DM

Today is David Mamet's birthday.  He's written and directed a fair number of movie and TV shows, and been nominated for Emmys and Oscars.  But I think his best work has been for the theatre.

Among his plays are American Buffalo, A Life In The Theatre, Glengarry Glen Ross (Pulitzer Prize), Speed-the-Plow and Oleanna.  He's known for his dialogue, which is punchy, with people constantly interrupting each other--some call it naturalistic but I've always found it highly stylized.

I've read some of his books about theatre and film, and seen his "master class" on video.  I like that he's a no-nonsense guy.  For instance, actors shouldn't worry about subtext or 50-page biographies of their characters, they should worry about saying their lines clearly. (Actors may not agree with his take on things, but they love to perform in his plays).

As for writers, it's all about the story.  Not sending a message, or solving a problem, but entertaining an audience with an interesting plot. All you have to do is make the audience wonder what's going to happen next.  That's all.

If you think of something interesting that doesn't move the story ahead, cut it.  You may come up with all sorts of fascinating characters and moments, but they've got to go if they don't serve the plot. And don't have the characters constantly talking about stuff that happened in the past--the action's happening now.

When figuring out the plot, solving the characters' problems shouldn't be easy.  If it's too easy for you, it'll be easy for the audience, and they'll be ahead of you.  And for the show's resolution to be satisfying, it's got to be surprising yet seem inevitable.

How do you know what works?  You don't.  Write a show and get it out in front of an audience (a paying one) and find out.  It's the only way.