Recommended

This book is an argument for the primacy of character in the dramatic script - primarily stage plays. Egri uses Ibsen's "A Doll House" and Moliere's "Tartuffe" as running examples; it helps a lot to have read those plays first and be familiar with them. The author has three main things to say, and in this well-organized book he devotes a section to each one. First, any story must have a premise - a simple, easily-stated lesson that the story encapsulates. He offers "Ignorance leads to prejudice", "Materialism conquers mysticism", or "Extravagance leads to destitution". Egri insists that you believe in your premise, because it provides the moral backbone to your story. Second, a story must have good characters; this takes precedence over a good plot.

Egri argues against Aristotle, claiming a story without good characters is no story at all. He focuses on what makes a character tick and be interesting. Third, a story must have conflict, and the protagonist must address that conflict. The conflict must be rising: in each scene, the conflict must be a bit more intense than before, the stakes a little higher, the confrontation a little deeper. This culminates in the climax, where the protagonist solves the problem, leading to a resolution.

The principle value of the book is in its steady argument for the primacy of character, and its advocacy of the principle of rising conflict. The discussion of character itself is good, but somewhat long; it is a variation on the typical analyses of character found in other books. I don't quite buy the premise principle as he presents it, because he seems to feel the only valid premises are those that present moral arguments. What's the premise (as used by Egri) of "Raiders of the Lost Ark"? "Evil causes its own downfall" is my guess, but that's hardly a useful tool in understanding that story. Many good stories are simply adventures, or comedies, and the pleasure is in the doing of it; the protagonist will certainly change or develop, but it doesn't require him or her to learn a single central moral lesson.

By rising conflict he means simply increasing the severity (usually emotional) of the problems encoutered by the protagonist during the second act. Each new complication, each new obstruction must have higher stakes and a deeper impact on the character. The tempo or frequency of the conflicts doesn't matter; they must simply become more difficult, until reaching the climax and the most threatening confrontation of all. The tension starts with the initial complication, and steadily mounts from there. When the protagonist finally commits to the final action that resolves the basic conflict of the drama, then tension is at its peak. When the action is resolved, then the tension is released, and the audience is finally allowed to feel restful again.

Egri's book is well-written and passionate, and his arguments for the importance of character (and the details that make up a memorable character), and the importance of rising tension, are valid. He reduces much playwriting to specific craft decisions, which deserves applause. This is a good book to have under one's belt before writing.