Okay, imagine we’re sitting down for coffee, and I’m just telling you all about this amazing realization I’ve had about playwriting. It’s not just a thing you do and then you’re done, you know? It’s like… a never-ending adventure!
So, the other day, after the final bows, and the audience had shuffled out, and the theatre went quiet, it hit me. For us playwrights, our work practically never ends. It’s not about reaching some finish line; it’s this continuous process of learning, tweaking, and just getting better. To really shine, you gotta embrace this idea of being a lifelong learner. It’s not about jumping on every new trend or being a master of just one trick. Nah, it’s about being super curious, always ready to try new things, and having this deep, unconditional love for what we do. And honestly, this guide? It’s all about showing you how to keep growing and turn all that potential inside you into something truly impactful.
Why Bother? Seriously, Why Keep Learning in Playwriting?
Before we dive into how to do all this, let’s chat about why it even matters. Playwriting, at its core, is like digging into human nature, how we talk to each other, and all those messy conflicts and resolutions. And here’s the thing: people change, language changes, and our understanding of each other just keeps getting deeper. If we stop learning, our plays risk sounding old-fashioned or just not connecting with people today. Lifelong learning? That’s what keeps our voice fresh, our ideas sharp, and our stories both timeless and totally relevant. It makes us tougher, more flexible, and honestly, a bit more humble, which is key if we really want to create something new and exciting.
My Secret Sauce: How I Keep Getting Better (And You Can Too!)
So, getting better isn’t some magic trick; it’s just about being consistent and intentional with what we do. Here are the main things I focus on to keep my playwriting journey going.
1. Read Like Crazy, But Also Smart: Beyond Just Good Stories
Think of your bookshelf as your personal lab. Reading widely is such a basic, but often forgotten, way to improve. But it’s not just about gobbling up stories; it’s about really picking them apart.
- Expand Your Play Library: Don’t just stick to the popular stuff. Dive into the old school – Greek tragedies, Shakespeare, Ibsen, Chekhov, Miller, Williams. Check out absurd plays or really experimental ones. Pay attention to how play structures have changed, how dialogue sounds different in different times, and how playwrights have tackled big, universal themes over centuries.
- Here’s what I do: I’ll pick a Greek tragedy, like Sophocles’ Oedipus Rex. First read? Just for the story. Second read? I’m looking at how they drop hints through dialogue, how conflict builds, and the exact moment where the character figures it all out and things turn upside down. How does that chorus work? Can I steal those old techniques for a modern play?
- Dissect New Plays: Read new plays – the ones being staged in bigger theatres, off-Broadway, or even local community plays. What are today’s playwrights doing with the style, language, and topics? How are they reflecting what’s happening in the world right now?
- Here’s what I do: I’ll grab a award-winning play from the last few years, maybe a Pulitzer winner. I figure out the main dramatic question. I outline the big plot points and mark where they happen. Then, I zoom in on just one scene: Who wants what? What’s in their way? What are they not saying?
- Beyond Plays: Novels, Non-Fiction, Poetry: Solid playwriting comes from deeply understanding people. I read novels for character development and psychological stuff. Non-fiction gives me historical context, social issues, and research material. Poetry? That’s for learning conciseness, rhythm, and how to use evocative language. Honestly, everything I read feeds my understanding of the world and the human experience.
- Here’s what I do: I’ll pick a novel with a really complicated main character. I trace their desires and conflicts. How could their inner thoughts be shown through dialogue and action in a play? Or I’ll read a non-fiction book about a historical event; I look for the personal stakes and dramatic possibilities within it.
2. Go See Live Theatre: There’s No Substitute!
A play isn’t really a play until it’s on a stage. Reading the script is crucial, but it’s only half the story. To truly get it, you have to see plays come to life.
- Watch the Production Choices: How does a director interpret the script? How do actors embody characters, show unspoken feelings, and control the pace? What role do the set, lights, sound, and costumes play in either highlighting the playwright’s message or even going against it?
- Here’s what I do: If I can, I’ll see two different productions of the same play. I note the opposing choices made by each director. How did these choices affect my understanding of the characters, themes, or plot? Did one show me something I missed in the script?
- Analyze the Audience: Pay attention to how people react. Where do they laugh, gasp, or just get totally silent? This tells you so much about pacing, comedic timing, and dramatic tension.
