The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-02-23
WRITING OF PLAYS
As in Other Lines OF Literary Work
Each Man Has His Own Pc.
culiar' Methods.
Mr.. Gilbert's Best Work Suggested
by Trivial Incidents Which
He Elaborates.
London Titbits.

Much has been said regarding the meth
DDS by which writer's of fiction evolve their
novels, but, curiously little is known OF a
subject Of at least equal interest-the
tricks and methods of playwrights.
Haddon Chambers, the author of so
many clever and charming plays, frankly
confesses that he has no method. $50 err
ratio am T." he declares, ''that often be-
gin in the middle Of a play and complete,
say, the third act before T have the re-
hottest idea what to put in the first. This
was the case in 1.-THE Honorable Herbert
where the third act fashioned itself so
completely in my mind that was COM
PEELED to sit down and write before
it escaped my memory, and then turned
to the first act"
Mr.. Chambers has no difficulty in finding
his plots. They come to him, as he says,
with almost fatal facility; but before put
ting pen to paper he allows the plot to
simmer in his mind for at least month,
until the play and characters have as
mind. Practically all his writing is done
at Westgate, for he finds London far too
restless and feverish a place for quiet
literary work
Louis N. Parker equally pleads guilty
| to an utter lack Of method in his work.
L rarely put pen to paper" he admits,
until managers begin to worry me about
rehearsals, and / have only three or four
days left In which to produce a four-act
play. Then I work practically night and
day until the thing is done, with the re-
suit that I always vow I will never write
another
AS for his ideas, he says that he tbegs,
borrows or steals thenf," and then endeav-
ors to find the sort OF characters that
can conceivably carry them out. With tho
central idea and characters settled, he
| finds no difficulty in weaving suitable
| story around them. When collaborating
with Mr.. Carson he says, 1--WE are really
| only together during the incubating
stage, and this sometimes only lasts a
| morning"
| R. G. Sims has very decided views as to
how a successful melodrama should be
written, and probably no one Is entitled
to speak with more authority on this
subject. The chief thing, he says, is to
get a simple story, free from complica-
ton, and with plenty Of passion, pathos,
humor and lively characterization in it..
Having thus got the mental skeleton, he
proceeds to clothe the plot with the dia-
logue and fill in the incidents.
| AS all his plays are written for spe-
cial casts, he makes a point Of writing
round'' the individual actors who are to
produce the play; and every line is writ
ten with a mental eye on the stage which
no playwright is more familiar with.
|
colleague usually spend a week in cogita-
ton at some charming place, such as
Brighton or Monte Carlo, returning home
without a single line being actually writ
ten. ..
Mr.. Sydney, when he wants to get an
idea for new play, seeks inspiration from
one Of his seasoned bulldog pipes-an6
never in vain. But when he had got his
idea the difficulty of working 1T proves
formidable. II suffer from the disease OF
laziness, - he says, land T simply can't set.
tie down to work until am compelled to-
But when once start I go right ahead
working morning, noon and night until II
| is finished. -.s H.. E.-s.-E
Having got suitable idea, he first plans
out a very slight scenario, and begins tt
! write with only a slight conception of his
characters. Gradually, however, these as.
| sumo form and reality, and before the frs
act is finished he is on perfectly gooG
terms with them When once the play is
under way his brain is saturate ted with it
and everything else is thrown aside unit
it is completed. II keep the stage in view
throughout he says, tas if it were g
chess board, and get no mental rest unit
I have done the thing"
Some of Mr.. Gilbert's best work has
been suggested by very trivial incidents
The sight Of a huge Japanese sword in
spired ..The Mikado,'' and W. H. Smiths
appointment as first lord Of the admiralty
was the origin Of "Pinafore.'' All his OPP
eras were written with miniature copy
Of the Savoy stage before him, with every
entrance and exit shown. and small blocks
of wood, painted different colors, to repre-
sent different voices, for actors.
There is no more methodical or consci
entious worker among playwrights thar
Mr.. Pinero. When he has q play in han6
he works at it every day, quite regardless
Of moods; never, however, touching hi: