Words, Words, Words.

Each of your characters’ lines should add to their holistic makeup.

Each character should say only what’s true to their own nature.

Each character should reveal something about who they are, what they want, with each line they speak, because each line is a choice.

Text space is expensive, valuable, critical, precious. Not a syllable should be wasted.

If your play were a crime scene, the detectives (directors and actors) should be able to build a working profile of each character by the things they say or are said about them. Every word should add to the evidence.

Word choice is important. Does a character say “Yes”? Or do they nod? Do they say “Yeah. Whatever”? Do they shrug? Do they say “Oui”? “Totes”? “Da”? “Most assuredly so”? Do they flip you the bird and exit?

Are the speech patterns and vernacular genuine?

Do they use exceptional or elevated language? Why? Is it because of their academic education or do they use it to establish a superiority?

Who uses slang? Why and for what purpose?

Who does not use slang? Why?

What vocal tics does your character have?

What accent, regional or national, do they have? Why, and how does that affect their interactions? Do their accents provoke antagonism or establish cooperation?

Can you assign an adjective to each speech? What would those adjectives tell you about the story arc, character choices, character intelligence, or how well they use the gift of language?

If your play were a historical document, what cause-and-effect events could you outline solely by the choices a character makes and the words they choose to use to make those choices?

Image: Blue Face, Monte Verde, Costa Rica, March 2024