This post has been thirteen years in the writing. It was during the winter of 2006 that I came up with the idea of the dramatic art form of tragedy as a theatre of risk. On February 4, 2019, the softcover proof of my book: The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected arrived on my doorstep. After unwrapping the book, I had to sit down on the couch. Overwhelmed. I spent some time looking at it and flipping the pages. They did a good job at Friesen Press with the jacket design. Austere, plain, and authoritative. It’s a handsome book. The 8.5″x5.5″ form factor brings the book to 368 pages. Perfect thickness. 8.5″x5.5″ feels good to hold in the hand. The ink smells fresh. The cover has a grainy waxy texture to it. The pages are cream. Light deflects better off cream than white pages. Easier on the eyes.

After what felt like a long time sitting on the couch just looking at the book and turning it over in my hands, I started reading parts. Randomly. A couple of pages here and a couple of pages there. Though I knew the words inside and out, I noticed how differently it felt to read them in a book rather than on a printout or on the screen of a laptop computer. The words read well. What I noticed reading the book was that it felt like I was reading a book rather than reading my own words. I say this because, while I was editing the manuscript on the laptop or a printout, it would always feel like I was reading my own words. The book makes the writing seem more distant. And I guess it is more distant now: the book is out there who knows where in the world. May it encounter happy readers and friendly critics.

Book Blurb

WHEN YOU LEAST EXPECT IT, BIRNAM WOOD COMES TO DUNSINANE HILL

The Risk Theatre Model of Tragedy presents a profoundly original theory of drama that speaks to modern audiences living in an increasingly volatile world driven by artificial intelligence, gene editing, globalization, and mutual assured destruction ideologies. Tragedy, according to risk theatre, puts us face to face with the unexpected implications of our actions by simulating the profound impact of highly improbable events.

In this book, classicist Edwin Wong shows how tragedy imitates reality: heroes, by taking inordinate risks, trigger devastating low-probability, high-consequence outcomes. Such a theatre forces audiences to ask themselves a most timely question–what happens when the perfect bet goes wrong?

Not only does Wong reinterpret classic tragedies from Aeschylus to O’Neill through the risk theatre lens, he also invites dramatists to create tomorrow’s theatre. As the world becomes increasingly unpredictable, the most compelling dramas will be high-stakes tragedies that dramatize the unintended consequences of today’s risk takers who are taking us past the point of no return.

Author Blurb

Edwin Wong founded the Risk Theatre Modern Tragedy Playwright Competition with Langham Court Theatre to align tragedy with the modern fascination with uncertainty and chance. It is the world’s largest competition for the writing of tragedy (visit risktheatre.com for details). He is an award-winning classicist with a master’s degree from Brown University, where he concentrated on ancient theatre. His other research interests include epic poetry, where he has published a solution to the contradiction between Homeric fate and free will by drawing attention to the peculiar mechanics of chess endgames. He lives in Victoria, BC and blogs at melpomeneswork.com.

Emerging Local Authors Collection

The Greater Victoria Public Library, or GVPL for short, hosts an emerging local authors collection. It’s a great community resource for writers and readers alike. The softcover proof that came in last week has been deposited with the GVPL for inclusion in their emerging local authors collection this year. The Risk Theatre Model of Tragedy will hit the shelves at the GVPL in May 2019.

Preview the Book at Google Books!

Preview the book for free by clicking this link.

Amazon, Barnes & Noble, Chapters Indigo, Bolen Books, and Munro’s Books!

Friesen Press includes distribution in their publishing packages. This in itself was the one reason why I went with Friesen over a typesetter and a printer: Friesen partners with Lightning Source, a print-on-demand company, and the book distributor Ingram to make titles available on online booksellers including Amazon, Barnes & Noble, Chapters Indigo, and the FriesenPress Online Bookstore. Originally I had even toyed with learning how to typeset myself on LaTeX typesetting system: that’s what the author of Early Retirement Extreme did when he published his book. But Friesen’s help with distribution was too good to pass up.

