Well, you did ask ...

I am regularly asked about how I write and then, go about staging my plays. What follows is simply the sum - in no order - of my experience and is aimed at those who are new to it. Sixty one bits of advice/observation. I'm sure there are omissions. But if it helps somebody, then it has been worth the effort. You will see that it lurches between page and performance. That is intentional because the way I work, they are inseparable.

As a last note, although I am tiny fish in a very big sea, I am more than willing to assist if you think I might be able to. My time costs nothing and I am happy to share it around. And if you can get through what follows, number 61 is the biggie for me. Good luck in all that you do (last updated 09/05/2025).

PS: if you want use any of this or a copy of it, just get in touch. The provision of a credit is usually enough. Irrespective of things like copyright, it’s just nice to be to asked first ...

1. Write. No excuses. Don’t wait. No searching for creativity. No ‘finding time.’ No waiting for ideas to come along. Choose a keyboard, an electronic document, a piece of software, a piece of paper. And write something. Anything. Write nonsense. Doodle. But let your creativity loose to explore. The most inanest of things can unleash it. You need to discover the habit before you discover the idea.
2. Whether you like it or not, your business brain and creative brain must go hand-in-hand - and never let go of each other. I know people who have lost everything based on a reliance on self-belief and a credit card.
3. Throw nothing away. Absolutely nothing. A thought is a thought and all are valid. It may be an intrusive one at the wrong time, an annoying one, an ill-timed one; nothing to do with what you are trying to do. But I promise you, some time, someday, that piece of the jigsaw will fit a picture you are trying to complete. And if not exactly, it will introduce you to the piece of a new story you are searching for.
4. Something about the process. First off, I don't work on commissions and therefore, don't have deadlines. Bear that in mind with what follows. Without even asking others, I know my approach to writing is inefficient, unstructured, time consuming and illogical. I can't say that I use storyboards or any boards. I know, my bad. But it works for me. I enjoy it. The uncertainty of spending my creative time constantly off-piste. Find what works for you be that the product of trial and error or a course of study. My characters speak to me and their story only ends when they have finished explaining themselves. They take me on a journey and I go with them. Their destination may change, it may take an age to resolve, they may introduce me to unexpected people along the way. But I just go with the flow. Find your flow and dive in. I know that there are right and wrong ways to approach writing based on the collective wisdom out there. But storytelling and imagination are for me, alchemy - and it is glorious. Without them, writing is in jeopardy of being just another process. Even when a contract demands it, don't allow structure and plans to rob you of that experience, gifted by an unfettered imagination. Because without it, you run the risk of being effective without being affective. And the latter is where the magic lies. Therefore, be it through trial and error or a course of study, learn where your happy, creative place is and discipline yourself to visit there, even when you have no reason to call by. Unexpected visitors so often arrive bearing gifts. Don't be prejudiced by what Virgil wrote of them!
5. Watch theatre. Watch what you want to write about. Watch what you don’t want to write about. Watch what you like. Watch what you hate. Immerse yourself in the form. There is so much to understand and appreciate, even from the stuff you personally don't rate. One person's ambrosia is another person's arsenic. Understanding why that is, is fascinating.
6. People-watch. Constantly. Listen, observe, understand. Ideas for stories are born in real life no matter how abstract they may become. Dialogue, structure, timing, humour, culture, relationships, offence, passion, disgust, power, conflict. You name it. Inspiration is found in the fortune, fun, failings and frailty of real life. And an audience will look for a connection be it through alienation or association.
7. Refine your skill of storytelling. We are storytellers and practice perfects. Read and then read more. Scripts, books, newspapers. What captures and captivates? What grabs and maintains interest? Practice, pilot, perfect. You will never stop learning and if nothing else, it enhances your vocabulary and rekindles your appreciation of the beauty of language; the phraseology and words you wish you'd not forgotten. NB: and never dumb down your language and that of your characters and their lives. Don't worry about making a stranger go home and reach for a dictionary. You are doing them a favour. Prove to them that the Thesaurus didn't disappear 65 million years ago ....
8. Refine the skill of editing. Don’t be ruthless, be intelligent. Be true to your style. Be true to your characters. Be respectful of the endurance of an audience. But be careful what you cut. Pulling a thread in a tapestry causes snags in places you wouldn’t expect. Ill thought through editing does much the same.