- Here’s what I do: During an intense scene, I notice when the audience holds its breath. In a funny scene, I pinpoint the exact line or action that makes them laugh. How does the playwright build up to these moments? What techniques are used to manage emotional release?
- See All Kinds of Theatre: Don’t just stick to the big, famous shows. Check out fringe festivals, university theatre, small independent companies, and new play festivals. This exposes you to experimental styles, new voices, and different ways of telling stories.
- Here’s what I do: I’ll seek out a staged reading of a new work. How does the playwright’s voice sound when actors say it for the first time? What feels strong, and what might need work after hearing it live?
3. Write All the Time, and With Purpose: Flexing My Writing Muscle
Playwriting is like a muscle; if you don’t use it, you lose it. Consistent writing is non-negotiable for improving. But “consistent” doesn’t just mean “often”; it means “with intention.”
- Make It a Daily Habit: Even if it’s just 15 minutes, write something related to playwriting every single day. This could be character notes, dialogue exercises, scene outlines, or research. The goal is to keep my brain in playwriting mode.
- Here’s what I do: I’ll pick a difficult emotion (like envy, despair, or pure joy). Then, I’ll write a short scene (2-3 pages) between two characters where one is subtly, or not-so-subtly, feeling that emotion, and the other is totally clueless or actively making it worse. I focus purely on showing, not telling.
- Play with Form and Genre: Don’t get stuck doing the same thing. Try writing a one-act, then a full-length. Explore comedy, then drama, then a historical piece. Experiment with non-linear structures, monologues, or plays with lots of characters.
- Here’s what I do: I’ll take a classic fable (like The Tortoise and the Hare) and rewrite it as a 10-minute dramatic scene between them in a modern setting, focusing on their deeper psychological motivations, not just a simple lesson.
- Zero In on Specific Skills: Dedicate writing sessions to improving particular things. One week, I’ll only focus on impactful entrances and exits. The next, on creating compelling reversals. I isolate and conquer my weaknesses.
- Here’s what I do: I write five different opening scenes for the same hypothetical play, each using a different technique to establish character and conflict (like one relying on exposition, one on action, one on unspoken tension). Then, I evaluate which is most effective and why.
4. Get and Use Feedback: How My Work Reflects Back at Me
Feedback is like oxygen for improvement. Without it, you’re writing in a bubble, completely blind to your own blind spots.
- Start a Peer Playwriting Group: Find 2-4 other dedicated playwrights. Meet regularly to share work and give each other honest, helpful feedback. Set clear rules for critique: focus on the work, not the person; be specific; offer solutions, not just problems.
- Here’s what I do: When reviewing a peer’s play, instead of saying, “This character felt flat,” I’d say: “What’s this character’s deepest desire? I struggled to find it in this particular scene (pages 7-9). Maybe exploring their unspoken motivations here could make them feel more present.”
- Work with Dramaturgs/Mentors: If you can, hire a dramaturg or find an experienced playwright to mentor you. Their objective eye and deep knowledge of play structure can be super valuable.
- Here’s what I do: If a dramaturg points out a weakness in my play’s main conflict, I don’t just fix that one instance. I ask why it was a weakness. I try to understand the underlying principle so I can apply it to future works.
- Learn to Filter Feedback: Not all feedback is equally good or useful. Develop the ability to tell what really resonates with your vision and what doesn’t. You don’t have to use every suggestion, but you do have to listen to all of them.
- Here’s what I do: After getting feedback, I look for recurring themes. If three different people point out an issue with a character’s motivation, that’s a huge sign it needs fixing, even if their proposed solutions are different. I make sure to separate personal preference from structural problems.
5. Research Deeply and Widely: Fueling Authenticity and Innovation
Every play, no matter how wild, benefits from being grounded in reality. Research enriches your work, helps you avoid unintentional stereotypes, and sparks new ideas.
- Subject Matter Research: If your play involves a specific job, historical period, or cultural group, immerse yourself in understanding it. This isn’t just about facts; it’s about nuance, the language people use, and what it’s truly like to live that experience.
- Here’s what I do: For a play set in a 1920s speakeasy, I don’t just read about Prohibition. I listen to music from that time, research common slang, look at the fashion, and read first-hand accounts of people who lived that lifestyle. This really makes it feel authentic.
- Psychological and Sociological Research: To write believable characters and explore complex themes, I delve into human psychology, sociology, and philosophy. I try to understand motivations, biases, and how societies are structured.
