There are tons of valuable tips in this book and it's companion volume, "Solving Your Script." This book was highly (and repetitively) recommended to aspiring bookwriters by John Sparks of the Academy for New Musical Theatre in LA because playwrights routinely overlooked the common-sense suggestions Sweet has to offer.

Robert McKee raves about this out-of-print book in his screenwriting seminars, and it IS excellent.

Robert McKee referred to this book a lot in his seminar due to Goldman's discussion of structure. It was one of the earliest books I read on the subject, and Goldman is such an interesting writer that I couldn't put it down. He also exemplifies the challenges of turning a short story into a screenplay.

Avoid this book at all costs unless you want to become the caricature of a screenwriter in "The Sopranos."

Lou Florimonte, who runs the Directing for TV and Cinema program at CalArts, recommends this somewhat dated book and it DOES have a lot of great structural principals in it.

This is the only worthwhile book on writing a musical, by the director of the BMI Musical Writing workshops (later the core of the curriculum for the LA Academy for New Musical Theater). His extensive experience working on Broadway informs his writing and analysis. Extensive references to musical theater repertoire require the reader to search out, study, and apply the principles he discusses.

For a long time, this was the only book I could find on the process of writing a musical. The creative insights are few and far between. It's not terribly helpful for writers. What is does offer is some insightful ANALYSIS of "Company" and "My Fair Lady."

I love Ayckbourn's writing so much that I couldn't leave this out, although mostly it offers practical suggestions regarding writing a play that you'd like to see get performed, rather than sit on a shelf. It doesn't have as much advice on the actual writing process as I'd hoped for, especially from someone who has crafted the most intricate dramatic structures on stage to date.

This is a book about theatrical improvisation, but I have found that it really sets the stage for writing and developing characters in a story.

I really enjoyed this book and the discussion of structural approaches to crafting comedy. It's a fun read too - how could it not be?

This is the bible of lyric writing. There's not much more to be said for it, except that she is exceptionally systematic and thorough in explaining the craft.

This book offers some analysis and discussion of the evolution of many of Sondheim's works. Very technical, but interesting.

This was recommended to me by a very experienced lyricist, and may be more contemporary than the Clement Wood dictionary. I like it a little better too.

I loved Ray Bradbury's stories as a kid, and found out why when I read his description of how he wrote adventure stories and NOT science fiction. Again, not a dramatic writing book, per se, but offers inspiration and insight into the writer's craft.

Cameron has studied the creative processes of lots of writers, the demons that lie waiting for them, and the charms and treats that inspire them to keep at it. It would be hard to overlook her contributions.

If you find yourself washing dishes or writing Amazon lists when you know you should be writing, run, don't walk, to your nearest online bookstore and buy this book.