Writing a play on my own is incredibly exciting, but I’ve realized the real magic happens when I get feedback. For me, feedback isn’t just a suggestion; it’s like a vital nutrient, a magnifying glass, and sometimes, even a necessary jolt. It’s what truly transforms a promising draft into a polished, performable piece. Without learning to effectively both give and receive it, I know my craft would just stay stuck. This isn’t about being told I’m brilliant; it’s about being told what works, what doesn’t, and why, so I can really elevate my storytelling.
So, I’m going to share how I approach constructive feedback, offering a framework for navigating this crucial stage of development. I’ll get into the psychology of it, the practicalities, and even the etiquette, to make sure every feedback session—whether I’m sharing or listening—actually propels my play forward.
The Foundation: Understanding Constructive Feedback
Before I dive into the how, I need to be clear about what constructive feedback truly is. It’s not a critique that tears down; it’s an offering that builds up. It’s specific, actionable, and always delivered with the intention of improvement. Its aim is to illuminate blind spots, validate strengths, and suggest pathways for development, never to impose a singular vision. For me as a playwright, this means moving beyond generalities like “I liked it” or “I didn’t get it” to a precise dissection of character arcs, dialogue rhythm, plot logic, thematic resonance, and dramatic tension.
Why Feedback Matters More for Plays Than Other Forms
Unlike a novel, which mostly lives on the page, a play is a blueprint for performance. Its true test is in the ears and eyes of an audience. Feedback provides me with a critical early glimpse into how my work might be received.
- Audience Surrogate: My readers (actors, directors, fellow playwrights) become my first audience, revealing what lands and what trips up.
- Performance Insight: Dialogue that reads well on the page might sound stilted when spoken. Feedback highlights these sonic dissonances for me.
- Structural Integrity: Plays rely on precise pacing and structure. Feedback exposes sagging middle acts or rushed conclusions.
- Collaborative Art: Theatre is inherently collaborative. Learning to engage with feedback now prepares me for richer collaborations with directors, actors, and designers later.
Giving Constructive Feedback: The Art of Illumination
When I’m the one offering feedback, I know I hold a significant responsibility. My goal isn’t to rewrite someone’s play, but to act as a skilled diagnostician, accurately identifying symptoms and suggesting potential remedies. I always avoid the temptation to show off my own writing prowess; I focus entirely on the playwright’s work.
1. Prepare Thoroughly: Read Like a Director, Hear Like an Audience
Before any feedback session, my preparation is paramount. Haste just leads to superficiality.
- First Pass: The Gut Reaction: I read the play through once, quickly, without stopping for notes. I try to capture my initial emotional and intellectual response. What intrigued me? What confused me? Where did my attention wander? This mimics an audience’s first experience.
- Second Pass: The Deep Dive: I reread, this time with a pen or keyboard in hand. I focus on specific elements.
- Character: Are their motivations clear? Do they have distinct voices? Do their choices drive the plot? Are their arcs compelling?
- Dialogue: Is it authentic? Does it advance plot or reveal character? Is there unnecessary exposition? Does it feel natural when spoken aloud?
- Plot/Structure: Is the inciting incident clear? Is the pacing effective? Does the rising action build tension? Is the climax impactful? Is the resolution satisfying? Are there any logical inconsistencies?
- Theme: What big idea is the play exploring? Is it clear? Is it integrated organically or does it feel preachy?
- Dramatic Tension/Stakes: What’s at stake for the characters? Is there conflict? Does it escalate?
- World-Building: Is the setting clear? Do the rules of the play’s world make sense?
- Note Specificity: I always resist vague statements. Instead of “The dialogue felt off,” I’ll write, “In Act 2, Scene 3, when Sarah says ‘Whatever,’ it feels out of character for someone we’ve seen as meticulously articulate.”
- Identify Strengths First: As I read, I actively look for what works. This isn’t just kindness; it provides context. A playwright needs to know what to keep as much as what to change. I highlight moments of strong character voice, clever plotting, or impactful emotional beats.
2. Frame Your Feedback: The Sandwich and the Scalpel
How I present my observations is just as crucial as the observations themselves.
- The “Feedback Sandwich” (with a twist): I start with something genuine and specific that I loved. Then I follow with my constructive criticisms, phrased thoughtfully. I end with another positive observation or an expression of confidence in the play’s potential. Crucially, the “meat” of the sandwich must be substantial and not overshadowed by the bread. I don’t just say “I liked your opening.” I say, “Your opening scene, with the quick, overlapping dialogue, immediately established the chaotic family dynamic and pulled me right into the argument.”