- Here’s what I do: If my play explores themes of grief, I read psychological studies on the stages of grief, or memoirs from people who have experienced deep loss. This informs not just what characters say, but how they behave.
- Immerse Myself in Different Worlds: This goes beyond books. I travel, volunteer, listen to diverse podcasts, and attend community events outside my comfort zone. The more you experience, the richer your internal reservoir of ideas and understanding becomes.
- Here’s what I do: If I’m writing about a community I don’t belong to, I actively seek out authentic voices from that community. I attend public forums, read their local publications, and respectfully engage with people who can offer genuine insights.
6. Analyze My Own Work: Being My Own Toughest Critic
The most powerful learning often comes from within. I’ve developed a rigorous self-assessment process.
- Pre-Write Reflections: Before I even start writing, I ask myself: What’s the main dramatic question of this play? Who are these characters, really? What’s the one thing I want the audience to walk away thinking or feeling?
- Here’s what I do: For every new play idea, I write a single paragraph clearly stating its premise, main conflict, and the emotional journey I want my protagonist to take. If I can’t do that, the idea probably needs more thought.
- Post-Scene/Act Review: After I finish a scene or an act, I give it a little break, then re-read it with fresh eyes. Is the dialogue sharp and purposeful, or does it ramble? Is the conflict clear? Are the stakes obvious?
- Here’s what I do: I highlight every line of dialogue that doesn’t advance the plot, reveal character, or build tension. I then consider cutting or refining them. I use a different colored pen to mark every instance where a character’s desire is clearly stated or hinted at.
- “What If” Scenarios: When I hit a wall, I don’t just force my way through. I explore alternative paths. What if this character made a different choice? What if the big turning point happened later/earlier? This builds my problem-solving skills.
- Here’s what I do: If a scene feels flat, I brainstorm three wildly different ways it could unfold. How would each choice impact the characters and the plot moving forward? This helps me uncover my hidden assumptions.
- Deconstruct My Own Successes and Failures: When a play works (or doesn’t), I analyze why. What structural elements landed well? What ideas didn’t translate? I try to be as honest with myself as a respected critic would be.
- Here’s what I do: After a successful reading of my play, I identify the scenes that got the strongest positive reactions. What specific elements (like pacing, character arcs, surprise reveals) contributed to that success? Conversely, for scenes that didn’t work, I pinpoint the breakdowns.
7. Use Technology Smartly: Tools, Not Crutches
Technology offers amazing resources for us modern playwrights, but you gotta use it wisely.
- Screenwriting Software (like Final Draft, Celtx): While maybe not strictly for playwriting, mastering industry-standard formatting software, in general, makes your script clearer, more professional, and easier to read and evaluate. Many features are directly transferable.
- Here’s what I do: I learn the keyboard shortcuts for character names, dialogue, and stage directions. This speeds up my writing and helps me stay in the flow. I practice exporting my script in different formats.
- Online Courses and Webinars: Lots of universities and theatre organizations offer flexible, online learning opportunities on specific playwriting topics (like dialogue, structure, character).
- Here’s what I do: I enroll in an online course specifically focused on dramatic structure or character development. I actively participate in forums and apply the lessons immediately to what I’m currently working on.
- Podcasts and Interviews: I listen to interviews with experienced playwrights, directors, and actors. I pick up insights into their creative processes, challenges, and philosophies.
- Here’s what I do: When listening to an interview, I pay close attention if a playwright discusses their revision process. How do they approach rewrites? What makes them decide to make major structural changes?
- Digital Research Tools: I use online archives, databases, and digital libraries for efficient research. Google Scholar, JSTOR, and specialized theatre databases can be invaluable.
- Here’s what I do: If I need to research a historical event, I use advanced search queries on academic databases to find scholarly articles that offer deeper context and analysis than a general web search.
8. Cultivate Empathy and Observation: My Playwright Superpowers
Our greatest tools as playwrights are our eyes, ears, and hearts. The ability to watch the world and truly empathize with the people in it is essential.
- Master the Art of Listening: I pay attention to how people really speak. Not just the words, but the pauses, the hesitations, the rhythm, the unspoken cues. Dialogue often sounds fake when it’s too “written” or too generic.
- Here’s what I do: I spend an hour in a public place (a coffee shop, park, train station). I don’t interrupt; I just listen to conversations. I note speech patterns, repeated phrases, and how people reveal (or hide) their true feelings through what they say and don’t say.
