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• To step
• Part 1 of 3: Structuring the monologue
• Part 2 of 3: Working out the monologue
• Part 3 of 3: Refining the monologue

Writing dramaturgical monologues is not easy. A good monologue shows plot and character development and should not be too betray, but also not be boring. The best monologue expresses the character's thoughts and helps build tension and emotion in the play. Use a monologue to reveal more about his or her character or to build tension. In any case, start with the structure of the monologue. Then you will work this out by writing and fine-tuning.

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Part 1 of 3: Structuring the monologue

1. Determine the perspective of the monologue. The monologue must take place from the perspective of one of the players. Focus on his or her point of view to determine the purpose and tone of the monologue.
   • You can write a monologue where the main character speaks about his or her motivation, but also a monologue where an inconspicuous minor character reveals something unexpected.
2. Determine the purpose of the monologue. The monologue must have an important function in the piece. Something must become apparent that the public cannot discover through dialogue or action. Think of a secret that the player is carrying, an answer to a pressing question in the play or an emotional outburst of the player. Make sure the monologue reveals something.
   • A monologue should add conflict, tension and emotion to the piece. In addition, the public must gain a new understanding of an ongoing problem.
   • For example, if you have a player in the first act who is always silent, you can give them a monologue in the second act in which he or she explains the reason for this.
3. Determine who the monologue is addressed to. Determine who the speaker is addressing. In this way you can give the monologue the right framework - with the audience in mind. The monologue can, for example, be addressed to another player, but it can also express an inner train of thought. The speaker can even address the audience directly with the monologue.
   • A monologue against another character is great for expressing feelings. A monologue to the audience can be used to justify or express actions and feelings. This gives the audience more insight and develops sympathy or antipathy for the player.
4. Determine the beginning, middle and end of the monologue. A good monologue requires a clear beginning, middle and end. Think of the monologue as a mini story, where there is a marked change from the beginning to the end, where the speaker discovers something or makes a revelation. Your monologue should start and end with a clear goal.
   • Create an outline with the beginning, middle and end of the monologue. Consider what happens in each of these stages.
   • For example, write: "Begin: The silent Helena speaks. Middle: Helena tells us why and how she lost her voice. End: Helena realizes she would rather keep silent than say her thoughts out loud.
   • According to a different setup, you write the beginning and end lines first. Between these two lines you then write a few ideas for working out the monologue.
5. Read other monologues. Reading other monologues will give you a good idea of ​​structure. These monologues are written within the context of the play, but they can also stand on their own as a dramaturgical form. A few examples are:
   • The Duchess of Berwick's monologue in Oscar Wilde's Lady Windermere's Fan.
   • Jean's monologue in August Strindberg's "Miss Julie".
   • Christy's monologue in John Millington's "The Playboy of the Western World."
   • The monologue "The Other Voice" by Ramsey Nasr.

Part 2 of 3: Working out the monologue

1. Start the monologue with a parenthesis. You have to get the audience's attention right at the start. Suck them into the play so they have to listen to the player. Your opening line sets the tone and atmosphere for the rest of the monologue and gives your audience insight into the voice, language and character of the character.
   • For example, choose to drop in immediately with a big reveal, as Christy does in his monologue in the John Millington Synge piece, "The Playboy of the Western World."
   • In Christy's monologue, the audience immediately hears that he murdered his father. The monologue continues with the how and why of this action, and what his feelings are about his actions.
2. Use the character's voice and language. Write the monologue from the perspective of one of the characters, using that character's specific, unique voice. A strong, personal voice colors the piece with detail, tension and emotion. Use the character's unique voice for the monologue, including accent and any personal filler words and grammatical idiosyncrasies.
   • For example, let your character speak with a flat Hague accent, or, on the contrary, look pretentious and affected, with matching phrases.
   • A well-known example is The Duchess of Berwick's monologue. Oscar Wilde here uses the character's casual conversational tone to captivate the audience.
3. Let your character look back in time. In many monologues, the player reflects on the current situation through a retrospective.Find the right balance between discussing the present and the past. The previous events only serve to clarify the current situation. Have your character dig into his or her memory to face current issues.
   • For example, you can see Christy contemplating his father's murder through a combination of past events and moments of choice, all of which together led to the irreversible act.
4. Add descriptions and detail. Keep in mind that your audience only hears text and does not see images. Include as many sensory perceptions as possible in your text, so that the listener can see, feel and smell the action almost physically.
   • Jean opens his monologue with a clearly sketched picture of his childhood: "I lived in a draughty shack with my seven brothers and sisters and a pig. There was not a single blade of green in the distant area, only rubbish and dried mud. "
   • The details in the monologue paint a clear picture of Jean's childhood housing. This image also contributes to the character building and the emotion that the audience develops for the character.
5. Add a moment when something is revealed. Something has to become clear in the monologue. There may be a dawning realization for the player, but also a revelation for the audience. This revelation is the purpose of the monologue. The revelation should reinforce the tension of the whole play.
   • Christy reveals that his father was a nasty person, thus turning his crime into a good deed. After all, he did the world a favor by getting rid of his father.
6. Make a point. Make a clear point at the end of the monologue so that it is clear that the monologue has ended and what the conclusion or follow-up action is. Have the speaker deliver this conclusion and conclude the monologue.
   • For example, Jean reveals that he tried to end his life because he was too little for Julie. He ends his monologue with what he learned from his feelings for her.

Part 3 of 3: Refining the monologue

1. Shorten the monologue to its essence. An effective monologue is neither long nor verbose. There has to be just enough information to captivate the audience and take a step into the play. Read your monologue again and delete any word that does not contribute to clarity and effect.
   • Delete all unnecessary and crooked sentences. Each word must contribute to the character's formation with his or her unique voice.
2. Read the monologue out loud. A monologue is meant to be recited, so test it by reading aloud. Do this for yourself or for a trial audience. Listen carefully to determine if you got the character's tone and voice right.
   • Pay attention to moments that are confusing or long-winded. Simplify these pieces so that the whole thing is easier for the listener to follow.
3. Have an actor recite the monologue. Try to find an actor or actress to deliver the monologue, with you as the audience. Ask a friend or hire someone. With a professional you can see the very best how your monologue comes into its own on stage and what possible areas for improvement are.