Rating: 
Summary: One of my favorite....
Review: ...books on writing plays...this one, as well as "Backwards and Forwards," have changed me as a playwright. I still have a long way to go, but Mr. Sweet's book is an exceptional one in the field.
Rating: 
Summary: A worthwhile (if somewhat discouraging) addition
Review: I had a divided reaction to this book. On the positive side (and most of my reaction was positive), Sweet offers some wonderful insights into the profession of the dramatist, as well as some very welcome discussions on how to avoid common traps and pitfalls. He also offers some excellent and often shrewdly humorous analyses of the mistakes made even by greats like Shakespeare, Miller, and Simon (And know what? He's right). In addition, in the face of today's too-common dismissal of musical theatre as inconsequential, it's refreshing to hear Sweet's enthusiastic defense of such Sondheim gems as "Sweeney Todd" and "Forum." The book is well-written in a light, conversational manner that makes it a lot of fun to read. On the down side, I was really, really disappointed in Sweet's opening chapter, which still casts a pall over "Dramatist's Toolkit" for me as a whole. It's unfortunate that such an otherwise helpful book nevertheless opens with a blunt, narrow, and chapter-long definition of who should attempt the life of a playwright (the journalist) -- and who shouldn't (the prose writer). As this is supposed to be a general "toolkit" to assist any attempting the art of the dramatist, Sweet's dismissal of a huge number of writers who do not meet his criteria for success is doubly disappointing. I'm not knocking journalists (I am one), but Sweet's starting-gate assumption that a versatile writer can't straddle more than one genre surprised and disappointed me, especially in the face of such obvious successful exceptions as William Goldman, Larry McMurtry, W.B. Yeats, John Steinbeck, and many more. Only in a small closing paragraph to this chapter does Sweet offer any acknowledgment at all that -- perhaps -- the prose writer can use his book to learn to overcome the built-in handicaps associated with his or her genre, and write a good play. Yet to be fair, overall this is an excellent book that should probably sit on the shelf of any working or aspiring playwright. Just don't always expect to agree with him.
Rating:
Summary: The Basics with Clarity, Brevity, and Wit
Review: I teach college playwriting, so I've read lots of these books. My ideal book for use in the classroom (and for my own review as a writer) is one that strikes a balance between clearly describing the basic principles, providing inspiration and courage for the journey ahead, and leaving enough time to actually write! Jeff Sweet's "The Dramatist's Toolkit" is my current choice. This book introduces a few especially useful tools. It also provides enough biz illustrations to make the beginner feel in safe hands and make the road-weary glad for Sweet's wise and witty companionship. I recently spoke with a dramaturg who said that Sweet's chapter on Ethics was the best writing she'd seen on that subject. I heartily agree. The final sentence in the Ethics chapter is well worth becoming a calligraphied, fancy-framed plaque posted high above the callboard for future generations to hide in their hearts. Jeff Barker, Professor of Theatre and Playwright in Residence, Northwestern College, Orange City, Iowa
Rating:
Summary: Valuable lessons based on practical truths
Review: I've had the pleasure of studying with Jeff and he's very adept at transcribing his lessons to an easily understood distillation of basic precepts regarding dramatic writing. The truths are often self-evident if one is an actor and writer. I have experienced much of which he writes to be true, having written and performed works of my own. Jeff can distill the necessities of effective dramatic writing from the esoteric to the obvious. I have found that his concepts prove themselves when watching written works and when writing those works which I perform. This is a great book. It has reinforced that which I believed to be true and it has shown me the numerous pitfalls associated with writing which we often overlook in our zeal to tell our stories. Jeff's writing style is engaging and easy to follow. Regardless of the level of writing that the reader considers himself this book will reinforce old lessons and teach new lessons. One of the most significant benefits Jeff has had is the practical experience to which he refers of improvising scenes. This technique is important because it moves the work from theory in the writer's head to practical application on stage and results in believable, and effective writing. Instead of writing from theory, Jeff writes from experience and most importantly, he ensures that writers take into consideration the actors who must bring the writer's words to life. This, to me, differentiates good writing from bad. If you want to write well and write something that actors can play in a manner that meets, or more likely exceeds your expectations, you need to read this book. Great Job, Jeff!
