Dr. Catron's book melds theory with practicality in the most utilitarian Directing primer on the market. Designed, I believe, as a college text, it has strong application at the professional and community theatre levels, better than Cohen/Harrop, John Miles-Brown and Dean & Carra. The only book which comes close to Catron's is Benedetti's The Director at Work.

I am delighted to see this wonderful title in print again. Unlike many playwriting books on the market today, Catron's guide deals in specifics rather than in mumbo jumbo or vague generalities. (And, from an aesthetic point of view, this reprint edition boasts a far more attractive cover than did the original first edition (hardcover) or the previous paperback edition.)

Dr. Catron deals with being a playwright, the characteristics of plays, turning ideas into plays, creating characters, building plot, constructing dialogue, evaluation and revision, script format, and resources for playwrights. Seven of the ten chapters conclude with excellent exercises designed to get the reader WRITING.

A note of constructive criticism: While the chapter on formatting the script is better than most, I would have liked to have seen it go into even greater detail. Even so, I can recommend this book without reservation and have given copies of it to friends who have become as enthusiastic about it as I.

Don't let the title deceive you - this is a masterly guide for all fiction writers. Catron's insights into creating characters, building plots, constructing dialogue, overcoming writer's block, finding inspiration, and turning ideas into plays apply to all forms of dramatic writing.
Catron is both a playwright and a professor, and this is reflected in his conversational, yet erudite, writing style. He covers the practical aspects of shaping stories from the artisan's point of view, and the intellectual concerns of literature from the scholar's.
The book begins with perhaps the most useful chapter on 'becoming a writer' of any 'how to' book on the market. If you've ever abandoned a work halfway through, despairing over where to go to next, or if you've ever questioned why you even bother to write fiction, then this chapter offers the solution. Catron asks that you begin with the statement 'These things I believe' - what you subsequently write will form your 'Personal Credo'. This will help you define your attitudes, beliefs and passions, and help you find enough thematic material to drive your future work. The 'Credo' is the first step to finding your individual voice, and a treasure-trove that you will plunder endlessly for the rest of your writing days. This first chapter alone makes the book worth owning.
Another great chapter is 'Turning Your Ideas into Plays', again, applicable to all fiction writing. Catron analyses ideas as one of three basic types: character, situation or thematic. From there, he takes you through a series of exercises to help nourish your 'seed' into a full-grown fictional work. Along the way, he provides relevant examples from the masters to help you visualise your own work. In fact, the book is peppered throughout with entertaining and relevant quotes from writers to inspire the beginner and to provoke thought on pertinent subjects.
The remaining chapters deal with character, dialogue and plot building, revising and re-evaluating your work, resources for playwrights, and proper script format. I recommend this book, not only for playwrights, but also for those interested in putting some direction in their work.

Catron's latest shares excellent information concerning the basics of playwriting. The finest well-known playwriting instructor of our time, this book is second only to Catron's first (also available here), and one that can only be gotten via private distribution. Uh oh. I just realized I wrote a review for this a year ago.

This book will teach you the proper format but it talks a lot about writing One-Act plays not feature lenghts. Hey I never wrote a play in my life and I created a feature length play that made my professor very proud. Don't let this book limit your creativity by all the talk about One-Acts; Reach out for the stars. But, this book will help you with your formatting and it will help you out with the business side of it too. A keeper for playwrights.

Like many people who aspire to be working writers, I've sunk a lot of money into books intended to make me better at my desired field. Maybe you have, too. If you have, you know there are three things no writing book will ever give you.

1. Inspiration
2. Discipline
3. Connections

This book is no exception. You'll be sorely disappointed if you go in search of any of these golden rings using this book as your guide. If you think this, or any, book will provide any of these things for you, give up now, go get a real job, make room in the field for the chosen and called.

You will not be able to read this book and crank out a production-level script cold. But if you dedicate your time to practicing the exercises Catron provides; if you try, try again; if you pursue his advice and keep this book close at hand all the way through the production process, you should do just fine.

Catron offers a breakdown of play elements based on Aristotle, he offers an overview of what literary directors are usually looking for, he even offers a tutorial in formatting your script so an otherwise sterling piece doesn't get thrown aside too soon for being improperly constructed. If you have a gift for writing theatre, and a burning desire that causes you to spend enough time in writing every day to develop and maintain your skills, this book will bridge the gap between that and being ready for production.

This book won't provide any magic bullets. You have to want to write, and you have to want to work at it. If you really, really want to be a playwright, and you're really, really willing to work at it, get this book before any other. Then buckle down and START WRITING!!!

I didn't think you could learn playwriting from a book. "A book is going to give rules, but I'm so different I make my own," I thought. Wrong-o! Now that I finally took advice and read this book I wish I had not been so stubborn and wasted all that time. It's like I had been wandering in a huge forest and then along comes this book to be guide and compass and map and path finder. Now, finally, I see what directors meant when they said those early plays needed a stronger sense of theater. I've just had my first production and this book was a major player in getting me there. This is my first "thank you note" to its author.

If you've ever wanted to create a solo show, but didn't know how to go about it, then this book should make for an enlightening read. The overviews of the tradition of solo performance, and the brief artist breakdowns help to jog the imagination of the solo performer. Read this book along with EXTREME EXPOSURE, OUT OF CHARACTER, GETTING YOUR SOLO ACT TOGETHER, JAIL'S HOSPITALS AND HIP HOP, FREAK to get a great solo performance cross-section.

I have been a (very) part-time freelance writer and author for a number of years. Recently, I decided that I wanted to write a one-person show, though I had absolutely NO idea how to begin. While researching for advice, I stumbled upon Dr. Catron's book. While waiting for its arrival, I corresponded with people who had success with this medium and got some good, general advice. When I received Dr. Catron's book, I devoured it. Not only was it a complete, step-by-step guide to creating a one-person show from start to finish, but it was an incredibly compelling read. I had little interest in the history of this medium ... until I began reading the book. My copy is now filled with yellow highlights that I refer to over and over again ... something I have rarely done in the past! In addition, it was a crash course in playwrighting and presentation. Now, I feel absolutely clear on how to proceed, and have a map of exactly how to do so. He also presents a strong message that this medium is not just for experts, but for anyone with something to say. And even if you are clueless to begin with, Dr. Catron guides you to find your inner voice so you HAVE something to say by the end of the book. In addition, Dr. Catron fills his chapters with encouragement. His passion for the subject and his ability to inspire are a winning combination. I hope more people like me will take his advice and go for the stars!

I had been struggling to make my own one-woman show work for several years and it just wouldn't get off the ground. Then, a friendly theater critic, told me I really ought get this book and just to please her, (always be polite to critics!) I got it and saw mistakes I had in my script and got new ideas to improve it. Okay, so I'm not on Broadway yet, but becuase of this book I fixed my play and improved my acting so I'm now getting many chances to do my script and audience reaction is great! The book inspired me to write a new solo play that I'm opening soon. There are complete actual one-person plays in the book and excellent comments on what makes them effective so you can examine your own play. Even better is the advice about vocal work and how to make the voice dynamic. That hit me right where I live and I know I'm a better actress now. The book gives you a historical perspective about these solo plays that I didn't know and it makes you respect doing htem. "The Power of One" is exactly the right title to make you see what you can accomplish by yourself. I've never written a review of a book before but this has been the most helpful theater book I've read yet. Five stars? At least!