9. Big casts means big casting which means big costs - which then can mean little interest.
10. Explore and understand 'currency.' What are audiences interested in? But equally, don’t just follow the crowd for the sake of ease. The world is full of enough sheeple incapable of an original thought. Write what you love, but also, write what others will want to wallow in. And don’t be afraid. Be brave, be fearless. Dare to dare. Challenging is also entertaining. Personally, I avoid preaching. Granted, there is a time, a place, a platform and an audience if that is your thing and your purpose. Just bear in mind that at the root of the form, many of us just go to theatre to be entertained. There are much cheaper and easier ways of spending an evening being offended and/or miserable.
11. If theatre is an art, humour is a specialism. Not everyone has that skill to devise, construct and then, write it. And irrespective of that, an audience will decide what is and is not funny. Audience dynamics are, in themselves, a science. They vary widely with each performance, each demographic, each town, each country, each language. What one roars at, another will remain silent. It's not a failure. Just a foible. They've paid for a ticket. They will decide.
12. Following on, comedy has the potential to impact on the running time. Hugely. It's not the 'gags' per se, it's the audience reaction. Sometimes, there is no way of knowing how it will pan out and how much time you should build in. But depending on the piece, the cumulative effect is either negligible or considerable. I'm sure there's a formula but I've never found it. And if there is any leeway given to actors to engage the audience with the script as a basis, book a room. And if you want to get into pantomime, add a zero to those timings. (NB: I wrote an article on pantomime many years ago ... oh yes I did. Click HERE for it on Dropbox)
13. A word on your delicate sensibilities. Just to prove it isn't just you, fate or the gods. You will find in a performance that, during the key moment of a piece, your best comedy line, dramatic moment, most beautifully crafted piece of prose, an audience member will cough all over it and it will be lost to everyone but you. It is written in the stars. Equally, an elderly couple will have a beautifully projected chat about what time their bus is. And with scientific precision, a mobile phone will ring, the individual will answer it, have a conversation, apologise to those around them, et al. Usually at the moment when someone is about to die, kiss or both. Welcome to writing. Welcome to theatre. Let it go because your work is already done.
14. Some writing is for Christmas, not for life. Some writing has a shelf life. Learn to accept that some writing may not be forever. Some have their time after which, it’s time for you to move on to new projects, new opportunities. Rewrites are a tool which can sometimes reintroduce relevance and currency. But they rarely resurrect something which died some time ago.
15. Some ideas can be overwhelming because of their sheer size. Writing historical pieces is a good example for me. They can deter you from ever trying. The lesson I learnt was that you don't just edit your draft. You begin by editing your idea. Finding that part of a vast landscape which has the most captivating view. Focussing on characters and their relationships helped me in finding the storytelling within the history. That place in a timeline where the potential lies. Less is more. Otherwise, you run the risk of diluting, even drowning the characters, your writing and the audience.
16. Constantly changing a piece? Hmm. Whether it’s first aid or lifesaving (see 14), constantly editing may achieve nothing. It may not be working for a reason. Sometimes, you need to step away to find the way. And that 'way' may be filing it as an interesting idea which might even end up being used for spare parts.
17. Love what you write about. Love your ideas. Discover and always hold onto what excitement feels like when we create something. Everything you write is unique. No one in history will have written exactly what you have. That is some achievement. Be inspired by your creativity. Be inspired by you.
18. Only seek advice from people whose advice matters to you. Those who know the marketplace and have operated/sold successfully within it. There is a chasm of difference between advice and opinion. Advice comes with qualifications and evidence. Opinion can come with baggage and bias. Just accept that not everyone will think that your new baby is the most beautiful. And just because some may not ‘like’ your work does not invalidate it. Everybody is a critic at heart and when they have bought a ticket you have to accept that they have also bought the right to an opinion – whether you like it or not. One person is not the public. And the public are the ones that matter. But that one (knowledgeable) person can be pure gold. Focus on the voices that matter. But think on: if the throng are overwhelming, they may be making a point which you might not want to hear, but must listen to.
19. Don’t surround yourself with just the feedback of those who love you unreservedly. They might end up only telling you (as above) what they think you should hear. Relying on well-meaning rescuers gives you a warm feeling but little else.
