7 Differences Between Writing for the Stage and Writing for the Screen

7 Differences Between Writing for the Stage and Writing for the Screen

7 Differences Between Writing for the Stage and Writing for the Screen

Joey Madia
Joey Madia
6 years ago

In the five years I have been on Stage 32, I have read many threads and conversed with at least a dozen playwrights making the transition to screenwriting, in whole or in part. This is not surprising given the growing opportunities in the filmmaking and television industries and the shrinking budgets and opportunities in the theatre.

In the past 20 years, I have written over twenty produced plays and musicals (I’m currently revising my 21st), for a variety of ages and audiences. Although, by contrast, I have only written four screenplays (all in different genres, one of three produced), I say with confidence that the skills needed to write screenplays are more similar than different to writing stories for the stage. The overlaps are obvious: both center on characters and their arcs; in most cases, they have a definable structure based on the Three-Act Model; they tell a story; they have a theme of some kind, which is some derivative of “Boy Meets Girl” or “Stranger in a Strange Land.”

But what about the differences? After a great deal of thought, and putting my outline through several revisions, I have settled on seven points of difference that I believe are the most profound and important to any writer who wants to tell stories in these worlds.

7 Differences Between Writing for the Stage and Writing for the Screen

1) Plays are Primarily about the Words; Films are Visual

This difference is without question the most fundamental. As a matter of fact, it is so fundamental, it informs everything else when making a comparison. In 2015, when I was commissioned to write my first screenplay, this was the area I knew would be the biggest challenge. Not only was I a playwright—I was a poet and novelist. Words had always been my foremost tool for storytelling.

On the stage, information is almost always given through dialogue—both literal and through subtext. Aside from stylized presentations (think of Bertolt Brecht), visual elements reinforce rather than replace the dialogue. The same is true when revealing a character’s thoughts, motivations, or psychology.

In a screenplay, words are only used when images cannot stand on their own. As a result, the steepest learning curve when moving from playwriting to screenwriting is getting away from reliance on the word and finding images that drive your narrative. The great news is, it will make you a more efficient and imaginative playwright. You’ll rely less on words and find more ways for gesture, body position, and the use of lights, sound, and scenery to tell your story.

2) There are Considerably More Scenes in a Screenplay

Aside from one-act plays (comparable to short films) and classical plays like those of Shakespeare, the prevalent model for the stage is the same as for the screen—the Three-Act Model. I have relied on and written and taught a lot about it in the past three decades because it makes a lot of sense. It correlates to a Beginning, Middle, and End and sets up, works through, and resolves the Main Problem. It helps to set up and track the Circumstances, Conflict, and Climax. It has other benefits as well, like tracking scope and strategic use of secondary and tertiary characters.

In your typical three-act play, there will be under a dozen scenes. The first two acts will be similar in length and the third will be shorter. The scenes will stick to a minimum amount of locales. (More on that later.)

For a film, if you follow the masters of the craft like Robert McKee, Syd Field, and William Goldman, there will be a minimum of 56 scenes: 14 in the first act, 28 in the second, and 14 in the third. As you can see, that means proportionality is different in a screenplay. Some reasons why are illuminated in the sections that follow.

3) Playing with Pacing and Time

I have found the ability to use different modes of storytelling—flashbacks, nonlinear time, dream sequences—to be one of the best aspects of screenwriting when compared to playwriting. I also find a greater ability to vary the length of scenes (in a film, a scene might be only seconds long). A third aspect is using the second half of the second act in a screenplay to more forcefully move toward the third-act climax than you can in a play. Again, much of this has to do with the greater amount of, and variable length of, screenplay scenes.

As a screenwriter you also have greater opportunity to use juxtaposition, which is another compelling way of using visuals rather than words.

4) Camera and Audience (Intimacy and Imagination) 7 Differences Between Writing for the Stage and Writing for the Screen

One of the tools at the disposal of the screenwriter is the use of juxtaposition—two images that, together, tell the story by means of a visual alchemy that cannot be duplicated on the stage.

