surface first, soon followed by the hull.

The feeling of momentum must not be lost in a story. The key is learning how to write with action (see also Momentum).

Examples from A Story in Literary Fiction: A Manual for Writers.

Story examples with dramatic elements: Suchin’s Escape , The Miracle of Madame Villard , The Thirteen Nudes of Ernest Goings .

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How to write a good drama essay?

Essay paper writing

Thinking about the cultural heritage of a country, people usually remember music, paintings, costumes, and even cuisine, but often forget about drama. This art has taken various forms in different countries, and most nations have a great history of its development.

For ages, it has evolved from being merely entertainment for masses to something a lot bigger and more valuable. It started reflecting the real life, presenting both beautiful and ugly sides of it, teaching people important lessons, educating them, delivering certain messages, and raising public awareness.

Therefore, if you were assigned a drama essay, you have a wide variety of topics to choose from and viewpoints to consider. While picking the topic might not be the biggest issue, as you likely know a few plays you might want to review, the writing part might be a little tricky. Let us walk you through it though.

Drama essay outline

There is nothing special about the structure of dramatic essays. Its main elements are:

• Introduction. Start with a hook phrase, provide a few sentences with some background information on the topic, and end the introductory paragraph with a thesis statement showing the purpose of your paper.
• Body. If you are writing a typical 1-2-page essay, the body will likely consist of about 3-5 paragraphs, each with its own main idea and supporting sentences.
• Conclusion. The main task of this section is to restate the thesis statement, briefly overview the discussion you had in the body, and leave your readers some food for thought.

Drama essay format

The question of formatting always concerns students because it constitutes a considerable part of the overall grade. If you are a school student, you will likely be asked to use APA or MLA style. But if you study at a university, then the choice of formatting styles can be wider. Therefore, it is better to clarify which one would be the most suitable with your professor before you start working on your essay.

Drama essay help: best tips

Drama studies, the same as numerous other courses, require their students to work on different kinds of tasks, and many of them involve essay writing. Even though you are familiar with various types of papers and have certainly worked on a wide range of topics, the most frequent task you may be assigned is usually an analysis paper. No matter how many essays you have prepared before, drama writing assignments will be a unique, unusual, and unexpectedly enjoyable experience that will fascinate you each time.

As most professors try to help their students relish each drama essay assignment and approach it creatively, they often leave minimum instructions to follow. While some people see it as an opportunity to learn in comfort and recognize the limits of their own perception, others freeze in confusion, having no idea what to do next. It is completely natural to feel baffled when you are used to staying within limits set by teachers but are suddenly given so much freedom for experiments and action. It is just important to come out of this perplexed state and make a clear plan like this one:

Choose a play

Obviously, a drama analysis essay cannot be done if there is nothing to analyze. Therefore, it is important to pick the play first. Teachers can provide their students with a list of plays to choose from, and as you have no time to watch them all and then pick one, read brief descriptions of them on the Web, and go with the play you liked the most.

If you have no list, the situation gets a bit more complicated, but there is no need to worry, as you can create such a list on your own. Focus on the topic you are currently studying on the course, and search for plays that would have the needed time frame, country, exact theatre, or team of actors. Make your own little research on these plays to figure out what they are about and make the final decision on what you are going to analyze.

Think of the assessment criteria

The type of paper you are working on implies that you need to analyze certain aspects of the play you will watch, and it is crucial to decide what those things will be. If you have to focus on technical attributes of the play, then lights, quality of music, costumes, and decorations are the nice assessment choices. However, writing about drama, you will more often be asked to put the emphasis on something spiritual or emotional. In this case, it is better to examine acting itself, as well as the role of crewmembers, their involvement, language, feelings, and contribution to the play. You can always look up the criteria, but it is better to come up with a few on your own, write them all down, and make sure they all will be suitable for your essay on drama.

Outline, write, and revise

When you feel ready for writing about drama, create proper working conditions for yourself, and prepare an outline first. Find a place where nothing will bother you, turn off your phone, and take everything you need for writing. Look up how to structure the work, check out the outline provided above, or find a suitable sample and check how it is organized.

You can either use a similar structure or outline the drama paper on your own using the data you have. Think about the purpose of the work, the information you want to present, and the way you will shape your discussion. Start writing a drama review only when the outline is ready and make sure to proofread it when you finish.

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Home / Essay Samples / Literature / Literary Genres / Drama

Drama Essay Examples

Exploring the themes of knowledge and time in stoppard's 'arcadia'.

Arcadia, a play written by Tom Stoppard, is overwhelmed with futuristic thoughts and ideas that create intricate conflicts between characters. The leading difficulty is how the audience is forced to attempt to understand them. They have to try to grasp ideas from an array of...

The Analysis of Susan Glaspell's Play "Wastes of Time"

Susan Glaspell's play Wastes of time delineates the connection among married couples, with the dedication and loyalty basically in wedded life. As the play opens we see a presuming scene an untidy kitchen that reflects something fishy how the lady are being pushed in the...

The Theme of Justice in the Oresteia by Aeschylus

Throughout the trilogy, The Oresteia, there is a central theme of justice portrayed by Aeschylus. In each of the three plays, justice stems from the ancient guidelines but soon evolves into a more civil justice defined by Athena, with the intention to stop the people...

Comparsion of Shakespeare’s Coriolanus and Its Film Adaptation by Ralph Fiennes

Although Ralph Fiennes’ film adaptation of Shakespeare’s Coriolanus sticks largely to the facts as reported in the original story, it differs noticeably from Plutarch’s Life of Coriolanus in terms of how the play tends to compress some events in order to increase the dramatization. Furthermore,...

Analysis of the Main Themes in the Play Our Town

Our Town is a play that was first published in 1938, set in the early 1900s in Grover’s Corner, New Hampshire. It is centered around a small town of people who are very old-fashioned and set in their ways, going through life without appreciating it....

A Theme of Gender Equality in Trifles by Susan Glaspell

Marie Shear stated, “Feminism is the radical notion that women are people.” There are no truer words when it comes to the story portrayed in the short drama, Trifles, written by Susan Glaspell. This play emphasizes the gender roles placed onto women and illustrates the...

Analysis of the Character of Volumnia in Coriolanus by William Shakespeare

In Coriolanus, Volumnia is a strong, powerful mother who has raised the seemingly perfect soldier. She is constantly talking of the joys of war and how she hopes to see her son wounded. These wounds and the admiration that comes with them are a place...

The Issue of Patriarchy and Gender Inequality in Trifles

During the 20th century, women’s roles were limited marriage and motherhood, and housewives, which caused domestic dependency which resulted in daily lives being rules by patriarchy since men did not see them as equals. During the years leading up women’s suffrage in the United States,...

The Role of Gender in Trifles by Susan Glaspell

In Susan Glaspell’s short play Trifles, the reader is met with the ongoing case of John Wright’s murder. One moral that the play depicts is that women and men see things differently. According to the male characters, the women only care about issues that have...

Review of the Book the Mystery of Flight 2222 by Thomas Neviaser: the Story of Survival, Hunger and Fear

The Mystery of flight 2222 by Thomas Neviaser is a twisted book full of mystery, drama, and action. This book is very interesting and the story keeps surprising you with twists and turns. It’s a story about survival, hunger and fear. The interesting thing about...

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