workshopping scripts

Over the last four decades, almost without exception, every successful TV comedy series has been written by two writers. They have used each other as bouncing boards to workshop scripts. Recently I have seen several plays, where the writers have just missed the mark, mainly by being far too verbose. Comedy dialogue, especially, needs to be pruned to a minimum.

The playwrights should keep in their minds, a firm picture of who their intended audience is likely to be, and then keep the jokes and language appropriate.

Ensure that the poster lets the audience know in advance the genre of the show. If it is a comedy, a bloody thriller or an ‘adults only’ show, then state this clearly on the advertising or at the ticket point of sales. It is sad to see so much work going into productions, which are presented to, and antagonising, an audience expecting something completely different.

Even obvious talent such as Johnny Grim and Martin Lindsay, have recently presented very clever, well-researched shows with original storylines; however, both works desperately needed a good friend to act as a mentor or script editor.

Great things are so often just around the corner, for so many directors and writers who either take on too much, are too shy or too proud to seek opinions before the rehearsal stage.

I think it depends on the show and it depends on the writer. I think Coupling is one of the finest British TV comedies of the past 10 years and it was written by Stephen Moffat on his own. Mother & Son is probably Australia's best-ever sitcom and Geoffrey Atherton wrote that on his own IIRC.

Geoffrey Atherton was writing scripts for television from the age of 14, so he had honed his skills quite a bit by the time he wrote Mother & Son.

Despite quibbles about who wrote what the whole process of work shopping new scripts is a valuable one. I invariably go through a process which involves a number of people giving me feedback plus a couple of readings followed by rewrites then of course through the rehearsal period I still do rewrites. It pays off and hones the script. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

Being mentioned in this here post I wasn't sure I should throw my 2 bob's worth in, alas, I can't help myself. My first comment relates to the posters / flyers. I thought we made it quite clear on both our flyer and poster the very nature of our show. i.e. 'Contains a few wee swear words, and lots of sex and drugs and rock 'n' roll!' I'd be extremely interested in hearing from any individuals who may have seen or read either the poster or flyer ,and then seen the show to confirm if we got it right. I do agree with Gordon in that it is vital that the poster and flyer gives patrons a clear idea of what to expect. Your feedback on this is vital before we launch our new flyer for 'Bargain Burials (a scratch n sniff flyer shaped like a coffin)! What do you think? In terms of workshopping the scripts, it may come as a surprise for some to hear that BANNOCKBURN did indeed have input from several people who read the script and then gave me their ideas. I then promptly told them all to piss off! Actually we made numerous changes to the point where I (yes I take full responsibility)was satisfied we had it right.I don't think it would matter if you had as many as five writers working on a script, in the end you'd still have to reach a concensus and say 'this is it!' As for working with other writers. I personally wouldn't be interested, for two reasons. 1: I doubt I'd find another wmind as warped as my own, and 2:I enjoy writing the things solo. That probably makes me sound all pretentious and writer like, which I am... but the truth is our scripts get bashed / re-shaped and re-moulded during rehearsals. Dare I also say that in my view, theatre and television are two very diferent animals. I won't add amy more on that, in case I get a call from Channel 10, asking me if I want to do a reality verion of BANNOCKBURN, where viewers get the chance to vote on which Highlander will be killed off next! My final word on editing, is that, sometimes we writers have to go with our gut feelings. We al lwill have differing opinion on scripts...in my view 'The Importance of Being Ernest' could have been cut to 7 and a half minutes max, but hey, that's my own personal view. The theatre masses beg to differ with me on that one. gotta go..no one will have read this far...

I did.

Do share your thoughts...don't leave it to the ugly old buggers, Like me, Stinger, Greg Ross and Tim Prosser.

