Writing a play

[TheEarl]

I'm currently trying to knock out a half-decent play for the local theatre company. I have written a fan-fiction screenplay before, but that was purely for shits and giggles rather than to show to anyone else. It's a medium which I'm extremely inexperienced in and I was wondering if anybody on the board had some experience which they'd like to share.

The Earl

 

[Liar]

I'm currently trying to knock out a half-decent play for the local theatre company. I have written a fan-fiction screenplay before, but that was purely for shits and giggles rather than to show to anyone else. It's a medium which I'm extremely inexperienced in and I was wondering if anybody on the board had some experience which they'd like to share.

The Earl

Not sure I have any wisdom to share. I write plays, but it's all on gut feeling really. Best o luck. It's a kick to see something you have created being acted out.

#L

 

[Lucifer_Carroll]

First off, I hate you for getting the opportunity that's been eluding me.

That out of the way, there are a few things of advice. First off, it's dialogue based. The set-up of the scene is not as important as how the people talk and what they say. The plot is important, but almost secondarily to the characters. The way of interactions, the blend of jokes, and small philosophies and well-turned phrases can be what truly carries a work as low action pieces like Waiting for Godot attest to.

Talk to a theatre man about what length he's looking for. There is nothing worse than finishing a piece and then realizing you have to cut it in half somehow or add 20 minutes of random filler in a previously fast-paced piece.

Again, good characters will make you or break you. Eccentric and lovable characters, pure asshole villains, and beautifully comedic reliefs are key to keeping your audience emotionally involved. Look to Shakespeare for some example of this.

You may find yourself struggling endlessly to fit one good turn of phrase into a dialogue. This struggle will be worth it in the end. Often what people remember most about a piece is one particular line that they thought was brilliant. At least that's my experience.

At the end of the work, give it to somebody to look over. If they react emotionally with the characters or offer you any help with the performance of the piece, you have a winner, go with it.

That's all for now. I'll come back if anything else comes to mind.

 

[TheEarl]

It's not so much a commission. I'm friends with a lot of the members of the company, including the chairman, and the idea of me writing something was thrown up. I'm basically acting autonomously and if it's any good, then they might perform it (very) locally.

Thanks so much for the advice. This is a step out into the unknown brandishing a white cane for my writing and so far the words have been flowing off my pen. I just want to make sure I do it well.

The Earl

 

[ABSTRUSE]

Ive written one and have two in the works. It's a great deal of fun to write them. I haven't worked up the nerve to have someone produce one yet, I think I need to polish them up.

I love dialogue which is one of the reasons I thought I would attempt it in the first place, plus I thought they would work better as plays then stories.

Good Luck Earl, keep us posted. Cant' wait to hear more.
~A~

 

[gauchecritic]

It's always a good idea to remember that everyday chit-chat and real life nothing-going-on are anathema to an audience.

(Unless you're reworking Godot)

Almost every sentence, even every word should move the action along. For plotting and 'contrivance' (without being contrived) look to comedy. Frazier, Becker, Black Adder, Alan Partridge, Two Pints... I'm sure you know what I mean given your love of Dwarf and Coupling.

The most difficult part is giving character to your characters when you only have speech to do it.

Do not write accents. Specify an accent by all means or if necessary use only the specific words you may want to play on because of accent eg the Yorkshire 'mate' for meat or 'laik' for play. (remember Michael from Alan Partridge and the ensuing next verse of 'Melting Pot'? Take a pinch of white man, Something else in Geordie)

Don't change scenes too much, if at all. Have as few incidental characters as possible and the direction sounds off is invaluable.

Gauche

 

[TheEarl]

It's always a good idea to remember that everyday chit-chat and real life nothing-going-on are anathema to an audience.

(Unless you're reworking Godot)

Almost every sentence, even every word should move the action along. For plotting and 'contrivance' (without being contrived) look to comedy. Frazier, Becker, Black Adder, Alan Partridge, Two Pints... I'm sure you know what I mean given your love of Dwarf and Coupling.

The most difficult part is giving character to your characters when you only have speech to do it.

Do not write accents. Specify an accent by all means or if necessary use only the specific words you may want to play on because of accent eg the Yorkshire 'mate' for meat or 'laik' for play. (remember Michael from Alan Partridge and the ensuing next verse of 'Melting Pot'? Take a pinch of white man, Something else in Geordie)

Don't change scenes too much, if at all. Have as few incidental characters as possible and the direction sounds off is invaluable.

Gauche

What's sounds off?

The Earl

 

[gauchecritic]

Sounds off.

From "Thruppence Heighpenny" by Charles Dickens.

Mr Hogseye: ...and so Mistress Bumblebee you can see from the very size of it that my intentions are honourable.

Mistress Bumblebee: Why yes Mr Hogseye, even up to the nads.

(Sounds off) A gunshot, a horse winnies, a body falls to the floor.

Father Shwimple (off) And let that be a lesson to you.

Mistress Bumblebee: Quickly Mr Hogseye, you must leave, if my step-father finds you in here it will be the worse for me.

Enter Father Shwimple: Egads and 'ods teeth, no sooner do I despatch one rogue than I happen upon another.


Any clearer?

Gauche

 

[TheEarl]

Bump for more advice.

The Earl