The main difference between writing prose and writing for stage or screen is that when an author writes a novel, he or she is communicating directly with the reader or “audience”, however when a writer writes a screenplay or stage play, the work is filtered and interpreted by director and actors before reaching the audience.
A stage play or screenplay is not a work of literature in itself, it is a template or a blueprint for a production; its success or failure of the work rests in the hands of the crew of people involved in a variety of interpretative processes. As the principal creator, the writer has the responsibility to ensure that those interpreting their work have the maximum amount of information possible to help to guide them. The way that a writer communicates with director, actors and crew is through stage directions.
What are Stage Directions?
Stage directions are instructions for actors, director, or crew, concerning action with regard to plot. They may be placed in parenthesis after a character’s name and before the character’s speech, or they may be placed in a general description of the action.
When are Stage Directions Inappropriate?
It is inappropriate for the writer to attempt to control every move of the actors, or in the case of a screenplay, every camera angle of the directors. The interpretative jobs of director and actors are a vital part of, and essential contribution to, the end product. The writer must understand the difference between what is essential to the plot and what is not, the writer is not entitled to govern every movement or emotion of actors. Writers may attempt to do so, but should be aware that it is not conducive to building good relationships with actors and directors if they do.
When are Stage Directions Appropriate?
There is one simple rule which governs the inclusion of stage directions and it is: if actions, reactions, specific movements or emotions are an essential part of the plot, then the writer has every right to describe them in great detail for the benefit of actors, director and crew members.
If a character has to hide something under a large overcoat, then it is appropriate to mention the large overcoat in the script, however it would not normally be the job of a writer to describe in minute detail the wardrobe requirements of every single character.
If a character has to choke on a cup of tea, it is important to mention in the script that the character lifts the cup of tea to his lips at a certain point, but it would not be normal to try to describe every single movement an actor should make during the drama.
Sometimes a script benefits from lines being removed, and stage directions replacing them, for example:
- Can a line be replaced by a look? If an actor can show how the character is feeling, it’s best to cut unnecessary lines, and allow the actor the space to act.
- Can lines be replaced by actions? If actors, by the way they behave with one another, can convey information to the the viewer, then it is more engaging for the audience to observe and interpret the plot, than to have the plot spelled out through lines. If it is possible to cut lines and let actors display the story, then that is preferable.
In both of the above examples, a writer should describe clearly what they expect the actor to convey in stage directions.
Clarity is Essential
In writing a novel, subtext and subtlety are indicative of great writing. The things that are left unsaid form the basis of an intimate understanding between reader and author. The audience of a play, movie or television drama are also drawn into the story by the things that are left unsaid by the characters, and by the developments in the relationships between the characters which they observe. Subtlety and subtext in dialogue are therefore essential in writing drama, but this does not mean that a playwright or screenwriter should be enigmatic in the writing of stage directions. The clearer writers can be about their intentions, the more satisfying the production of their work will be for writer and audience.
For more about Writing for Stage and Screen
Janice Hally - Janice Hally has written more than 300 broadcast hours of prime-time TV drama in the UK, as well as fiction and non-fiction books.
