MAKING A PLAY FOR THE THEATRE by Vanessa Oakes

Why I write plays: Ultimately I write plays for me, plays I would enjoy seeing on stage. I love the liveness of theatre and more specifically the collaborative process. Before you start to write your play you need to be sure that you are willing to let other people make significant contributions to the development of the piece. Such people could include: script reader, literary manager, dramaturg, mentor, director, actor, literary agent, publisher, critic and even (perhaps most importantly) audience. Sometimes in the midst of all these other voices it can be hard to hold on to your own original intention. A certain amount of stubbornness and perseverance can help you to keep a sense of the integrity of the work. If you are naturally sensitive by nature and take criticism and rejection badly maybe you should consider a different career choice. Writing a play isn’t an easy option. If your play is unsolicited (not written to commission) then it is unlikely to reach the stage and so you need to view the exercise as a chance for you to develop your writing skills and also as a way of introducing your work to a theatre company or producer. Research: How often do you go to the theatre or read published plays? This is the best way to begin to recognise what makes a good play. It will also help you to identify which companies you would be interested in working with. There are numerous courses, books, articles and websites which can help you to address the practical aspects of how to construct a play (Action, Character, Subject, Story, Dramatic Structure and Dramatic Suspense). You need to develop your own personal research methodology. I usually start with lots of reading – for my last play I read a variety of books on subjects such as: the 1914 War, readings on the saints, Gothic Art, Modern Art criticism and practical advice for medieval craftsmen. The notes I made all filtered through into the writing although the play wasn’t specifically ‘about’ any of the subjects listed. I also visited art galleries and read a newspaper every day. Before I begin to write I always story board the play in pictures (a throw back to my training as a theatre designer). As you write you need to see the play in your minds eye. It’s important to remember a play isn’t just about the words on the page - it encompasses all five senses and is a three-dimensional art form. Procrastination: We’ll come back to this one later… No, really, I don’t view procrastination as necessarily a bad thing and neither should you. At times you will need to put the play away in a locked drawer and go back to it later. During my periods of ‘procrastination’ I find it useful to: walk the dogs, drink tea, garden, catch up with friends, read other people’s plays, surf the internet and do my admin. Invariably when I return to the play what I need to do next seems obvious. Try to view your periods of procrastination as valuable time which gives you the space to allow your thoughts to develop and settle. Dramaturgical Support Dramaturgical support and advice is available from a wide range of professional organisations and agencies and can help you by providing: script reports, rehearsed readings, attachment to a theatre company, one to one sessions with a dramaturg and mentoring schemes. A good dramaturg will be able to help you get a clearer perspective on the way in which other people are likely to interpret your play. A rehearsed reading has its limitations but can be useful. For me the play doesn’t really begin to exist until it is in the hands of actors. I always find it valuable to work on the first draft of a play with a group of actors and a director. There are lots of student actors out there who might be willing to spend an afternoon working on the play with you. What happens with the play next? Don’t be shy. Make a list of companies whose work you admire, find out who to contact in their literary departments and send the script along with a covering letter, your writing CV and a SAE. Be prepared for a long wait - most companies will acknowledge receipt of your script and aim to respond within three to six months although it can take a lot longer. If you haven’t heard anything after 6 months, write and enquire about progress. Don’t forget to send a sealed copy of your play to yourself to prove copyright (don’t open it on arrival). Alternatively you could think about staging your own work. This will often be a faster route to getting your work staged but requires a great deal of additional hard work. Further info: Writernet : "We provide dramatic writers with the tools they need to build better careers and redefine the culture in which they work" Script : "We provide training programmes, mentoring and development schemes and writer events throughout the West Midlands region." Contacts published by Spotlight Writers’ and Artists’ Yearbook published by A & C Black - email: sales@acblack.com Vanessa’s staged plays include: 77 Sunset Strip, Agamemnon The Curse of Thyestes, The Chimney Sweep’s Apprentice, Anaglypta Daydreaming and Dog in a Suitcase.