Rating:
Summary: A great text for your actual writing
Review: Its brevity aside, the most striking feature of Jeffrey Sweet's The Dramatist's Toolkit is that it's not written like most playwriting texts. Instead of ponderously essaying Aristotle (though if you want a good analysis of Poetics, I'd recommend Hatcher's Art & Craft of Playwriting), Sweet cuts to the chase of negotiations and subtext. His is the only book on playwriting that I've ever seen to really get to the heart of creating scenes (and the better part of the book focuses on just this). Because of this emphasis, this is not going to be the book you should refer to for structure; again, Hatcher is strong there, as is Gordon Farrell's Power of the Playwright's Vision (the only text I've seen to give numerous structural breakdowns). However, Sweet's advice - taken well, and with the usual pinch of salt - is very liberating to the writer who's been struggling against formulaic playwriting texts. Sweet's book is worth its cover price based solely on its discussions of negotiations, which really are eye-openers as to how subtext really works. His section on exposition, with a discussion on high and low contexts, is likewise strong. The book is great as a reference while doing your actual writing, just to remind you of things you can really make work. Now, Sweet's a bit brief (but powerful) in this book, but makes up for it in the sequel, Solving Your Script. The latter is a reinforcement of the ideas from The Dramatist's Toolkit, with enlightening, well annotated examples. Together, they make up a powerful combination addressing what is so rarely touched on in playwriting books: how to actually write powerful, subtle scenes. Combine them with a couple of good structural books like Hatcher or Farrell, and you've got a much better basis than most of the formulaic texts.
Rating:
Summary: A great text for your actual writing
Review: Its brevity aside, the most striking feature of Jeffrey Sweet's The Dramatist's Toolkit is that it's not written like most playwriting texts. Instead of ponderously essaying Aristotle (though if you want a good analysis of Poetics, I'd recommend Hatcher's Art & Craft of Playwriting), Sweet cuts to the chase of negotiations and subtext. His is the only book on playwriting that I've ever seen to really get to the heart of creating scenes (and the better part of the book focuses on just this). Because of this emphasis, this is not going to be the book you should refer to for structure; again, Hatcher is strong there, as is Gordon Farrell's Power of the Playwright's Vision (the only text I've seen to give numerous structural breakdowns). However, Sweet's advice - taken well, and with the usual pinch of salt - is very liberating to the writer who's been struggling against formulaic playwriting texts. Sweet's book is worth its cover price based solely on its discussions of negotiations, which really are eye-openers as to how subtext really works. His section on exposition, with a discussion on high and low contexts, is likewise strong. The book is great as a reference while doing your actual writing, just to remind you of things you can really make work. Now, Sweet's a bit brief (but powerful) in this book, but makes up for it in the sequel, Solving Your Script. The latter is a reinforcement of the ideas from The Dramatist's Toolkit, with enlightening, well annotated examples. Together, they make up a powerful combination addressing what is so rarely touched on in playwriting books: how to actually write powerful, subtle scenes. Combine them with a couple of good structural books like Hatcher or Farrell, and you've got a much better basis than most of the formulaic texts.
Rating: 
Summary: I did not find this book helpful
Review: Just a quick note to rephrase my previous post on this book from September. Upon reconsideration, I think my first review of this book (especially in light of how much I enjoyed it overall) was too harsh in its discussion and dissection of the first chapter, which I had then found so discouraging. I re-read Chapter One again the other day, and it's not really as much of a downer as I made it out to be. While Sweet's first chapter certainly doesn't paint an easy picture of making the transition from straight fiction to scriptwriting, he does offer hope for those crossing formats with a discussion of the necessary skills which will be vital to doing so successfully. Besides, upon reflection, it seems to me that this is actually a better way to prepare people for the very real hurdles they will face in writing for the stage. Those who persevere anyway in spite of the knowledge that most playwrights are not driving Rolls-Royces, or who recognize the difficulties Sweet describes -- and then learn the new skills necessary to jump into writing for the theatre -- are the ones who probably then have the best shots at making a go of it. The rest of the book is just as excellent as I mentioned last time -- humorous, informative, conversational, and very easy to read. So -- just thought I should be fair and add these few additional thoughts to my previous rant! (I was having a bad day when I wrote the previous review, and I think I took that opening chapter a bit too personally!)