20. Network. With other creatives, theatre makers, theatre owners, theatre goers, producers, actors, directors, business people. Those who might have an interest in you and your work and potentially, give it stage time. Those who can then become vocal agents and advocates for it. Above all, find and engage with those who choose seasons and repertoires. Reading and evaluating a script for performance is a skill. Most people do not possess that skill. Many theatres are still wary of new work and new writers. Only a personal relationship with them can hope to change that. Guide them and evidence why they should choose you. And be prepared to put the hours in with them. If you want to get your work on stage, you need to understand that your role as a writer is not just about writing. PS: Producers who are looking for opportunities are your new best friends. Understand their needs.
21. Read others work. Don’t just rely on watching it.
22. Be objective. If your work needs any investment, be it time or money, spend wisely and spend on what might have the most realistic chance of a return. Many have gone before you and lost more than their shirt because they became too attached to their blinkers.
23. Achieving publication is not the ultimate goal. It is just one of them. OK, it provides a measure of validation and opens up the marketplace - but you still need to sell 'you' and your own wares. A publisher's business is about making money out of your business. And supportive as they are, they still need to turn a profit. Irrespective of the quality of your writing, it might not be right for them and their catalogue. If you get a refusal, understand why before you self-combust. But keep at it. Be visible and vocal about your output. But also be visible and vocal about other writers. Generosity breeds generosity and you must aim to be part of a greater creative community which cares to care.
24. A synopsis is a sales pitch. It is just as important as the work itself. The most important 150 words you will ever write. Craft it and don’t allow it to be an aside, the obligatory summary of a work. Otherwise, it won’t do justice. It will create an injustice.
25. Artwork, artwork, artwork. As important as the synopsis. Unless you are that type of creative who can produce your own, engage someone who is. Work with a creative who can visualise and conceptualise your work in one image. Do justice to it. Sell it to the uninformed. An image which will engage and tease. An image which will convince a company to pay to perform it and an audience to pay to watch it. People who use images belonging to others and harvested from the net are unimaginative thieves.
26. People who say that any publicity is good publicity need help. Good publicity is the only publicity. If you don’t know how to create it, market and publicise you and your work, find/engage people that do. If you are going to invest in anything, prioritise this.
27. Professional quality photographs and videos invariably only ever come from professional people. Find people who don't just have a camera, but a track record in using it, specifically in theatre. Garbage pictures taken on a shaky mobile during a rehearsal do nothing more than use up your data allowance. They will never sell the work or a ticket to watch it. Ever. Equally, rehearsal video footage with platform/stock music accompaniment will get more ‘swipes left’ than a dating app. Pro photos and video sell tickets when used correctly and in a timely manner. Don’t allow your work to be represented online in a manner which demeans or undermines its value.
28. Never be that desperate to have your work performed at any price. Guard the integrity of the piece and the reputation of the creator with your life. You have poured your soul, your time and your money into making something of you. If you find yourself saying “Yeah, feel free to do what you want, change anything” then give yourself a slap.
29. If someone wants to change your work, the conversation should start with “why?” And every reply should then be answered with “why?’ until you get to the crux of the request. But be balanced and objective. It might be that they have found an issue. Then discuss it. Conversely, they might not possess the vision, the skill, the creative intelligence to appreciate or understand it. If you have done your work correctly, the question should not arise. If they want to rewrite it then maybe they need to take up writing; they may have chosen the wrong piece altogether. Worse, their production may have the wrong director. But in the first instance, be prepared to listen.
30. As soon as possible, get the work on its feet. Get actors you trust and respect to bring it to life. Hear your words out loud. Hear and feel the characters THEY create from it. Their advice and experience is invaluable. That room is your R&D laboratory. Use their findings to refine your product.
31. Sit in the auditorium with a fee paying public to watch your work. Soak in the collective experience which turns them from individuals into an audience. Observe the ebb and flow of the tide, where the waves lap, where they overwhelm and where they recede.
32. Rehearsals are for the performing company. As the writer, you are a well-meaning observer, a person of interest with an interest; a passenger on their journey. They didn’t meddle in your work. Don’t meddle in theirs. Allow them to exercise the trust you have placed in them.
33. Get to understand everything else. Everything. Production, budgets, funding, direction, acting, casting, scenes, scene changes, rehearsals, technical, set construction, wardrobe, sales, marketing, box office etc etc etc. Roles and responsibilities in theatre. Your writing MUST complement every aspect which takes it from page to stage. If a work is incapable of being cast, delivered, staged, sold, toured, (all of the above and so many more) you’ll only ever write lovely stories that no one has ever heard of.