- Observe Body Language and Subtext: People rarely say exactly what they mean. I learn to read between the lines, to see the unspoken desires, fears, and resentments that drive human behavior. This is the essence of dramatic tension.
- Here’s what I do: I watch a scene from a film or play with the sound off. What can I guess about the characters’ relationships, motivations, and the scene’s emotional journey based solely on their body language and facial expressions? Then, I watch it with sound and compare my observations.
- Practice Empathy Exercises: For a character I’m developing, I imagine myself fully in their shoes. What do they truly feel about their situation? What hidden vulnerabilities do they have? This makes my characters feel real, not just generic types.
- Here’s what I do: I write a journal entry from the perspective of one of my characters, exploring their secret fears, greatest desires, and most embarrassing moments – things that might never appear in dialogue but completely inform their actions.
9. Attend Workshops and Conferences: Immersive Learning
Dedicated time away from my usual routine, completely focused on the craft, can lead to huge jumps in skill.
- Targeted Skill Workshops: I look for workshops focused on specific areas where I want to improve, whether it’s comedic timing, plot reversals, or writing for a specific type of theatre.
- Here’s what I do: If I struggle with the midpoint of my plays, I’ll find a workshop specifically addressing “the midpoint and its dramatic function.” I go with a scene or outline of one of my plays and apply the principles learned in real-time.
- Playwriting Conferences: These events offer a concentrated dose of learning, networking, and inspiration. You’ll hear from established playwrights, dramaturgs, and industry professionals.
- Here’s what I do: When I attend a conference, I don’t just sit in lectures. I actively participate in Q&A sessions. I introduce myself to speakers and fellow attendees. The networking can be just as valuable as the content.
- Residencies and Retreats: If possible, I consider applying for playwriting residencies. The dedicated, uninterrupted time to write, often with mentorship, can be life-changing.
- Here’s what I do: I use the application process for a residency as a motivator to refine my existing work and articulate my artistic vision. Even if I don’t get in, the process of applying is a learning exercise in itself.
10. Stay Curious and Open-Minded: The Artist’s Mindset
At its core, lifelong learning is a mindset. It’s this deep belief that there’s always more to discover, more to perfect, and more to understand.
- Question Everything: I don’t just accept conventional wisdom without thinking about it. Why do plays traditionally have three acts? Why is exposition often so difficult? By questioning, I move beyond just copying to true understanding and new ideas.
- Here’s what I do: I take a theatrical convention I’ve always followed (like “show, don’t tell”). I challenge myself to write a scene where I deliberately break or mess with this rule for artistic effect. What impact does it have? What are the pros and cons?
- Embrace Failure as a Teacher: Not every play will be a masterpiece. Some projects will just fall flat. I see these not as obstacles, but as incredibly valuable data points. What did I learn from the struggle or the failure?
- Here’s what I do: After a play doesn’t get produced or a scene just doesn’t land, I do a “post-mortem” analysis. What were the core issues? What would I do differently next time? I turn critique into actionable lessons.
- Stay Relevant and Aware: I try to be a student of the world. I understand current events, social movements, and technological shifts. Great plays often comment on their own times.
- Here’s what I do: I read a reputable news source every day, but I don’t just skim headlines. I seek out long-form journalism and analysis on complex social issues. I consider how these issues manifest in individual lives and how they could be explored dramatically.
- Protect My Playful Spirit: I always try to remember why I started writing plays in the first place. It’s about play, about creating, about imagining possibilities. I work to keep that sense of wonder alive.
- Here’s what I do: I dedicate a specific “playtime” each week where there are no rules. I jot down absurd ideas, sketch out impossible scenarios, or write scenes purely for the joy of it, without pressure for success. I just let my imagination run wild.
The Never-Ending Craft: My Playwriting Legacy
Improving my playwriting skills isn’t just about writing better plays; it’s about becoming a more insightful, empathetic, and articulate human being. It’s a journey that builds on itself over time, each lesson building on the last, each experience enriching my perspective.
By constantly reading, observing, writing, getting feedback, researching, and analyzing myself, I’m not just honing a skill; I’m dedicating myself to a timeless art form. This lifelong commitment ensures my voice stays vibrant, my stories resonate, and my impact on the theatre world isn’t just a fleeting moment, but something profound and lasting. So, embrace the lessons, commit to the process, and watch your playwriting journey unfold into a lifetime of discovery and creation!