Writing or analyzing a screenplay is very different form writing or analyzing a novel or stage play. For the most part a novel is driven by action which takes place inside the character's head, and is often called the "mindscape of dramatic action." The action of a play occurs on stage while the audience eavesdrops on the lives of the characters. Therefore, the driving force of a stage play is the "language of dramatic action." A Screenplay, however, is largely a visual medium and is, therefore, driven by the "images of dramatic action." Note that in a screenplay it is possible to zoom in on one aspect of the setting, such as a ticking clock, a smoldering cigarette, or a character's expression in order to highlight its significance to the overall plot. In order for the director/writer of a stage play to achieve the same effect (since the objects remain at a fixed distance from the audience) a character must mention the object to focus the audience's attention - "Is that clock right? It can't be eight already." In a novel the audience cannot see the clock on the wall, and as such the clock, the time, its meaning must be filtered through a character's or a narrator's consciousness.

Hello Shine Sun You have already the perfect definition of what is a novel and what is a drama why do you want me to answer here ? I can just add a novel is usually a literary style very well structured than the drama... It is my opinion since you asked

Hello Shine Sun Thank you for asking... anyway

Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning "action" (Classical Greek: δρᾶμα, dráma), which is derived from "to do" (Classical Greek: δράω, dráō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BCE) by Sophocles are among the supreme masterpieces of the art of drama. The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BCE)—the earliest work of dramatic theory. cowboy...

novel is a long narrative in literary prose. The genre has historical roots both in the fields of the medieval and early modern romance and in the tradition of the novella. The latter supplied the present generic term in the late 18th century. The further definition of the genre is historically difficult. Most of the criteria (such as artistic merit, fictionality, a design to create an epic totality of life, a focus on history and the individual) are arbitrary and designed to raise further debates over qualities that will supposedly separate great works of literature both from a wider and lower "trivial" production and from the field of true histories. To become part of the literary production novels have to address the discussion of art. The construction of the narrative, the plot, the way reality is created in the work of fiction, the fascination of the character study, and the use of language are usually discussed to show a novel's artistic merits. Most of these requirements were introduced in the 16th and 17th centuries, in order to give fiction a justification outside the field of factual history. The individualism of the presentation makes the personal memoir and the autobiography the two closest relatives among the genres of modern histories. cowboy