34. Invest in an online presence (website) created by people who know what they are doing. All that magic about meta tags, optimisation, key words and a million phrases you/me may know nothing about, they do. That is what you are paying for. The domain name is just an address. You need quality builders and a building which people will want to visit and explore. (And even my description proves how little I know).
35. Social Media. So many platforms, so little time. Aim to build a following of likeminded creatives and supporters with the use of quality content posted intelligently. Posting and repeating the same posts on every platform constantly, soon shifts you and your work from interesting to annoying. Many local theatre companies still insist on posting the same piece on (say) FaceCrook to every community, arts, social page that exists. My record is seeing exactly the same thing on 39 pages in a day ... not forgetting the serial sharers. When I queried it their response was "well, if we sell one ticket, it was worth it." Seriously? The platforms will eventually recognise it and treat it as spam. If you want to see how useless the practice is, revisit all of your posts a week later and see how many times they have been engaged with. It is the virtual version of having flyers printed and mindlessly shoving them through random letterboxes. It takes time, knowledge, planning and a budget if you want it to be done effectively and productively. And never forget: your time has a cost. Don't waste it. Understand the metrics, the engagement - or lack of it. A 'like' is not a ticket sale. Don't be fooled into the comfort blanket created by the engagement of family, friends, favourites and followers either. They skew reality. The same applies to creating an event and then believing that those who say they are 'going' is a ticket sale. Aim to stand out for the right reasons to the right audience. Engaging and evolving content. Fun, interesting, visual, brief, targeted. Desperation and pleading have never been brilliant sales tools in any business. Spamming your potential audience even less so. PS: Hamlet said "Angels and ministers of grace defend us!" If it were today, I'm sure Shakespeare would be referring to inane TikTok videos of staged shenanigans at a rehearsal. Unless you know what you and your audience want, step away from your iPhone. 'Embarrassing' rarely sells.
36. With your script, you have provided the ingredients to bake a cake. The creative team will then make it, adding to it their own essential skills and from their own experience. Don't get overly precious about what comes out of the oven. After all, it's not your cake! Instead, be proud that they took up your challenge. Remember, a production honours the writer and their work. Allow them some professional leeway with their own seasoning.
37. Let’s be a tad controversial. Treat reviews with caution. Do they validate what you already thought? Do they contradict the audience and their feedback? Do you learn anything from them? How will you use that learning? How do they compare to peer feedback? Vitally, does it come from a person with a pedigree and a following? Think about it. Who and what is their audience? For every several productions there will be a jobbing blogger wanting a ticket. Some are serial attenders with no real voice and little traction. Agents for themselves, not the arts. Avoid the lovers of everything and equally, the sniffy elite who wallow in telling you how much they know. Do your research. Read their work! Seek out the genuine reviewers, for they are out there (yes Number 9 Reviews, I mean you). Those who understand theatre and celebrate the value and the worth in the doing. With a platform, a pedigree and a passion. Who know the art and the repertoire. But don't be disillusioned if they don't pour platitudes on it or throw virtual bouquets your way. Just roll with it, regroup and move on.
38. I can hear people shouting at the screen with what follows. I don't care. Don't chase after stars and ratings. I'm not a fan of this "five gold stars or nothing" mentality. You left Infant school years ago. You no longer need gold stars on your work to validate it or you, no matter what the 'star-makers' may tell you.
39. Find a printer or print company who can produce quality scripts for you. Build a relationship with them. Make sure they can produce what you want and what others would expect. Full colour, card/heavy gsm cover and quality paper. It was one of the best things I ever did and continue to do as it promotes my work as a finished, quality article. Knocking out your own badly stapled copies printed by a dodgy inkjet using recycled 50gsm paper places you in a certain category. It's not one I want to be in. Be proud of what you have achieved and invest in it. And (an obvious one) go nowhere near ordering any to be printed until you have read, proofed, re-read, got someone else to proofread several times. Otherwise, I can absolutely guarantee that the first one of your shiny new scripts you proudly open on a random page, it will have a spelling mistake, waving its errant little vowel at you.
