Subtle type directions such as gestures, responses to dialogue, idiosyncrasies of character and the like, are left to the discretion of the director.
For a start, you as the writer are not usually aware of the type of stage where your play will be performed or some of the subtleties involved as a complete stranger interprets your play. Nor will you have control over the pace and delivery. Actors, if they have some experience, will be most aware of the acting is reacting truism. If you, as the writer, try to tell them how to respond or what to do, then you are actually stifling their creativity. You need to write using your God-given gift but you also need to learn to limit the fluff.
Give both the actor and the director credit for reading your story and interpreting it for the audience.
An area where the writer does have a reasonable measure of input is in the creation of the set. The first part of the script should offer a description of the setting: a living room; a hunting lodge; heaven’s gates; a church sanctuary; a homeless shelter. As tempting as it may be, however, resist the tendency to go into great detail about the luxurious velvet brocade on the Victorian couch and the shiny bronze spittoon beneath the solid mahogany, hand-carved hat rack. You’re not writing a novel. Keep that in mind and keep things simple. If it has no bearing on the play – scratch it.
It is okay to indicate the time period and condition of the furniture and where the pieces are situated on stage, but make sure that everything on stage is there for a purpose. If there is a teapot on the table with two cups, make sure someone has enjoyed a taste before the end of the play.
It’s okay to give minimal direction about lighting but only if it pertains to the mood of the play or is necessary for a particular moment, otherwise leave the lighting up to the lighting director or producer.
Stage directions for characters should also be kept to a minimum. A brief, general description of each character should suffice. Don’t worry about describing the specific outward appearance or personality traits unless it is essential to the role. Personality, attitude and behavior will emerge as the discourse progresses. Concentrate more on creating good dialogue than on instructing the actor how he should react or behave on stage.
When I write a play I often am the director, too, so it’s easy for me to work as I go. I often do bare bones stage directions in that case. But when I write to submit my work I have to read my work in a different light. Have I offered sufficient information for staging without going overboard, is a big question?
Because someone else is reading my play, I sometimes feel I need to explain more. However, if the dialogue is well done and the story line is believable then I remind myself that I need not worry.
Minimal stage directions are all the director needs. So, are you ready to get out that script and give it the once over? Here’s a good way to edit the stage directions in your script. Read each direction then ask yourself, each time – “Who needs to know this and why?”
Too much information is not always a good thing. Keep it simple, Shakespeare!
