On Writing : Help on improving my playwriting skills by Cynthia Garbutt

Contemporary playwrights in the US and UK use as few stage directions as possible and generally only in cases where the sd is essential to follow the actions. And established playwrights hardly ever use so called character stage directions, those sds telling performers how to say the lines. If you have more than one of these per page, that's too many -- directors, literary managers, and performers find these things particularly annoying. Congratulations on your first production! If you've been snagged by the playwriting bug -- I suspect you have been now -- next time try not to act in your own play. That way, you'll experience the play as an audience member and learn an amazing amount about your script.

Thanks so much Richard. I am truly smitten by the playwright's bug. All advice well taken. One good thing, I was the last character to appear in the story, so I was able to observe and enjoy the most of it - anxiety for my performance notwithstanding. I did learn loads about, the written to read, script stage. And we had a brilliant director, that made the performance even more complete and engaging. It was a quite a learning experience, as I wore several hats. We were a small amateur group and we needed all hands on deck; so I was one of 13 cast. We even had a guy drop out on the day before.

Hi Cynthia, Richard has got this pretty much spot on. Stage directions in published scripts will normally be the stage directions that were used in the first production, and these will have been largely developed over the rehearsal period. It's worth noting them down during the production, but never think of your original directions as something that should be slavishly followed, unless they are essential as Richard says. With directions on how to say a line, I would say avoid these wherever possible. Actors can feel its an insult to their intelligence to tell them how to say a line, and will argue that it should be obvious from the script what the motivation is behind a line. Also for a director or agent reading a script, both SDs and CDs can get in the way of reading the story as they break the flow of the piece. The only other thing I'd add however is that plays are about more than the dialogue and the characters, and so there should always be some places where the action is visual not verbal, and that's where stage directions become essential as the driver for the story. Congrats on the 1st play and all the best for your other plays.

Hi Andy, Thank you for the advice, will take all points to mind. And for the well wishes. We were so shorthanded with crew for this play, so at times I was assistant director (got to do some blocking, too) and continuity. So I have all of the stage directions noted. They really came in handy because, we also had a substitute director for a couple of rehearsals. He followed all of the directions, as already written. But I can understand other directors having the need to change them. Also, the layout of the venue would have some effect, as well, I'd imagine.

Hi Cynthia and congratulations on getting your play up and on it's feet. I've written several short plays and other works and put them up in festivals just in the last year so I know the work it takes. I worked in a vacuum much of the time I was writing. I then found a playwriting group that meets once a week and we read and critique each other's work which has been immensely helpful. It has helped with with rewrites of plays, one of which was selected for the 2014 Samuel French Festival. As for stage direction, it will change and evolve as you produce, and although the more modern approach is leave more choices for the actor with the dialogue, so many great playwrights are specific in their scripts about the actor's delivery. Yes, I agree to some extent that 'less is more', and there should be room for creativity on the actor's part, but you can always allow the actors to change it up, especially if an actor finds another way that works. The thing is, in the beginning you have a lot of control over your work, but if it should be published, you will not be there for subsequent productions - so before that happens, make sure you've included what you really feel needs to be there in terms of stage direction. Good Luck and keep writing. Oh, and read a lot of plays, I try to read at least one a week.

Hats off to you! Yes, I endorse what's already been said, but with the proviso that a line direction may be necessary if a line really needs to be spoken in a way that goes against the apparent grain. (E.g. Swinton (coldly): You're very welcome.) You may not need a glossary, but I think a useful book is Actions by Maria Calderone and Maggie Lloyd Williams - it gives you some nice active drivers for characters.

Thank you so much ladies. Both, excellent advisors. I do have a bit of dialog that has to be spoken a certain way; so now I don't feel bad about indicating that. I come from the world (15 yrs) of writing specifications for design and construction of buildings, interiors and furniture/furnishings, where everything has to be spelled out, to the letter. So it was very difficult at first for the actors to change my words, to those that felt more natural to them; but without losing the meaning of the dialog and coherence. I learnt to give and take, and so did they - for the better. Our principal director is a college drama teacher, active professional actor (stage, TV and film) so he thoroughly understood my script and give brilliant input. I've been reading films scripts, so now I'll add plays to my list. And thanks for the book reference, about the active drivers (now I know the proper term) that will also help me be more understood. Do you have any suggestions for, software exclusively for stage plays? I have Final Draft and Celtx, which I formatted for the stage plays. However, as I've researched, neither of them are industry standards

Congrats on the bug bite..