---
product_id: 38191478
title: "The Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives"
price: "5119 som"
currency: KGS
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reviews_count: 9
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store_origin: KG
region: Kyrgyzstan
---

# The Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives

**Price:** 5119 som
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- **What is this?** The Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives
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## Description

The Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives [Egri, Lajos] on desertcart.com. *FREE* shipping on qualifying offers. The Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives

Review: The Art of Dramatic Writing bought from desertcart - This is an excellent book for writers of all genres. I had read the preview of this book and know the reputation of Lajos Egri,so I wasn't surprised at the knowledge and experience offered in his book. However, I'm an experienced writer and ready for Mr. Egri's discussions. I would not recommend this book to someone new to the trade. The reader-student needs to know the basics of writing and should have experience writing and being rejected before attempting to understand what the author is saying. I've read the book twice and parts of it a third time. But the best way to understand the lessons in this book is to write anything as long as it incorporates what you have read. Then read it again. Writers of prose shouldn't be put off because this book is involved with play writing--his lessons are for every writer, no matter your choice of vehicle. Enjoy!
Review: Eminently Clear and Immediately Memorable - I've easily read more than 100 books on creating fiction (my focus is primarily short stories and novels), and I've done so because I'm always interested in learning what others have to say about the craft that I might find ways to improve my own. I disagree with the reviewer who pishaws Egri's recommendation to create character biographies, saying that the "audience will never see them". The fact is, every short story, novel, play, movie is like an iceberg: what the audience reads/sees is only 10% of the whole. The rest is hidden. If a writer hasn't done her homework on a story's setting, background or, more importantly, on her characters' backgrounds, it will show, and in the worst way possible. Even if a writer is of the sort who develops her characters as she creates the story, there is still much about those characters which doesn't make it into the tale. It's rather like when you tell a cousin about a friend of yours. You don't give your cousin all the details, only those details which are relevant to giving your cousin an accurate, yet true, representation of your friend, but you can only accomplish this if you know your friend very well. The same is -- HAS TO BE! -- true of your story characters: you MUST know them very well (more than what you reveal) if you are to represent them to your audience accurately and truthfully (but not exhaustively), and that's precisely Egri's point. Regarding Egri and his agreements/disagreements with Aristotle, his disagreement with regard to a story's beginning has more to do with modern readers' interpretations of what constitutes a beginning. Every story must have a beginning, even if it doesn't appear on the page, on the screen, or on the stage. All the consituent parts of a story, even if they aren't put plainly before the audience, must be implied in what is. (Algis Budrys' WRITING TO THE POINT demonstrates this quite well.) Egri's disagreement with regard to Aristotle's views on plot/character, however, are, I believe, on the mark. In this case, however, the disagreement has more to do with historical/cultural/religious context. Aristotle's putting plot primary is due largely to the prevalent beliefs of his time, just as our putting character primary is due to the prevalent beliefs of ours. This, too, is a point which Egri recognizes. After reading Egri's book, my writing will never be the same again, I'll never read another novel or short story the same way again, and I'll never see a movie or play in the same way again, either. I dare say that I'll appreciate a good novel/short story/movie/play even more with the tools that Egri provides in this book, and will now be able to elucidate far more clearly than before why I didn't like a particular novel/short story/movie/play. In like manner, I now believe that I'm better equipped, after reading Egri's book, to recognize what is wrong with any story that I've written and will, therefore, be better able to fix the problem. After reading all the books I've read on story/character creation, I'd have to say that Egri's book is easily the best book I've ever read on the subject. While other authors of such books may have said much the same thing, Egri presents the same material in a way that makes it eminently clear and immediately memorable. POSTSCRIPT: In defense of novels (since that is my preferred medium), unlike what was stated in one review on Egri's book, pacing is just as important in a novel as it is in a stage play. If you have one high-paced scene after another in a novel, your reader will be breathless before she's half-done with the book. Conversely, if your pacing is constantly slow, you're very likely to lose reader interest. There are all sorts of tricks to controlling pacing in a novel, from word, sentence, and paragraph length, and even down to specific word choice. There are other ways to control pacing, as well, but I shan't get into that here. It's a shame that very few books have covered this aspect of novel creation.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #30,746 in Books ( See Top 100 in Books ) #8 in Play & Scriptwriting Writing Reference #9 in Playwriting (Books) #45 in Fiction Writing Reference (Books) |
| Customer Reviews | 4.6 4.6 out of 5 stars (1,051) |
| Dimensions  | 5.5 x 1 x 8.44 inches |
| Edition  | Revised |
| ISBN-10  | 0671213326 |
| ISBN-13  | 978-0671213329 |
| Item Weight  | 9.6 ounces |
| Language  | English |
| Print length  | 320 pages |
| Publication date  | February 15, 1972 |
| Publisher  | Touchstone |

