One-line review: The Story Spine is your guide to successful narrative long-form improvisation.

I just finished How to Improvise a Full-Length Play by Kenn Adams and it is one of the best improv books I've read. It is focused, points are illustrated with examples and exercises, the book follows a logical progression through the story arc and performance of an improvised play, and it has five pages of real, live, functional index.

The key concept of the book is the Story Spine, a series of eight statements that sum up a satisfying story:

• Once upon a time...


• Every day...


• But one day...


• Because of that, ...


• Because of that, ...


• Because of that, ...


• Until finally...


• And ever since then...

As simplistic as that structure seems, it sets the platform or foundation, the normal universe and routine of the characters (that structure is subsequently explained and expanded within the text.) Something significant happens, something out of the ordinary which upsets the routine and draws characters into alignment or conflict. The characters' reaction to this event focuses the story - actions have consequences, and the repercussion of those consequences calls out what the story is about, akin to finding the theme in an organic or thematic improv piece. This question of the story drives the rest of the scenes in the performance. Will the guy and girl get together? Will good triumph over evil? Can the hero overcome obstacles to reach his objective? Will Hamlet make a goddamn decision? Will Mario rescue the Princess from the big monkey? The rest of the performance should progress to answer this question.

And once the question is answered definitively and unambiguously in the climactic scene, we need to see the effects of this resolution on the other characters play out. Subplots wind up, and everyone is satisfied with the conclusion of the story - the characters, the players, and the audience.

That's the synopsis of the book: you'll need to read it to get the details, examples, and exercises. The latter are especially valuable. The book provides a very detailed structure that is only fully applicable to a single improv format - the improvised play. If you accept that, the book is extremely valuable since it provides a detailed structure with clear terminology and guidance for successful performance. Genre-based narrative long-form formats benefit to a lesser degree since conventions of the genre often restrict the number and type of platforms, conflicts, questions, and resolutions.

For its focus on narrative work and inspiration from the works of Keith Johnstone, the book is refreshingly free of external canon and dogma. Similarly, the only name-dropping occurs where it belongs - in the introduction and acknowledgments. The author presumes the reader knows how to improvise in a realistic scene and doesn't differentiate between different schools. The book sets its own canon in terms of the improvised play making the book accessible to all players regardless of background.

The book is active and lively, illustrated with many examples of dialogue. At roughly 155 pages it's a quick read but it's organized well enough to warrant focussed rereading. This is essential if one intends to use the book as guidance in lieu of a director (the author cheerfully offers to help the reader's group through classes and workshops, no doubt for a reasonable fee. And good for him! Kenn Adams obviously knows what he's talking about and - amazingly - can clearly explain it - and IMO deserves remuneration for helping bring out the best in a troupe!)

There are limitations, however. The book does not teach basic improvisational theater skills or terminology - for that I'd suggest Impro by Keith Johnstone and an affordable Level 1 improv class not overrun with 22-year-old white guys trying to get on SNL (aka "douchebags".) The book focuses on one form of improvised theater - the improvised play. If you are looking for guidance on identifying themes, playing "real", finding the "game" in the scene, or techniques to help you do a better Harold, you have your nose in the wrong book (though keep reading - you may learn something by going beyond your comfort zone.) This is a book that helps you simultaneously develop a plot and perform it, economically, with good pacing, and a satisfying conclusion. My biggest complaint is the cover art - on sight only I'd have been likely to miss this gem.

Overall, the book does a great job stating its intent and doing what it sets out to do. Whether that intent meshes with that of the reader is secondary; if you are interested in narrative long-form improv, this book is invaluable for its clarity, insight, and exercises. At a mere $16.95, it's well worth it. Besides, it's got five freakin' pages of index - that puts it head and shoulders above almost every other improv book. Verdict: Recommended without reservations.