40. There are several pieces of scriptwriting software out there if that is your thing. I am not here to promote any. Find what works for you (if at all) and the way you write. As with all things in life, things (products) are free for a reason. Some software which has a subscription may not meet your purposes. And check out the functionality. Does it do what you need? Choose your software template carefully so that you are aligned with industry expectations for layout and formatting. The standard size format for a printed/off the shelf play script in the UK is A5. 'Finaldraft' is an American product which I use, but annoyingly, does not output to A5. Think font, font sizes and deviate from any provided templates with caution. But be prepared to have a script available in A4 and A5 dependent on the needs of the producing theatre company. Many people like to use iPads or similar and also, annotation software for the rehearsal and production process. Therefore, be prepared to supply them in PDF. BUT! Ensure you use header/footer/watermark annotation for any copies (particularly electronic/PDF) you issue so that you have at least some hope of tracking what you have supplied to whom. Sadly, it's not infallible and your work, no matter how much you protect it, can and will be ripped off.
41. If you supply an electronic copy of your work to anybody, do it in PDF format. Consider adding a watermark ('draft' or similar). Also, disable the print facility or password protect it in the first instance, especially for perusal copies. That means using (purchasing) PDF creator software which allows for this. Once your work is out there in electronic format, you have no control over where it ends up. If anybody ever asks for a copy in an editable format, ask why. Unless they are your editor/publisher, they don't need one.
42. When you are in the fortunate position to have written several works, look to produce them as a catalogue, accessible online.  I use Flipbook for mine (others are available) and you can see it in action on this website HERE. Easy to edit, easy to produce. The free version is fine for the majority of users. And put the link to it in a prominent place on your website, social media feeds and under the signature block on your emails.
43. Version control. This is an absolute must. Use version numbers on all your work so that you know and your users know if they have the current edition. And in the writing and research stage, keep previous versions. It helps you track development (script writing software can also do this too). And in the unlikely event that some no-mark comes along to question your authenticity or originality (they sadly exist), you have any evidence you may need in the future to take great delight in politely telling them to do one. You can then happily sit back as they trot off back into obscurity.
44. Writing competitions. Ultimately, it is your call. If you want to put your work out there to seek access, accolades, validation or recognition, then fill your boots. If that is your strategy, then I wish you every success. BUT, read the small print. Some are operated (just some) by wannabe self-publicists for whom you are there to simply provide them with a showcase of their own. Who "know people." Who will simply read your work and post who has 'won' their competition online. Wow. Similarly, the ones with no prize, but who have 'contacts' and can provide 'introductions' and my favourite, 'exposure.' "We can't offer a prize but many industry professionals visit our website ..." Well, they also visit the toilet, but they will probably gain more from that (there's my sarcasm again - sorry). Warm feelings and woolly intentions don't put bread on the table. And give your head a wobble before you surrender the ownership or control of your work as a condition of entry. Look for the competitions with a pedigree and a tangible benefit, with kudos and industry recognition. You've worked too hard. Please don't give it away for nothing.
45. Tracking down where your work is being performed and constantly going to see it can be a mixed bag. When it is a new work, absolutely. If you are thinking of a rewrite, absolutely. But be prepared to quickly develop a thick skin. If audiences don't like your writing, that is for you to reflect on. If you and the audience don't like the production, that's theatre. The skill is realising the difference between the production and the piece. Many spend a lifetime watching theatre and never appreciating that important difference. And you can do nothing about it. C'est la vie!
46. Forgetting a good idea you have had is not an urban writing myth. It is a real issue. The best plays, characters, sequences, humour you will ever have thought of will be lost due to that endemic fallibility of the writer: "I'll write that down later." Later never arrives and when it does, that dramatic gem will have buggered off into the sunset, never to be seen again. Like El Cid. Get into the habit of making life pause whilst you make notes. Carry a small pad and pen with you. Use the notes app' on your mobile. Send yourself a text (I do that all the time). Use the voice message facility in your messaging app' to do the same (another one of mine). And if you are like me (a writer-insomniac), some of my (allegedly) best ideas have turned up on my mental doorstep at 2am (why is it always 2am?!). Plan for it, because Morpheus will happily wipe your brain by morning.
