Many of my stage plays have ended up being the story outline (or more) in creating a children’s story book, or a short story, or a novella, or the bones of a novel. I thought that I would share, with my readers and fellow playwrights my process in converting these plays/stories.
The demand really began with my friends and fans insisting on more of the story they’d read or seen in a play. It wasn’t enough. Satisfyingly, they wanted to know what happened after the play ended, or they wanted to know how my characters got to where they were in the play’s timeframe.
Currently I am adapting my latest children’s play in to a story book. A chapter book with colored illustrations.
First I pull up the full script. I re-read it in sections to get immerse, once more, in the story. The blocking will be my guide on describing the ‘action’. I will be certain to describe each character as they appear in the story. Something you can’t do writing a stage play. After I read this section of the play, I begin to describe the characters, the environment, the emotions within the scene. Remember, playwrights, you are now free to write as much description as you want. (But don’t be redundant or boring, please.) I copy and paste the section of the play script into my new manuscript. Then I write above the scene in the play. I am able to use almost all of the dialogue that I have created in the play. After I have written the new work I delete the play script and go on to the next. Here’s a sample:
Chapter 1 ©
Agnes and Annie, sister Aardvarks, stepped off the path into the forest clearing. Except for the occasional rustle in the underbrush and bird song it was a quiet, sun-filled idyllic setting. The smells of forest; tree sap, damp moss, rotting tree trunks, and hidden flowers filled their busy noses. It was worlds away from the dusty deserts in their homeland of Africa. They both looked around fearfully. The fanciful hats atop their heads bobbled in the breeze.
“I think we’re lost, dear sister.” Agnes moaned.
“This doesn’t look anything like the pictures of Australia in our book.”
“Oh, dear, I’m quite afraid,” Annie whispered.
“Whooo?” Something said from high atop a tree.
Annie rushed closer to her sister, “Ekk. What was that?”
Annie had always been the shy Aardvark. Her sister, Agnes had always been the bold one, leading the way and protecting her younger sister.
“Who?” Came the cry again.
“What?” Agnes demanded, looking up into the tree where she thought the sound was coming from. “There are so many trees, all mashed together, I can’t tell where the creature is, Annie.”
“Who?”
“That.” Annie cried.
“What?” Agnes demanded.
“I can’t see anything.” Annie said. “What do you suppose it is?”
“Not certain,” Agnes replied. “But keep a look out anyway.”
“I don’t like this place, Agnes.”
ACT I © (The section we are adapting.)
Scene 1
At Rise: Morning in the fabled forest. Pale sunlight filters through the trees.
(ANNIE and AGNES enter. THEY cross into a clearing, looking all around. THEY are wearing ridiculous hats and are carrying suitcases and a book entitled Australia. The WOODLAND CREATURES scatter into the underbrush.)
AGNES
(Gazing up into the trees, HER nose switching as fast as possible.)
I think we’re lost, dear sister. This doesn’t look anything like the pictures of Australia in our book.
ANNIE
(Frowning.)
Oh, dear, I’m quite afraid.
STARE
Whooo?
ANNIE
(ANNIE runs over to AGNES.)
Ekk. What was that?
STARE
Who?
AGNES
What?
STARE
Who?
ANNIE
That.
AGNES
Not certain. But keep a look out anyway.
ANNIE
I don’t like this place, Agnes.
AGNES
You’re such a scaredy-cat, Annie. It’s a simple forest, much like the jungles of home.
(DONALD, a fairie, enters whistling a merry tune. HE sees the Aardvarks. AGNES and ANNIE turn to run.)
DONALD
Don’t go. I mean you no harm.
STARE
Who? Who?
PATSY
(Knitting her web very fast.)
Eye–eee! Por favor, who are these ugly newcomers? Dios mío, ¿se comerán mis insectos? The bugs are for me and me alone!
You have your character list to refer to so you don’t forget or leave out a character from your play. In the story books, I always use an
illustrator to bring the story alive with their wonderful color drawings based upon the scene I chosen. I try, as much as possible, to give the artist full rein; hoping that they will be inspired by the writing. That approach has been very successful for me. Here’s another sample of adapting a section of my play:
© A couple of days had passed since Emma had visited the clearing in the forest. She and Donald had still not solved the problem of helping Annie and Agnes on their journey to Australia. There suddenly came some rustling of the undergrowth and Stare, the owl began to hoot.