Friesen can also make titles accessible to physical bookstores. To do so, authors must purchase book return insurance at $699 a year and opt for a 55/45 trade discount. That means, for every dollar the book sells for above the production and distribution costs, the wholesaler gets 55% and the author gets 45%. If the book costs $20 to produce and distribute and the book sells for $21, the wholesaler gets 55 cents and the author 45 cents. If the author goes for online sales only, the ‘short discount’ of 25/75 is used, and there is no need to buy the book return insurance. With the short discount, the author keeps more. If it costs $20 to produce and distribute the book and the book sells for $21, the wholesaler gets 25 cents and the author gets 75 cents.

For this rollout I went with the 25/75 short discount to make the title available online. It’ll take a few years for the Risk Theatre Modern Tragedy Playwright Competition to take off. When it does, it’ll make more sense at that time to get the title into brick-and-mortar bookstores. The $699 book return insurance at this stage of the game can be better used to support the competition.

Here’s where assiduous readers can get a hold of their very own copy of The Risk Theatre Model of Tragedy. All proceeds from the book go back into the playwright competition. Please tell your theatre friends and colleagues about this new and exciting dramatic manifesto! Please leave feedback at Goodreads, Amazon, or B&N. Even a few words can help other readers make a choice.

Munro’s Books

Softcover $19.95 available at their downtown Victoria branch on 1108 Government Street in Victoria, BC

Bolen Books

Softcover $19.95, available at their fantastic bookstore on 1644 Hillside Avenue in Victoria, BC

Amazon.com

Softcover $14.99, Hardcover $23.99, shipping in US $5.99 (orders over $25 qualify for free shipping)

Follow me on my Amazon author page: amazon.com/author/edwinwong

Amazon.ca

Softcover $19.94, Hardcover $31.91, shipping in Canada $4.98 (orders over $35 qualify for free shipping)

Barnes & Noble

Softcover $14.99, Hardcover $23.99, shipping in US $4.99 (orders over $35 qualify for free shipping)

Friesen Press Online Bookstore

Softcover $18.49, Hardcover $27.99, shipping in Canada $14.49

Chapters Indigo

Softcover $22.50, Hardcover $33.50, shipping in Canada $7.08

Reviews / Praise of The Risk Theatre Model of Tragedy

Winner in the Performing Arts Category – 13th Annual National Indie Excellence Awards (NIEA)

The author’s passion for his subject comes across in nearly every statement . . . An ambitious, though-provoking critique of tragedy in the 21st century.

Kirkus Reviews

****Fascinating side topics, including the invention of the concept of money and how it led to tragedies being boiled down to the price of life itself, are covered . . . Making the case for risk theory as a new definition for tragic theater, The Risk Theatre Model of Tragedy is a piquant, far-reaching study of tragedy as an art form.

Foreword Clarion Reviews

*****I’ve been dealing with theatre actively and academically for many years, and the idea of “tragedy” was wrapped in the mystique of motivations and nobility and flaws that put it out of reach for me as a playwright. This book strips away the mystique and makes the form available to me. Seeing risk as the fulcrum of the action clears my head and lets me see contemporary situations and conflicts in the light of risk and potential tragedy.

Donald Connolly – Goodreads

*****I think that “The Risk Theatre Model of Tragedy,” by Edwin Wong will be enjoyed by both writers and people who enjoy great drama. For myself, I enjoyed being able to read it a few days before I am to travel to Los Angeles to see a play. Personally, I feel what I learned while reading this will give me a greater perspective on the play. I will be able to view it with more depth. I think that this book would be a great resource for critical thinking courses such as a class on analytical reading.

Paige Lovitt for Reader Views

*****THE RISK THEATRE MODEL OF TRAGEDY is a fascinating dissection of tragic theater, focusing on both universal themes and specific tragedy models and is a must-read for any “theater geek.”