- “I” Statements: I always frame my feedback from my perspective. Instead of “This character is unbelievable,” I say, “I found it difficult to connect with Character X’s sudden change in motivation at this point because I hadn’t seen enough groundwork laid earlier.” This takes the sting out and makes it an observation, not an accusation.
- Focus on the Play, Not the Playwright: I never make it personal. Comments about the playwright’s intelligence, effort, or talent are entirely off-limits and unprofessional. I stick strictly to the text.
- Prescriptive vs. Descriptive: I aim for descriptive feedback. Instead of “You need to add a love interest for the protagonist,” I try, “I felt the protagonist’s journey was very internal; perhaps exploring an external relationship, even a challenging one, could add a new layer of conflict or reveal aspects of their personality we haven’t yet seen.” Descriptive feedback creates a problem the playwright can solve; prescriptive feedback offers a solution they might not agree with.
- Prioritize: I usually have many notes. I don’t dump them all. I identify the top 2-3 most significant issues that, if addressed, would have the biggest impact on the play. Overloading a playwright with minor issues can be overwhelming and counterproductive. Examples of what I prioritize: a major plot hole, inconsistent character voice, or a sagging second act.
3. Deliver with Empathy and Clarity: The Conversation, Not the Lecture
The feedback session itself is a dialogue for me.
- Set the Tone: I begin by reiterating my intent: to help them make the play stronger. I acknowledge the vulnerability required to share work.
- Two-Way Street: After presenting a point, I pause. I allow the playwright to ask clarifying questions or offer their initial thoughts. This isn’t about defending their work, but understanding my perspective.
- Be Specific with Examples: I don’t just say “The pacing was off.” I point to a specific scene: “In the cafe scene, the dialogue between Character A and Character B felt protracted and didn’t seem to advance the plot. It felt like it could be condensed by half without losing its essence.”
- Offer Solutions as Suggestions, Not Demands: “One thought I had was if you were looking to deepen the conflict here, perhaps Character C could have an opposing agenda to Character D’s, creating more immediate friction.” I use phrases like “Have you considered…?”, “What if…?”, or “I wonder if…”.
- Address the Playwright’s Questions: Often, playwrights will come with their own questions (“Is the ending too abrupt?”). I address these directly and thoughtfully. They may have already identified some of their own challenges.
- Know When to Stop: Lengthy feedback sessions can be exhausting. Once I’ve covered my key points, and offered an opportunity for discussion, I conclude gracefully.
Receiving Constructive Feedback: The Art of Growth
This is arguably the harder part for me. My plays are extensions of myself, and hearing their imperfections can feel deeply personal. However, shutting down or becoming defensive actively stunts my growth. To truly benefit, I’ve had to cultivate a mindset of openness and curiosity.
1. Cultivate the Right Mindset: Embrace the Vulnerability
Before I even step into the feedback session, I prepare myself mentally.
- Detach Your Ego: My play is not me. Criticisms of the play are not criticisms of my worth as a person or a writer. I separate the artist from the art.
- Assume Good Intent: The person giving me feedback is likely investing their time and energy because they care about my success and the play itself. I believe they are trying to help.
- See It as a Gift: Every piece of feedback, even if it feels harsh, is information I didn’t have before. It’s an opportunity to see my work through fresh eyes.
- You Are the Architect: Ultimately, I decide what to implement. No one can force me to change my play. This empowers me to listen selectively.
2. During the Session: Listen, Clarify, Absorb
My primary role here is to receive, not to defend.
- Listen Actively: This means full attention for me. I don’t interrupt, I don’t formulate my rebuttal in my head. I let them finish their entire thought.
- Take Notes: I don’t rely on memory. I jot down key points, specific examples they mention, and any questions I have. This shows respect for their time and helps me process later.
- Ask Clarifying Questions (Only): If something is unclear, I ask for elaboration. “When you said the pacing was off in Act Two, could you point to a specific scene or moment where it felt that way?” or “When you say ‘the stakes aren’t high enough,’ what kind of stakes were you hoping to see?” I avoid questions that are thinly veiled defenses (“Don’t you think the subtext in that scene actually implies…?”).
- Resist Defensiveness: My immediate urge might be to explain why I wrote something the way I did. I resist it. Explanations after the fact often sound like excuses and undermine the feedback. If they didn’t “get” something I intended, the feedback is still valid. It means my intention didn’t translate to the page. That’s valuable information.