47. I've heard people say that you should only "write about what you know." In my mind, I wouldn't write about things I have no knowledge of yet. To be a storyteller, I don't feel that I have to have been a "story-liver." I have had my writing (subject matter) challenged by folk who question whether I have "lived experience." In other words, what right have I, who am I to write about it? Just because I have not experienced something first-hand, is not a creative disqualification. But I do need to listen to those who have. After all, I am giving them a voice which will hopefully be heard by those who otherwise, might never have heard them. At times I spend more time researching than I do writing. I speak to people, I read in depth about those issues. To my mind, I honour issues, communities or causes by choosing to interpolate them into my storytelling; give them a voice from an unexpected quarter. Don't allow you or your writing to be forced into silos by a society fixated by labels and qualifications. But getting your facts right and researching the issues and then forming a balanced opinion which informs your writing, honours the history, the people, that is what matters. That speaks volumes of respect.
48. If your writing is based on real people, get to know them. If your writing is based on real events, research them. If your writing is based on history, explore it. If your writing is about another culture, immerse yourself in it. You are providing theatre makers an opportunity to perform new writing. The integrity of your approach will justify the choices they make.
49. Research for playwriting should have no less a robust approach to it than any academic research you might conduct. Many websites have little or no editorial integrity. They cite history, events, people and attribute quotes to them. Much of this then gets repeated/copied onto other websites (and worse, social media) thus providing flawed validation/corroboration. If you are writing about real people, real lives, get your facts right. Check and recheck them and their attribution. 
50. You will at some point undoubtedly come up with an amazing title for a play. A title which encapsulates the piece and in your mind, is a winner. Before you do anything else, Google it. Search out plays, films, books, songs, websites (domains) which might have the same title. If it already exists in one incarnation or another, just think on. There is no copyright protection in a title. Some really useful advice in the UK is provided on this by the Society of Authors. I'm not going to rehearse here the law concerning it, but if nothing else you need to avoid confusion. Two plays with the same title by different writers is not ideal. If in doubt, take advice. If in doubt, put your thinking cap on and revisit your choice of title.
51. I write in isolation. I have collaborated but I'm not wired to co-write. But what I did learn is that you can't exist as a writer in isolation. The benefits of networking are immense. But of even greater value is forming personal connections and in time, being part of a creative community. Just sitting with a coffee and chatting with like-minded people is life. Writers are no different. You gain so much in ideas, confidence, support. The unique thing is that we are not competing, we are complementing. And many are not now acquaintances, they are friends and ones whom I have found to be indispensable. 
52. I can hear you sighing and the odd "purrlease" when you read this. Business cards. I know, seen by many as old hat and pointless. We all want to share contacts via our mobiles. But just bear with me. A decent quality business card which has on the reverse side, the QR code to your website and your social media feeds. It sets you apart. Then, have the same QR code as the screen saver on your mobile to quickly share to your site. Not as mad as it sounds. And whilst I am on a roll, flyers do work. It all depends on how you use them. Sticking them in programmes or on seats in a theatre simply adds to landfill. Trust me, having once collected off the floor of a venue 95% of those I had put out on seats before a performance proved it was a waste of my time and money. Ultimately, this is a discussion for over a bottle. Phone me. I'll even bring the other bottle :-\
53. Images sell. Photos sell. Artworks sell. "Yeah, yeah, you've said already." At some stage, you might want to think about a logo that represents and identifies your writing, your brand, you. Identifies you online, on programmes, posters, scripts, flyers. We live in a swipe through/scroll through society which has the attention span of a woodlouse. Play them at their own game. Be found. Be seen. Be identifiable. 
54. Persist with theatres and producing companies. It's highly unlikely that one of your local ones will want to present your new work because you just found them and emailed them. Many have 'pitch nights' or similar for forthcoming seasons. Go to them. See what others do. See what others don't do. Moreover (as previously touched on), get to know them. Get to know their business. Time was when Writer-Directors were not de rigueur. But the sector now is so varied. There may be preferred routes to the stage but none are that clear cut. Part of their hesitance will be risk. Mitigate that risk by offering to direct or at least, facilitate it. Alternatively, find a director they (and you) trust. And know when to back away if your work has been taken on. If they want you around, fine. If not, see them on opening night.
55. New Musicals. In particular, the first Band Call and then, posting mobile footage of it online. It's the first time the musicians have seen the dots. The first time the company have sung with them. Probably, the first time the public - your potential audience - will have heard it. Band Calls are a process, not an advert. They are uncut, not polished. You have lived with this. The public haven't. Think carefully what you hope to achieve. And even if you have, check it out with the performers and musicians before you do anything. And lastly, be mindful what others are doing with your work. Do you really want raw rehearsal footage out there and worse, it then being the first Google search result for years to come? Pandora's box is an unforgiving beast. (PS: same applies for any piece of theatre, including plays. A rehearsal is what it says on the packet. Don't allow it to become an unnecessary public postmortem).