Kent Page McGroarty for IndieReader

*****THE RISK THEATRE MODEL IS A COMPELLING REINVENTION OF DRAMATIC STORYTELLING Edwin Wong has reinvigorated the ancient art of tragedy through his compelling Risk Theatre lens. Bravo! At heart, the book is a call to action for dramatists in our modern era to reinvent tragedy to address our brave new world of mesmerizing cacophony and unfathomable consequences. This is a fascinating read for anyone–but a “must read” for modern storytellers.

Roger Walker – Amazon

*****I have just finished reading Edwin Wong’s ‘The Risk Theatre Model of Tragedy’ and, although I was initially skeptical of his bold claim of an original theory of tragic drama, I was intrigued at the prospect of reading about this classicist’s main belief. As I turned the pages his theory grew on me and I found myself both convinced and gripped by this new perspective on tragedy. His low- probability, high-consequence outcome theory does indeed resonate with the risk takers of today and I thoroughly recommend this scholarly work to anyone interested in both theatrical and real life tragedy based on risk. As the author himself writes, ‘A working model of tragedy that is both original and rooted in tradition.’

A remarkable book in every way. A must for every serious dramatist to read, ponder over and act upon.

David Duncan – Goodreads

*****IF YOU EVER PLAN TO WRITE, READ OR ACT IN A TRAGEDY THIS IS THE BOOK FOR YOU! The author writes that “after two and a half millennia, tragedy is still a term in search of a definition.” He interestingly describes how each age creates its own model. The ancients “assigned the unexpected outcome to the will of the gods” while the Elizabethans established “the first great age of tragedy in the era of probability”. Mr. Wong provides a model for our highly technological time where “the possibility of doing great good or evil has increased” where “the unexpected always prevails”. He makes a very convincing case that the study of tragedy enhances our understanding of life and its value. As did I, readers of this highly stimulating book will undoubtedly ask themselves what they would be willing to wager in their lives and for what. As an actor who has performed in tragedies, and a playwright who has attempted to write one, I know that this is a book to which I will often refer.
PS: Be sure to read the footnotes which are chock full of good stuff from Wild Bill Hickok anecdotes to the link between tragedy and goats! Tragedy will rise again!!

Alan Thurston – Barnes & Noble

*****INNOVATIVE, ENGAGING, & VERY THOUGHT PROVOKING! Wong’s insightful and excellently-sourced treatise on “risk theatre” reframes our understanding of tragedy in terms of how hero’s (often flawed) analysis of risks and rewards prompts them to make decisions that set actions in motion leading to their tragic outcomes. He organizes information so effectively, providing relevant examples from classical and modern drama. You are never bogged down in the philosophy- rather, you are encouraged to expand how this new framework will inspire NEW content. Wong is hopeful in his desire to push the bounds of what modern tragedy will look like, and readers of this text and playwrights inspired by it are better for it!

Emily McClain – Amazon

****Anyone who has taken a story writing or screenplay class in America has likely come across The Hero With a Thousand Faces at some point. If not the exact book itself, then another author has often either borrowed quotes or elements of Campbell’s classic hero’s journey. Some teachers consider it inseparable to modern cinema and media; it’s just about everywhere.

But if Campbell’s ideas cause resistance—which is becoming a trend nowadays, in my personal experience at least—Wong’s smooth model may be a wiser introduction. Campbell’s form may get learners lost in the message, the process, and the terminology for understanding a work. Wong’s methodology encourages a focused structure for a character’s thought processes throughout the story. It’s through establishing their personal risks and the consequences of their actions that there can be a real momentum. For me, and I’m sure others, that is the best-if-felt heart. Makes a story beat and dance with life.

Sure, Wong arranges his processes for the tragedy genre in mind, so there are certain constraints that may not apply. Like a fateful mishap tripping the heroes’ supposed victory and leading to a death may not be appropriate for a children’s book. But I believe most of Wong’s proposed techniques can be used for anything that has a story. I’d recommend this for anyone who wants to write or needs a refresher on character building, not just in the theater world too. Useful framing device if you’re feeling stuck.