Using a camera to designate the frame, rather than the boundaries of a stage, there is greater control over what is in and out of the frame. It was the work of Judith Butler that really brought home to me, as a writer and director, how what is left out of the frame is just as important as what’s in it.

In cinema there is pin-point control of audience attention. To an extent this can be achieved by lighting in the theatre, but what is beyond the light frame is still partially visible.

A caveat: Before you think that the camera gives a storyteller a much greater advantage over the stage/audience eye, consider that, in the age of CGI, there are also disadvantages, especially if you are a writer who writes for actors. I have long been amazed, being a veteran of the stage, how film actors in heavy-CGI projects lament how hard it is to “pretend” without sets and costumes. This creates an opportunity for the writer to take a stronger position in helping the actor create the world through the words.

5) Considerations for Actors 7 Differences Between Writing for the Stage and Writing for the Screen

Now that I brought up actors, they deserve their own section, because the differences in approach and presentation for actors are tremendous and I have found that writing with them in mind is crucial. As an actor I initially struggled to adapt from the immensity of the stage (even black box) to the small frame and level of intimacy that are the parameters through the camera’s eye, especially because I am an energized, physical actor with a background in both theatre for young audiences and musicals.

Once I started booking on-camera gigs, I studied everything I could find. I recommend Michael Caine’s Acting in Film (both the book and video series) and anything that David Mamet has written about working in the cinema.

There’s a great story about one of Jack Lemmon’s first films. The director, George Cukor, kept asking him for less until, completely frustrated after numerous takes with the instruction to “do less,” Lemmon retorted, “If I do any less I won’t be doing anything at all!” to which Cukor replied, “Exactly.”

Because film actors have to adjust for scale and intimacy, the sounds of words, nuances of language (including subtext), and the use of the pause can be used to greater effect on screen than on stage. So seize the opportunity. Anyone who tells you words don’t matter as much in screenplays is dead wrong—and definitely not an actor. There are less, but each one matters more.

6) There is a Larger Scope Available for the Screen 7 Differences Between Writing for the Stage and Writing for the Screen

Although, for actors, the scale and intimacy in film are much more controlled, the overall scope in a screenplay is much larger than in a stage play. The main reasons are access to resources and (much, much) bigger budgets.

In the early 1990s, a regional theatre in New Jersey made national news for having a budget for a hi-tech production of The Wizard of Oz that exceeded a million dollars. Casting aside outliers like Julie Taymor and U2’s horrendous and dangerous $75-million-dollar Broadway version of Spiderman, the most expensive Broadway productions have cost no more than $30 million. And these are lavish musicals, where Broadway uses Spectacle and big names as an inducement to get asses in otherwise empty seats. Non-musicals, even featuring film stars, don’t come close. For instance, current hit To Kill a Mockingbird, produced by Scott Rudin, adapted by Aaron Sorkin, and starring Jeff Daniels, cost under $10 million.

Big budgets mean elaborate sets or expensive CGI, and lots of costume and scene changes. No wonder a writer’s work and words get lost.

7) Perceptions/Roles of Playwrights VS. Screenwriters

7 Differences Between Writing for the Stage and Writing for the Screen

If you are thinking about transitioning from playwright to screenwriter, there is something you should know: screenwriters do not have the same position in the world of film that playwrights have in the theatre. First and foremost, “A film is made in the editing room.” This has little to do with a screenwriter and a lot often changes. Joss Whedon has been very vocal over the years about how decisions in the editing room have rendered his dialogue incomprehensible and plots absurd. Also, the role of the director is also different—while stage directors primarily focus on bringing the playwright’s script intact to the audience, film directors have a broader array of tools to make their vision happen, which often leads to big changes to a script while filming is in progress.

This is not to say that playwrights are deified and their words are sacrosanct. They are not. Theatre scripts evolve. Scenes are cut and moved. Even after a play opens, there are at times major rewrites and endless workshops.

