Stage Directions - The road to success

In a Screenwriting class, this tends to be an extensive topic of debate. It’s my personal opinion that there is no correct method for writing stage directions. Only guidelines. For instance, you want to write stage directions that are descriptive, but don’t end up forming sentences of prose and before you know it your script’s more of a novel. On the other hand, you don’t want to compact your stage directions to the point where it looks like you’ve typed them up on an old Nokia. It’s more a matter of finding an:

I-N-B-E-T-W-E-E-N

the show don't tell method

It’s understandable that you want the reader to know what’s going on as much as possible. However, rather than typing all of the information up in your stage directions, you can leave it to their interpretation too. You can do this through a Screenwriting device known as ‘Show Don’t Tell.’

Before I continue, I feel it’s important to establish a major difference between action when writing for film/television and stage directions for theatre. In a theatre script there are no sluglines. To establish the scene, the location is mentioned in the same section where the character’s directions will follow. For instance, in the opening of my play The Vicar’s Wife:

These directions for the opening scene are rather on the long side, however as it’s the opening I felt as much detail possible is needed. Also, as mentioned before, there is no perfect way to conduct stage directions- only guidelines!

structure - Lay The foundation for a strong script

Within the text I establish the location and the time of day (which would usually be connoted in a slugline.) A further item to notice is ‘SCENE 1,’ in theatre, changes of location and time of day are allocated through moving scenes onto the next. It can be made clear to a theatre audience that a scene is moving on by using stage transitions, such as ‘FADE LIGHTS DOWN’ when the scene is over, then ‘FADE LIGHTS UP’ when the next is beginning. The lack of light gives the actors a chance to get in their new positions and for set changes if applicable without confusing the audience.

your break between acts should occur naturally

Also note above the scene number the ‘ACT 1’, in theatre Acts are used to break up plot points in the story. Once the first major events are constructed, the interval will usually begin and then the play will resume onto ACT 2, where the next part of the story set up by ACT 1 will be revealed. Typically a play will tend to have five Acts at the most, this is how many Shakespeare usually included in his work even his longer plays, some Acts may even be just ten minutes in length. As long as they advance the story, then the content is meeting its purpose.

frame your information like a pretty picture

Referring to ‘Show Don’t Tell’… want to illustrate that a character has lost their partner? Putting this information into the stage directions wouldn’t benefit the audience as they won’t be reading the script- they will watch the finished product. Therefore, they won’t be receiving this information unless it’s portrayed to them. Show Don’t Tell is the perfect device to imply this. For example:

Scene 1

WOMAN lays out her plate and cutlery on the table. Goes to lay out a second plate, pauses. Swallows lump in her throat. Returns plate to the cupboard.

Through this exposition it is implied that she’s now on her own, and it's something she’s still adjusting to. Little implications like this keep the audience on their toes to piece together the story. Sure, the death of the woman’s partner could’ve been revealed through dialogue. However, this doesn’t challenge the audience and could run the risk of being ‘On The Nose.”

on the nose dialogue should be avoided

On The Nose composition is a common pitfall Screenwriter’s land in. It’s when information is given in a way that doesn’t seem natural in a conversation. For example, if the woman had someone over for dinner, if this happened:

an example of on the nose dialogue :

WOMAN

I always accidently put a plate out since my husband died.

This wouldn’t meet the convention of a regular conversation and force feeds the audience with information.

Regarding sentence structure within Stage Directions, referring back to the first paragraph, stage directions shouldn’t be constructed in paragraphs but rather a couple of lines at the most portraying action. Exceptions can be made, such as when a setting is being introduced, detail should be vivid and if a few extra lines are needed to paint the location’s image then I feel that’s necessary.

When writing stage directions, I tend to follow a rule-of-three. Such as:

WOMAN sits, looks, sighs.

Three verbs are joined by commas to keep the stage directions short and snappy. Opposed to:

WOMAN sits, and then she looks, then follows this with a sigh.

Both stage directions have the same aesthetic on a stage, however the first format is quicker to the point without unnecessary details.

use covert instructions

Importantly, a factor to always remember in theatre is the use of more discreet stage directions, e.g. facial expressions. In film or television closer camera angles make the close observation of this possible. Sure, the front row audience will clock on to the sneaky lift of an eyebrow… but what about the spectator’s further field? If the facial expression is vital in revealing information of the story, find another way to express it. Either through physical movement- if a character is shocked, rather than just a gasp, bring their hand to their mouth- something a spectator will be able to see despite their seat.