The Risk Theatre Model of Tragedy is a nimble read. If I were to criticize the writing, it’s close to a dry textbook with cohesive examples. Depending on the type of reader you are, that might mean a fascinating analysis or a snore fest. Several popular Shakespearean examples too, so that might not be up your alley to reread if you’ve already read so much of Shakespeare.

For me though, I enjoyed the overall experience and I learned something. If I lived in LA, I’d be up to seeing it in person too. Maybe someday, eh?

I received the book for free through Goodreads Giveaways.

Cavak – Goodreads

*****VERY INTERESTING READ Interesting review of risk as related to everyday life.

Gordjohn – Amazon

*****AN IMPORTANT WORK ON A FASCINATING TOPIC I loved this book! The author is a fan of my favorite playwright, Eugene O’Neill, and even quotes one of my favorite passages from LONG DAYS JOURNEY INTO NIGHT, where James O’Neill laments sacrificing his career for money, and wonders what is was he wanted.
The book itself is an entertaining and insightful reimagining of a model for modern tragedy – Risk Theater – into today’s world of technology and global risk. I think this is an interesting premise, as the modern tragic heroes are not kings but hedge fund managers and tech moguls, playing games of chance that risk the lives of people around the world.
The author has a deep knowledge of the classics which he utilizes to build a guidebook for how playwrights can use the concepts of existential gambles, unexpected events, and “the price you pay.” I particularly liked his theory or counter monetization, a welcome answer to a society that too often worships money at the expense of deeper values, and how that relates to a modern way of looking at tragedy.
The Risk Theater Model of Tragedy offers a fresh perspective not only of the classical theater but more importantly how we can restructure the old paradigms in a way that speaks to modern audiences. It’s an important work, and will hopefully inspire playwrights everywhere to reimagine classical themes in a dynamic and exciting ways.

Mike – Amazon

*****A POWERFUL TOOL FOR WRITERS As an emerging playwright challenged to write high stakes drama that often has tragic consequences, I am grateful to Edwin Wong for his book, The Risk Theatre Model of Tragedy. It gives me a powerful tool and template to write modern tragedy. It belongs on every playwright’s desk.

Marc Littman, playwright – Amazon

*****Oyez! Oyez! Oyez! Stunning! I had to re-read the “The Risk Theatre Model of Tragedy” by Edwin Wong. It was too good. It is a delight to recreate the possible scenarios exposed by the author in a very original thematic treatment of theater that invites further discussion and analysis. It is also a compendium of high academic and cogent discourse, a complete high level ‘theory’ on how to model and perform stage plays. He couples it with almost a ‘how-to’ reference guide on how to produce compelling theater by presenting the reader with an exhaustive analysis and classification of different facets of prior stage productions, from the Greek classics to modern times’ productions. The book is chock’full of insights and intriguing revelations. Edwin draws a narrative comparing and contrasting different elements of risk and relates these to modern audiences. The author’s vast breadth of knowledge, drawing upon his years of experience as a theatre critic and forward thinker in the performing arts world has crafted together a robust tome with incredible completeness and complexity – which should be on every aspiring playwright’s desk. I can anticipate a wave of theater academics referencing this book in their class syllabus.

Conchita – Amazon

*****If you haven’t read a scholarly book in a while and you feel that your brains are getting rusty, I recommend THE RISK MODEL of TRAGEDY. It manages to be highbrow but lucid, free of the cant of so much modern critical theory. The theatrical genre of tragedy was deemed to be needed along with comedy in ancient Greece, Elizabethan England, and should be re-invented in the USA today, if we truly want to be great. What are we afraid of?

Daniel Curzon – Barnes & Noble

“A fascinating exploration advocating for the resurgence of the classical art of tragedy in these tumultuous times . . . A nearly bulletproof argument for tragedy’s rebirth under the name of Risk Theatre.”—Editor, Friesen Press

*****The Risk Theatre Model of Tragedy is a book that will interest both specialists and book lovers who want to know “how it works.” It is also a recommended reading for modern risk takers.

Astrid Iustulin for Readers’ Favorite

Until next time I’m Edwin Wong, and I will continue to do Melpomene’s work.