Still, the transition can be tough. I’ve been a screenwriter for four years and the lessons do come hard. Getting the knack of submitting to the right competitions and festivals takes time. Access is more difficult for the beginning screenwriter. It’s not easy to find a group willing to workshop a screenplay the way stage scripts are. I recommend the documentary Tales from the Script (2009) for an insider’s view of the industry. William Goldman’s two books about screenwriting are also excellent.

And use the resources at Stage 32, like the screenwriter’s lounge. Take advantage of the pitch sessions and coverage opportunities. Ask questions and seek feedback. There are a lot of very wise, very accomplished Creatives just waiting for you to do so.

Epilogue: What We Can Learn from Adaptations

As I write this, there’s a maelstrom of good and bad buzz around Tom Hooper’s adaptation of the musical Cats. Hooper split audiences with his adaptation of Les Miserables. Audiences were also split over Joel Schumacher’s adaptation of Phantom of the Opera. Nevermind the live network television “events”—that is an article in itself…

Whether or not you like musicals, or will ever write one, narrative is narrative and character arcs are still a key component, especially in these examples, so watch the stage and screen versions and compare. You’ll clearly see all of the differences I’ve mentioned.

There are plenty of stage plays that have also been adapted for film. They are another invaluable source for learning the differences between these two forms.

No matter what you write, it is difficult work, rejection is inevitable, frustrations are part of the journey, and there are times when you will feel devalued and ready to give up.

But the joy in seeing your stories told by a collaborative group of Creatives, on either the stage or screen, makes all of the challenges worth it.

Other Stage 32 Posts by Joey Madia: How Blogging [& Networking] on Stage 32 Landed Me Jobs
Preparing For Auditions: 7 [Guided] Script Approaches that Land You the Job
Seven [Less Talked About] Pre-Production Essentials for the Beginning Director
7 Steps for Writing Escape Room Narratives (And How to Find Opportunities to Write Them)
7 Steps for Writing Knights and Dragons Fantasy
The Pros [And More Pros] of Intuitive and Analytical Writing

7 Steps for Writing Escape Room Narratives And How to Find Opportunities to Write Them

Joey Madia spent 25 years in the theatre as a playwright, actor, director, and teacher.
Today he is focused on screenwriting, developing an audio drama series,
writing story lines for immersive theatre-based Escape Rooms, and creating Historical
Education programming with a focus on the Golden Age of Piracy and the life of Che Guevara.
Joey is the Artistic Director of Seven Stories Theatre Company and Creative director of
New Mystics Enterprises, a multimedia production company. He is also the author of two
novels and 17 produced plays.

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About the Author

Joey Madia

Joey Madia

Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach

Joey Madia is an actor, screenwriter, playwright, Escape Room designer, podcaster, novelist, and director. He has appeared in, directed, and written well over 100 plays and a dozen projects on camera, including the 2014 remake of White Zombie and his first film as writer/director received an Hon...

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7 Comments on Joey's Article

