Always Wanted To Write a Play?

Writing plays is a specialised and very unusual form of writing. Performance writing, whether a play, film or radio script, relies on collaboration at the final level, which means the writer is only part of the process. If you want billing of any import, you will only get it as a playwright; this is true also of radio playwrights. If you write a film script, or have a film script written from your play or book, you will have to search the fine print to find your name. The only exception to this is if your established fame will enhance the sale and popularity of the finished film. We all know the Harry Potter films come from J.K. Rowling's books, but you don't see her name dominant anywhere. It's not, for example, called a J.K. Rowling film.

• It is always 'now' on stage
• A successful play has dynamic
• Every character must have a purpose of their own
• There must be a varied emotional journey for each character
• The dialogue must be real and it must be individual for each character
• Something must be happening on stage at all times
• There must be a story with conflict

It is always 'now' on stage:-
Even if you have scenes from the future or flashbacks, they must unfold to an audience as though they are happening right now. A good playwright will work to make it seamless from one time to another without causing confusion. Some ways this can be done is through monologue, soliloquy or separating the different time action.

A successful play has dynamic:-
A simple example of dynamic is - three people are on stage, two are talking and the third is reacting. The audience can see and hear what is being said, but they also see the reaction of the third (or more) character/s on stage, and it increases the involvement of the audience. Often, the audience learns things this way that some or all of the characters on stage don't yet know. This is a wonderful way to totally involve the audience in what is happening, and make them care not only about character/s but outcome.
There is also a dynamic between the actors and the audience. This is an ongoing situation by the fact that it is always ‘now' on stage. It can happen even when there is only one actor on stage and is especially powerful if the audience knows something the character doesn't.

Each character must have his or her own purpose:-
If you use a character to advance or explain a plot point, it will be obvious and weaken the whole play. Every character must be there because of 'who they are' and their affect on the plot must come out of that. This is also achieved when there is a dynamic between the characters with some vested interest in or consequence because of the plot.

There must be a varied emotional journey for each character:-
This will vary in variety and intensity depending on the size and importance of the character's part/role in the story. No character can be allowed to just coast along on an emotional monotone; there must be dips and peaks along the way, even if it's brief and minor compared to the main characters.

The dialogue must be real and it must be individual for each character:-
Beginning playwrights have a knack of making all the characters sound the same. Then, in an attempt to compensate, they make each character sound like a caricature, indecipherable or an idiot. Don't worry, though, it just takes practice. Differences will develop with actors reading the parts, but you have to give them something to work with in the first place. The same type of rules apply as for any other writing involving dialogue, e.g. specific inflections, a colloquialism, sentence construction, etc.

Something must be happening on stage at all times:-
An empty stage without action is akin to white noise. It could be that a 'poignant' moment or 'pregnant pause' might add to the emotional impact, but something must be happening even if the main characters are off stage changing their costumes. Whether it is another character tidying up a room or sitting thinking, it is better than nothing happening. Dialogue from off-stage can help fill an otherwise necessary blank spot. Better to try and avoid a blank spot in the first place.

There must be a story with conflict:-
This is obvious for any story telling but never more so than for a play. It is a powerful medium and needs powerful reasons for being. It helps develop the characters, the plot, the emotions, the dynamic and the general ‘presence on stage'. There should also be a balance in conflict between the protagonist and the antagonist. If there is a marked imbalance, there isn't much point, is there? It will all be over too quickly and without struggle.

These seven elements barely touch the necessary elements, aspects and methods of writing a play script. I've just touched on some and given an overview. Each is vitally important, however, and well worth considering.

It's a good idea to get to know some actors - you can join your local repertory group and ask them to read your play and give you feedback. A play is something which, once the script is 'finished', is then developed through readings and input from others, especially the director and the actors. They will have many questions for you and it is through this process that you can really develop your script.

Playwriting and development of the script are exciting and satisfying pursuits, but also hard work. To see your creation come to life in a way no other piece of writing can is incomparable. And once you get involved in any aspect of live theatre, the grease paint which gets under the skin of actors will soon get under your skin, too.

This article is the intellectual property of Hannah Quinn and is protected under International and Australian Copyright  and Moral Rights Laws. Do not reproduce without the express permission of the author, Hannah Quinn.

© Hannah Quinn 2007

» left by Ben Jones

3 years 314 days ago.
71 fans.

I haven't tried my creative hand at a play yet. Your tips and information make me think I should give it a go. Thanks! :)

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