Continue writing this monologue, the character is describing this day with the benefit of hindsight, it’s something that happened in the past.

Don’t stop to cross out or change things, just let the words flow for a couple of pages.

Now do the same thing but this time, write about the saddest day of their life. Look through these monologues and try to pick out a thread or line of action. What happened to make this the happiest or saddest day? What event made such an impact? Who or what was the cause of such extreme emotions? And what has been the aftermath? The story that unfolds may well be the plot of your play.

Try this with other characters, see what comes up for you. Don’t forget to try the Questions for Characters exercise at the end of the Character page. You can easily give yourself new questions for that character.
These can be good ways of discovering a character’s motivation, their core beliefs, the point where if pushed, they would snap. That’s the point we probably want to see on stage.

And again, none of this material may directly appear in your script but it will indirectly enrich it.

Let’s say the one about your cousin getting her bag snatched at the movies. 

Now look at it from another angle. Make one of the background characters the main character. Perhaps, one of the cinema ushers. Imagine a whole new set of wants and needs for that character. How are they affected by what happened in the story?  Did they chase the thug? Hide? Set the robbery up? Do they find the bag under a seat and decide whether they’re going to keep the money inside?

Now look at the point where the bag snatch happens. Perhaps it’s just before your play starts. Or perhaps your play ends with the bag snatch. Ok, now some more characters. What are their wants and needs? How do they help or obstruct your main character the usher?

Looking at a story or situation in this way is sometimes enough to start that little voice, or scenario playing in your head. It could be a play. Give it a go and see.