- Avoid Justifying or Arguing: “But the director told me to do it that way!” or “The character is supposed to be annoying!” These statements shut down the dialogue and prevent further insight. I just listen. Their perception is their reality.
- Thank Them Sincerely: Even if the feedback was difficult to hear, I express gratitude for their time, their effort, and their honesty.
3. After the Session: Process, Prioritize, Plan
The real work happens once the feedback session is over for me.
- Debrief Quickly: Immediately after the session, while it’s fresh, I add any further thoughts or reflections to my notes. What resonated the most? What surprised me?
- Step Away: I don’t dive straight into rewriting. I let the feedback marinate. I give myself a day or two, or even a week, to gain some distance. Emotional responses will fade, allowing logic to surface.
- Review and Categorize: I go through all my notes. I group similar feedback. I look for patterns. If multiple people highlighted the same issue (e.g., “Character X’s motivations are unclear” or “Act Two sags”), that’s a strong indicator it needs attention.
- Identify “Actionable” Feedback: Which notes point to a clear, definable task? “Clarify Character X’s goal in Act 1” is actionable. “Make the play better” is not.
- Prioritize Ruthlessly: I won’t address every single note, nor should I. I start with the “big rocks”—the structural issues, major character inconsistencies, significant plot holes. Fixing these often resolves smaller issues downstream.
- Don’t Fix What Isn’t Broken (For You): Some feedback I will discard. It might conflict with my core vision, or I might genuinely disagree. That’s okay. This is my play. The power is in choosing what to incorporate, not in implementing everything.
- Formulate a Revision Plan: Once I’ve decided which feedback to act on, I create a mini-roadmap. “For this week, I will focus on clarifying the inciting incident in Act 1 and strengthening the antagonist’s purpose.” I break it down into manageable tasks.
Specific Scenarios and Advanced Tips
Feedback from Actors (Table Reads)
Actors are invaluable to me. They physically embody my characters and speak my lines, revealing what sings and what stutters.
- Listen to the Unspoken: I notice where actors stumble or ask “What’s my motivation here?” This often indicates unclear intention or clunky dialogue.
- Performance vs. Writing: Sometimes, an actor will deliver a line oddly. Is it their interpretation, or is the line itself problematic? I ask, “How did that line feel to say?”
- Pacing and Rhythm: Actors will naturally find the pace. I observe where they rush, where they draw out moments. Does this match my intent?
Feedback from Directors
Directors see the entire theatrical picture—blocking, staging, visual storytelling, and how my words translate into physical action.
- Logistics and Practicality: Can this scene be staged? Is the number of characters manageable? Is the desired effect achievable within typical theatrical constraints?
- Visual Storytelling: Does my dialogue alone convey enough, or do I need more physical cues or stage directions?
- Overall Vision: Does my script provide enough fodder for a director to build a compelling visual and emotional world?
Organizing My Feedback
- Digital Tools: I use Google Docs with comments, or dedicated scriptwriting software that allows for notes. This makes it easy for me to track changes.
- Color-Coding: I assign different colors to different types of feedback (e.g., structural, character, dialogue).
- Action List: I create a separate document listing actionable changes I intend to make, linked to the specific page or scene.
The Feedback Ecosystem: Whom to Ask
- Trusted Readers: Fellow playwrights understand the craft. They can identify specific technical issues.
- Actors: For dialogue, character voices, and actability.
- Directors: For staging, flow, and overall theatricality.
- Non-Writers: For a “general audience” perspective. Do they understand the plot? Are they emotionally invested? This helps me gauge universality.
- Mix It Up: A range of perspectives is ideal for me. I avoid creating an echo chamber of like-minded individuals.
The Reciprocal Relationship
The best feedback environments are reciprocal. If I want insightful feedback, I know I must be prepared to give it generously and thoughtfully to others. This builds trust and a shared understanding of the process. Participating in a reading group or writers’ collective can be incredibly beneficial for this reason.
The Ultimate Goal: A Better Play
My objective with feedback is not to strip away my unique voice or vision, but to refine it, strengthen it, and make it more accessible and impactful for an audience. I think of it as polishing a gem; the gem’s inherent beauty is already there, but the polishing reveals its full brilliance.
Every time I engage with feedback, I am not just improving a play; I am improving my craft as a playwright. I learn to spot my own recurring weaknesses, to diagnose structural issues, and to refine my ear for dialogue. This cumulative knowledge makes me a more effective and resilient writer, ready to face the next blank page with greater confidence and skill. I embrace the challenge, value the honesty, and watch my plays transform.