Moss Hart once said that you never really learn how to write a play; you only learn how to write this play. Crafted with that adage in mind, The Dramatic Writer’s Companion is designed to help writers explore their own ideas in order to develop the script in front of them. No ordinary guide to plotting, this handbook starts with the principle that character is key. “The character is not something added to the scene or to the story,” writes author Will Dunne. “Rather, the character is the scene. The character is the story.” Having spent decades working with dramatists to refine and expand their existing plays and screenplays, Dunne effortlessly blends condensed dramatic theory with specific action steps—over sixty workshop-tested exercises that can be adapted to virtually any individual writing process and dramatic script. Dunne’s in-depth method is both instinctual and intellectual, allowing writers to discover new actions for their characters and new directions for their stories. Dunne’s own experience is a crucial element of this guide. His plays have been selected by the Eugene O’Neill Theatre Center for three U.S. National Playwrights Conferences and have earned numerous honors, including a Charles MacArthur Fellowship, four Bay Area Theatre Critics Circle Awards, and two Drama-Logue Playwriting Awards. Thousands of individuals have already benefited from his workshops, and The Dramatic Writer’s Companion promises to bring his remarkable creative method to an even wider audience.

莫斯-哈特曾经说过，你永远无法真正学会如何写一部戏；你只能学会如何写这部戏。《戏剧作家指南》以这句格言为基础，旨在帮助作家探索自己的想法，以发展他们面前的剧本。这本手册不是普通的情节设计指南，它从人物是关键这一原则出发。"作者威尔-邓恩写道："角色不是添加到场景或故事中的东西。"恰恰相反，角色就是场景。角色就是故事"。邓恩花了几十年时间与戏剧家合作，完善和扩展他们现有的戏剧和电影剧本，他毫不费力地将浓缩的戏剧理论与具体的行动步骤相结合--超过60个经过讲习班测试的练习，几乎可以适应任何个人写作过程和戏剧剧本。邓恩深入浅出的方法既是本能又是智慧，使作家能够为他们的角色发现新的行动，为他们的故事发现新的方向。邓恩自己的经验是本指南的一个重要因素。他的剧本被尤金-奥尼尔戏剧中心选中参加三次美国国家剧作家会议，并赢得了众多荣誉，包括查尔斯-麦克阿瑟奖学金、四次湾区剧评人协会奖和两次Drama-Logue剧本创作奖。数以千计的人已经从他的研讨会中受益，而《戏剧作家伴侣》有望将他出色的创作方法带给更多的人。

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