I never guessed this when I first posted this in the first year of my blog, but 10 common beginners’ mistakes in playwriting is by far the most read post on this blog. Since then I had advanced a lot further and learnt a lot more, but it’s interesting to discover that I haven’t changed my mind about any of these. It’s frequently linked as a resource by schools, and Papatango even once named this one of their resources for their playwriting competition.
But … am I pointing the finger at the easy targets? I want to help, but there’s always the nagging doubt that the real audience of the post is people who are familiar with writing plays exchanging knowing laughs about people who aren’t. Well, if that’s you, it’s time to stop smirking. My biggest frustration in the last few years isn’t from the people who don’t know any better, but the people who should. I can understand why novices would keep making the same mistakes, but I’m increasingly noticing that there’s another set of repeat mistakes made by established artists. People who ought to have learned by now.
So here’s comes my less popular companion article: 10 common mistakes in playwriting from people who should know better. Unlike beginners’ mistakes, not everything here will get your script binned in the reading room – on the contrary, some people think any or all the things listed here are a plus. If you want a commissions performed in front of a praiseful clique, ignore everything I say. But if your goal if for people to look back at your play years or decades later and say “wasn’t that good?” – and I hope this is what you’re aspiring to – you should take heed. I’m listing this in ascending order of controversy – I’m expecting the last one to piss quite a few people off – but all of these things are inspired by plays I’ve seen. I won’t say which ones*, because I don’t want to personalise this, but if you think it’s you, please consider this my hint to change tack.
[*: And no, I’m not going to tell you, so don’t ask.]
Without further ado, here we go.
1: Set piece overkill
This one is a giveaway of recent drama school graduates. I’m not knocking drama schools here: whilst there some damned good performances from people with no training, in my experience the biggest strength of professional training is versatility. (Good amateurs are great at playing variants of their real selves – with professional training you can do a lot more.) Another asset of drama schools is learning every trick in the book to put together a great performance. After seen enough plays, you learn to spot the “set pieces”. Things that wow regular theatregoers are known by more experienced viewers to be quite easy if you know how. Which is fine – you should be trying to impress the 95% of the audience who just want to enjoy this, not the 5% who know enough about the craft to judge your skills. Continue reading