As another ugly old bugger there is a lot in what you say Johnny that I agree with. I work alone except on one occasion but I do (as you do) get outside opinions and go through workshops. I am quite happy to ignore advice that is wrong (i.e I don't agree with it) but will take on board helpful and constructive advice. Look, in the end it's your name on the script so you have the right to say "No I will not change it any more." You also then have the responsibilty to cop any outside criticism and so you should. (Please note in this last paragraph the word you implies all writers including myself.) Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

I cannot get used to the new photo. I always thought Logos WAS Alf. Now I find out he's really Santa. Is anyone else having trouble adapting?

I couldn't let Tim's remark on another thread about not believing in Father Christmas pass. It's all me too my own hair and beard. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

nice...!

It's horses for courses, isn't it? If a writer does not want to have the work workshopped, there's no point in forcing her or him to do it. If you do submit to workshopping, you have to be both brave and open to suggestions. In my time of participating in the National Playwrights' Conference in Canberra, 'feedback' often became 'fightback' and, indeed, I know of only a few scripts that ever got into full production. If we equate 'collaboration' with 'workshopping', Big Big Shakespeare did it; I don't know about Aeschylus, Euripides, Ibsen and Chekhov; I can't imagine the opinionated GB Shaw would have a bar of it nor, I think, would dear Oscar have done it (workshopping, I mean). I've seen nothing to suggest that Sam Beckett did it, either – but who would want to? On a related subject, Rebecca Jo has asked whether a writer should direct a production of his/her work. No … nor act in it, either, if you want to learn something. FLIPMAC

In terms of having the confidence to let others read the script, if you've already worked with someone on that script You can share the responsibility. Haha! In terms of the entire creative process...(paper to boards), There should be a certain amount of workshopping on the script. I like to workshop the **** out of my stuff, and see what can be found. Do readings, let directors try things out, accept feedback (whether you agree or not). What you write and what is read is usually interperated diffirently person to person. If you collab from the get-go it opens a lot more doors to creativity... It's called a play for a reason! RJ

I said this in another thread, but I can't keep my pretty little blonde head, out of discussions on writer/directors cause I eat sleep and breath it at the moment. The first play I directed was not, the first play I had written or been staged (although many were not aware of this.) It went to the festivals and recieved lots of positive and constructive feedback. Before this I had workshopped it extensively--and more interestingly each bit of adjudication and feedback contradicted the last. Till the point I had no idea what to do with it. Oddly enough, the 'direction' was never criticised, so as to whether mad hatters like me should be directing their own work who knows. As to the feedback. I couldn't possibly do what was suggested. Not without the play turning quickly schizophrenic, there were just too many opposing viewpoints. In the end I realised however they were all about the same part of the play. No one liked the end. So although I decided to ignore the solutions offered, I took a very long hard look at the problem, and rewrote the end. That same play went on to be shortlisted in the national inscription awards, top thirty out of three hundred plays and has subsequently been published. I am convinced it would not have happened if I hadn't listened to my feedback. And if I had put it through Stages...who knows? At the end of the day it's still not perfect, and I could end up rewriting that same play for the rest of my life if I'm not careful! By the way Johnny, I enjoyed your play more and more with each subsequent re-watching. I thought the characters were very well constructed and consistent, and enjoyed the balance between the drama and the comedy. I didn't think it was an editing problem, but maybe a plot construction issue. The first act was all exposition, enjoyable exposition, but I would have liked to have seen a clear protaganist and a bit more tension. The second act however was much better than the first, which is impressive, and that fight scene was brilliant. To the post about never seeing 'imaginative directors' in community theatre, you haven't been to see Bannockburn!

Wouldn't be related to someone in the show, would you?

But I'm usually his greatest critic, besides I didn't critique the acting, just the script and the directing.

jessmess, I wouldn't have bothered to respond to this sort of post from an anonymous source. This is just another troll mouldering under it's bridge. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

And I must say although I miss alf, I'm impressed with the beard!

Any possible conflict of interest should always be mentioned from the outset (whether there actually is or not). Just ask Media Watch.

Usually I would agree with Richard. However, this is not a review thread for the show. Jess was using Bannockburn as an example for the subject matter being discussed. She was not reviewing the show. www.meltheco.org.au

Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au