Rating: 
Summary: for newcomers only
Review: My advice is to skip this book and go directly to Jeffrey Hatcher's or Louis Catron's, if you haven't already. Sweet's book is pretty obvious, conflict, writing from the heart, don't create a large cast because no one can afford to produce your work,etc., but what is irritating is his unctious style wherein he provides his views as though they were the most perspicacious and insightful renderings of the dramatic writer's craft, when all they are are basically common sense. Also, it would have been nice if he had cited the book "Backwards & Forwards" (1982) by David Ball, from which it seems he got some of his ideas. In fact, in Ball's introduction, he refers to the "playwright's toolbox." Mmmmmm!! Additionally, the author's championing of improv as a means to develop plays is a bit over the top. Just because it worked well at Second City to develop skits, it doesn't mean it will work in creating a finely crafted play. I don't know one distinguished playwright who uses improv to develop ideas; this method, in my view, usually leads to rather banal dramatic development and worse dialogue, for example, ok, you're a couple and are having a fight over having your mother-in-law over for dinner. Not much to work on as far as I'm concerned. Maybe this author uses improv to develop his plays, but the ones I've read that he's written are fairly mechanical and unoriginal. To whit, name one of his that is regularly produced in the regional theatres. Hmmmm! I'm sure the guy means well, and if he can make a living in theatre purveying this stuff, hat's off to him. But that doesn't mean it's a good book.
Rating:
Summary: Delivers what it promises-tools of the craft of playwriting.
Review: Sweet's book is a valuable compilation of tools for playwrights. It contains original concepts, not just a rehash of other playwriting books. Negotiation over objects, high and low context dialogue, violating rituals, the unspoken concept and characters speaking with different voices are all extremely useful tools which have changed my writing for the better. After reading "Toolkit," I went back and reread Pinter and Albee and Ibsen and others. Sure enough, they utilized these tools in their plays. I just never recognized them before. This book is a quick and entertaining read - probably about two hours. But the concepts have to be practiced. The only thing Sweet doesn't do in this book is write your play for you.
Rating:
Summary: for newcomers only
Review: This book is a fair introduction for a newcomer. But when I say newcomer, I mean a newcomer to writing, not to playwriting. For example, what writer experienced in any genre really needs to be told not to let a couple of long-married characters converse endlessly about facts that should be second nature to both of them? Of course, as Sweet points out, knowing something and doing it are different things. But how to *do* within the context of a play is exactly what "The Dramatist's Toolkit" doesn't reveal. Sweet correctly notes that a play is a very different artistic form than a novel. But having made this observation, he doesn't go much of anywhere with with it. Most of what he says about the craft of writing a play could also be applied to novel or short story writing. This includes his point about using physical objects to illustrate themes. Fortunately, Sweet elaborates on the doing of playwriting in his fine book "Solving Your Script," so I'd recommend skipping "The Dramatist's Toolkit" and going directly to Sweet's second book. It speaks loudly about "Solving Your Script" that I would recommend it, because I had serious trouble with the unblinkingly self-important tone of "The Dramatist's Toolkt." In his first chapter, for example, Sweet seems to assert that playwriting should be an actors-only club, because no one else could really understand the stage well enough to write for it. Short of revealing something about Sweet's background or loyalties, this assertion is useless. One buys a book on playwriting to receive the author's insights, not to be told to go home if one lacks those insights at the outset. Besides, Sweet's preference for actors as playwrights is just plain unsupportable. While he lists several great novelists that made lousy playwrights, he doesn't name a single great actor who made a good playwright. There have been some, but they are outnumbered by the great actors who stuck to acting, the art form they knew best. Remarkably, it is without a trace of irony that Sweet later complains that too many modern plays revolve around acting and show business. His proposed solution to this problem is laughably underwhelming: it is that actors should pick up a newspaper now and then so that they'll write better plays. Sweet is undoubtedly a good playwright, but "The Dramatist Toolkit" provides scant evidence of his skills as a playwriting teacher. Sweet's insight about using physical objects to illustrate themes did seem powerful to me. A few more insights of this caliber might have made this into what I would consider a five star book.
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