## Images

![The Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives - Image 1](https://m.media-amazon.com/images/I/71rVH9E30-L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ The Art of Dramatic Writing bought from Amazon
*by B***N on August 8, 2010*

This is an excellent book for writers of all genres. I had read the preview of this book and know the reputation of Lajos Egri,so I wasn't surprised at the knowledge and experience offered in his book. However, I'm an experienced writer and ready for Mr. Egri's discussions. I would not recommend this book to someone new to the trade. The reader-student needs to know the basics of writing and should have experience writing and being rejected before attempting to understand what the author is saying. I've read the book twice and parts of it a third time. But the best way to understand the lessons in this book is to write anything as long as it incorporates what you have read. Then read it again. Writers of prose shouldn't be put off because this book is involved with play writing--his lessons are for every writer, no matter your choice of vehicle. Enjoy!

### ⭐⭐⭐⭐⭐ Eminently Clear and Immediately Memorable
*by G***D on December 12, 2006*

I've easily read more than 100 books on creating fiction (my focus is primarily short stories and novels), and I've done so because I'm always interested in learning what others have to say about the craft that I might find ways to improve my own. I disagree with the reviewer who pishaws Egri's recommendation to create character biographies, saying that the "audience will never see them". The fact is, every short story, novel, play, movie is like an iceberg: what the audience reads/sees is only 10% of the whole. The rest is hidden. If a writer hasn't done her homework on a story's setting, background or, more importantly, on her characters' backgrounds, it will show, and in the worst way possible. Even if a writer is of the sort who develops her characters as she creates the story, there is still much about those characters which doesn't make it into the tale. It's rather like when you tell a cousin about a friend of yours. You don't give your cousin all the details, only those details which are relevant to giving your cousin an accurate, yet true, representation of your friend, but you can only accomplish this if you know your friend very well. The same is -- HAS TO BE! -- true of your story characters: you MUST know them very well (more than what you reveal) if you are to represent them to your audience accurately and truthfully (but not exhaustively), and that's precisely Egri's point. Regarding Egri and his agreements/disagreements with Aristotle, his disagreement with regard to a story's beginning has more to do with modern readers' interpretations of what constitutes a beginning. Every story must have a beginning, even if it doesn't appear on the page, on the screen, or on the stage. All the consituent parts of a story, even if they aren't put plainly before the audience, must be implied in what is. (Algis Budrys' WRITING TO THE POINT demonstrates this quite well.) Egri's disagreement with regard to Aristotle's views on plot/character, however, are, I believe, on the mark. In this case, however, the disagreement has more to do with historical/cultural/religious context. Aristotle's putting plot primary is due largely to the prevalent beliefs of his time, just as our putting character primary is due to the prevalent beliefs of ours. This, too, is a point which Egri recognizes. After reading Egri's book, my writing will never be the same again, I'll never read another novel or short story the same way again, and I'll never see a movie or play in the same way again, either. I dare say that I'll appreciate a good novel/short story/movie/play even more with the tools that Egri provides in this book, and will now be able to elucidate far more clearly than before why I didn't like a particular novel/short story/movie/play. In like manner, I now believe that I'm better equipped, after reading Egri's book, to recognize what is wrong with any story that I've written and will, therefore, be better able to fix the problem. After reading all the books I've read on story/character creation, I'd have to say that Egri's book is easily the best book I've ever read on the subject. While other authors of such books may have said much the same thing, Egri presents the same material in a way that makes it eminently clear and immediately memorable. POSTSCRIPT: In defense of novels (since that is my preferred medium), unlike what was stated in one review on Egri's book, pacing is just as important in a novel as it is in a stage play. If you have one high-paced scene after another in a novel, your reader will be breathless before she's half-done with the book. Conversely, if your pacing is constantly slow, you're very likely to lose reader interest. There are all sorts of tricks to controlling pacing in a novel, from word, sentence, and paragraph length, and even down to specific word choice. There are other ways to control pacing, as well, but I shan't get into that here. It's a shame that very few books have covered this aspect of novel creation.

### ⭐⭐⭐⭐⭐ must read
*by H***3 on April 10, 2015*

As a new student of creative writing, I started my education by reading 'How to Write a Damn Good Novel' by James Frey, who quotes from this book several times. 'The Art of Dramatic Writing' was a perfect follow up for me, because it goes into extensive detail about what Frey condenses into a 'nuts and bolts' summary of the most important aspects of creative writing. In addition to teaching how to write, this book also teaches a philosophy of how to extract the essence of humanity and inject that essence into an entertaining and moving story.

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*Product available on Desertcart Kyrgyzstan*
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*Last updated: 2026-02-15*