“Who? Who? Who?”
“What’s wrong, Stare?” Emma peered up through the leaves and branches trying to see the owl.
“Whooo?”
From the path a man stumbled into the clearing. He wore work clothes, suspenders and a bow tie. A tool belt hung from his waist. He carried a large tool box. He walked to the middle of the clearing and made a courtly bow.
“Greetings from the Royal Court.”
“Oh my.” Emma murmured.
Donald stepped forward a couple of paces. “Greetings to you. Who are you, sir?”
“Who?” Asked Stare.
“Who might you be, young sir?”
“I’m Donald, a fairie of this realm.”
Taking his half-glasses off his nose he polished them with a clean, white handkerchief, “Blimey. Don’t think I’ve ever seen one before.”
“And you, sir?”
“Who?”
“Not now Stare.” Donald glanced up.
“Allow me to formally introduce myself. I’m Sir Fergus, the royal engineer. I’ve been sent here by the⸺”
Emma sighed, “The Queen.”
“Our Queen.”
“Who?” Stare asked.
“Who?” Annie asked.
“What’s a queen?” Agnes asked.
Cheets began running around the clearing, “The Queen! The Queen! The Queen Cometh!”
Sir Fergus looked around, “No. I don’t think so. It’s just me with my toolbox.”
“Why have you been sent to us, Mr. Fergus?”
“The name’s just Fergus, Miss. Or at court, Sir Fergus.”
“And you’re here because⸺?” Donald inquired.
“To repair your portal⸺time machine⸺of course. It is broken, isn’t it?”
“Our portal?”
“We have a portal? Cheets whispered in awe but having no idea what a portal was. “What is a portal, exactly?”
“And the Queen knew ours is broken?” Emma asked.
“Yes. Yes. Indubitably.” Fergus became impatient to see it, “If you’ll just show me the way, I’ll begin my work.”
“I’m afraid we have no idea where it might be in the forest.” Emma explained. “Until the sisters arrived we didn’t know anything about a portal. They arrived from Africa.”
ACT I ©
Scene 5
At Rise: The clearing in the forest.
(FERGUS, the royal engineer enters from the forest path. HE wears formal clothes but with a large bow-tie and a pocket protector in his shirt pocket. HE carries a large toolbox.)
FERGUS
(Sets down toolbox and bows.)
Greetings from the Royal Court.
EMMA
Oh my.
DONALD
Greetings to you. Who are you?
STARE
Who?
FERGUS
Who might you be?
STARE
Whooo?
DONALD
I’m Donald, a fairie of this realm.
FERGUS
(Takes his half-glasses off and polishes them.)
Blimey. Don’t think I’ve ever seen one before.
DONALD
And who are you, sir?
STARE
Who?
FERGUS
Allow me to formally introduce myself. I’m Fergus, the royal engineer. I’ve been sent here by the⸺
EMMA
(Sighing.)
The Queen.
DONALD
Our Queen.
STARE
Who?
AGNES
Who?
ANNIE
What’s a queen?
CHEETS
(Jumping up and down.)
The Queen! The Queen! The Queen Cometh!
FERGUS
(Looking around.)
No. I don’t think so. It’s just me and my toolbox.
EMMA
Why have you been sent to us, Mr. Fergus?
FERGUS
It’s just Fergus, Miss. Or in more formal settings, Sir Fergus.
DONALD
And you’re here because⸺?
FERGUS
To repair your portal⸺time machine⸺of course. It is broken, isn’t it?
Your play script can grow into something much more ambitious than a novella or children’s story. I have written three full length novels using my stage play as the story outline.
Please leave your comments if you found this informative and helpful.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My weekly BLOG features INTERVIEWS with best-selling AUTHORS! January: Madeline Hunter, February: Mike Lupica, March: Lee Matthew Goldberg, May: Jenny Colgan, June: Don Bentley writing for Tom Clancy.
To receive my weekly posts sign up for my 
On the home page, enter your email address. Thanks!
BOOKS BY TRISHA SUGAREK
What makes us, as readers, care about the characters in a book? What is it about one book over another? I
recently took a chance on a couple of new authors (to me) and was pretty disappointed. The books were like eating a slice of Wonder White Bread, with nothing on it; not even butter. Bland, tasteless and of little interest. 
1 out of 5 stars 
