How important is establishing a clear controlling idea when you write or will dialogue always rule the day?
With pppeeeaaaccceee, the rule was that I could never have any conflict. Everyone had to be nice to each other all the way through the play. There was no conflict, plot, or character. Can I write dialogue that was compelling without those three things? That was the challenge on that one. There is a wonderful phrase of William Faulkner’s that goes suggests if one is to write stronger prose one must ‘kill your darlings.’ Are there any ‘darlings,’ meaning scenes or characters that you have had to drop from your plays in favour of story structure? Oh yeah, constantly. There are always things that are really lovely but are slightly off topic. Or they’re screwing around with the rhythm or simply redundant. But killing them is something that is easy to do after you’ve written a few plays and you have to sacrifice a few jokes to benefit the whole of the project. You’ve stated that dialogue is the piston for your work. Do you ever establish a reference point when you start writing a new play? I
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