Karen Goldfarb
Actor, Director, Screenwriter
Hi Joey! Thanks so much for this -- I wanted to ask you about your experience producing plays -- I am in the middle of adapting my animated script/film into a children's show. I live in NYC -- and would love some insight into the best ways to connect with theatres and producers. Also, it's about pirates -- so I see you are a pirate aficionado -- would love to hear about that as well! If you feel like it, feel free to email me at kgoldfarb2@gmail.com. I would love any insights you would like to share!
3 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Hi Karen. I am so sorry that it has been half a year since you wrote. I just saw the notification! But the timing is good. I am working with three different Hollywood producers now and my latest musical--about the cryptid Mothman--is soon to go into workshops and has some interest from Broadway producers. I also wound up as co-writer on a rock opera with a two-time Grammy nominee last year. I have been lucky that producers come to me these days, so I am out of practice but I will say that festivals and competitions are a great way to get your work in front of people (who are planning on submitting the Mothman musical to festivals for further exposure/proof of concept). Otherwise, meet as many theatre directors and producers as you can! Networking has been key to my career. And thanks for mentioning the pirates--I was given an opportunity 6 years ago and it has been an amazing ride. On my way to Californing next week to perform as the pirate Samuel Bellamy. If you want to continue the conversation (and I really do apologize for the delay) please send me a private message through Stage 32. Happy to converse!
3 years ago
Cindi Maciolek
Screenwriter, Songwriter, Author
Thanks for this article, Joey. I've written screenplays but I've embarked on writing a one-woman show about caring for my Mom. I've just finished the first draft and I'm editing now. It's such a transition to imagine performing this in front of a live audience, but I love the story and the content. Some of my previous screenplays I discussed converting to stage plays with a friend of mine, so I may be going in the opposite direction - screen to stage! Any additional advice?
6 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
My pleasure, Cindi. And I appreciate the good words. 
6 years ago
Cindi Maciolek
Screenwriter, Songwriter, Author
Thanks for the advice! I respect your expertise and insight into this topic. Glad to know one-person shows have a place in the theater world! I appreciate your taking the time to comment. I'll keep you posted on my progress and I also appreciate your offer to help.
6 years ago
Brandi Love
Actor, Author, Film/Theatre Journalist, Producer, Set Decorator, Theatre Director
Great article Joey !
6 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Thank you so much Brandi!
6 years ago
Charles Whitehead
Screenwriter
I think the main difference between stage and screen is that a stage play is mainly about drama, and movies - in many cases - are mainly about visceral sensations. Ever since movie-makers discovered the power of tying a pretty girl to a railway track while a mighty steam engine thunders towards her, there have been a zillion analogues - cliff hangers, pointing guns, car chases, ticking bombs, and the like.Bob McKee gave an amusing contrast between European and American movies:French movie: Sc 1. Beautiful golden sunlit clouds. Sc 2. Ditto. Sc 3. Ditto.American movie: Sc 1. Beautiful golden sunlit clouds. Sc 2. Out of the bgs clouds a jumbo jet emerges. Sc 3. It blows up.
6 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Charles:You make a great point here. The transition from prehistoric to the space station via the rotating bone in 2001 comes to mind for me. On the stage I think of Javert's suicide in Les Miz which takes a great actor and some tech. It also has the benefit of stirring music. Thank you for reading and responding. 
6 years ago
Liz Mannette
Content Creator
This was a very helpful analysis of the two types of productions. I'm presently trying to determine how to develop  a story about my father who was an entertainer in the 50s and 60s, whether to go the musical  route or a film.  
6 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
I see it, Liz, and it offers great possibility for you. What an interesting narrative layer to look at performance vs ownership. I wish you the best. What a great endeavor to tell your father's story. 
6 years ago
Liz Mannette
Content Creator
Oh, yes. What a good idea. He owned his own club at a point but it is no longer existing. Recreating that location (which I remember attending when I was about 8) will be a central part of the show.  
6 years ago
With #3, it's very important not to overdo it -- too many flashbacks can confuse an audience! #7 -- Whedon is dead-on that too many cuts can make a plot absurd, I can even think of an example off the top of my head: when they adapted Goldfinger, they skipped James Bond's and Pussy Galore's post-sex pillow talk where she relates how she became a lesbian and why she fell for him despite this (maybe they skipped it due to time constraints, maybe for reasons of decency), and this made it completely incomprehensible why she changed sides all of a sudden -- and the movie was roundly criticized for this plot hole as a result!
6 years ago
Thanks.
6 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
David: This is truly wonderful to read. I agree with you. So many parlor dramas and cottage mysteries have been adapted without a great deal of change to the playwright's words and have been very successful. I have done some short adaptations of my plays for film, mostly for promotion. I wish you all the best with this important work and thanks for reading/commenting!
6 years ago
Paul Norman Rich
Marketing/PR, Producer, Screenwriter
Interesting that more movies are developed from TV than vice versa.  I wonder why that is.  I suppose it may be because with hit series, a more intimate relationship is developed between the characters over a long period of time.  Just a matter of time for the Game of Thrones movie in 3D? So many story lines to choose from there.  
6 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Great observation, Paul. I agree. As much as I love long-form narrative, the follow-on movies tend to disappoint me. I regretted watching the Deadwood film immediately after doing so. 
6 years ago
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