56. How much 'other information' do you include in a script over and above the dialogue? It depends on who you are asking! At its purest level, a producing company, the director and actor are only interested in the dialogue. That 'other information', the nature of the characters and the vision for the staging, lighting, costume is a matter for them to resolve; their skill and their vision. Similarly, stage directions. That means they probably don't need or want to know from you, your suggestions for who comes on from where and does what when they get there! They don't require or need to be spoon fed. But it's also a function of the piece. The dialogue and the characters are telling the story and equally, are telling those who may take the work on, what needs to be done to turn it into a piece of theatre. I sometimes think that when I include 'other information' I'm running the risk of trying to control the eventual product. Then again, certain pieces by their nature might need you to provide some insight of the writers vision. The clarity and context that only the writer can provide. Some non-professional companies might want some insight from the writer concerning direction and staging. For no other reason than to get a handle on whether, with their people, skills and facilities, they can practically stage it. I think a sensible approach is to provide some insight into your thoughts with some context, but keep it light. With a two hander, logistical explanations are not that big an issue or required. Company pieces need some logistical management and explanation. All directors would want and expect a character block if you write a play with 10 actors playing 50 characters. In summary, just ask yourself the question. What would a fresh pair of eyes on this play need to turn it into a piece of theatre? If it's evident in the dialogue, back away from superfluous explanations and detail. Ultimately, my 'other information' is just that. If they don't need it, they'll put a pencil through it. And if it can be done in a page at the beginning, great. But vitally, don't clutter up the actual script and action with explanations and directions.
57. Accuracy and authenticity. If your police officer character is delivering a caution to a suspect, get the wording right. If your character is taking the oath in a court, get the wording right. If they are arresting, interviewing, investigating ... everything. Never assume that you know 'stuff.' Never assume that other plays you have seen have got it right. And my policing example can be replicated across any situation or scenario. Never underestimate an audience for not knowing their stuff either. A drama can be devalued and even demeaned by getting your facts wrong. When I first presented 'Soul Without End' an elderly gentleman asked to see the writer/director at the end of a performance. "Well done son" he said. "Did you enjoy it?" I enquired. "Yes, but more importantly, you had the right buttons on his uniform and his medal ribbons were exactly right." I've used the phrase previously "the devil's in the detail." It sure is. And if like me, you are an obsessive about it, perhaps it might qualify for an addendum to the script to help those presenting the piece of any technical challenges to be considered. 
58. Challenging pieces of theatre, immersive experiences, interactive audience performances are nothing new. They have their place and purpose. When writing them bear in mind the challenges you are building into them for their staging and performance. If that is your intention, fine. Just think on that ideas and storytelling need to be achievable and deliverable. And I try to avoid technical solutions to artistic challenges where possible. If nothing else, it adds to the budget and may limit others wanting or being able to produce your work, especially if it is being written for a particular venue.
59. Avoid at all costs being changed into a theatre snob. Those who go to the theatre - consciously or not - to be critical. Writing can do it to you. And you will find that when people know you write, they are interested in your opinions. For the love of all that's good, just be kind. Find the value, the worth, the joy, the achievement in what you have just watched. Remain positive. Learn from other's mistakes, if they exist. But don't allow your prejudices or likes to then see others work as flawed simply because it's not yours. Different isn't wrong. It's just different. And just because it's not how you would have done it, so what? Use your chosen path to influence the way others consider theatre. Be an advocate and promoter, not a detractor by default. Yes, be critical, analyse it, discuss it. But any fool can be negative for the sake of it. It takes a brain to be positive, because it is an active process borne out of celebration, not denigration. And if nothing else, just don't be a dick.
60. Unless it's intentionally part of the development of a piece, don't put your work up for production unless you are happy that it is the finished product. A company will commit to presenting it, casting, production, dates and all that is involved in producing it based on your supplied script. If nothing else, you will not endear yourself to the director and actors by turning up with a revised version of your 'finished' script every few weeks whilst they are in rehearsal; especially if you've "had an idea for another character." I take an age revisiting a piece in that period post-completion and pre-production. There has never been an occasion when I have not altered it having laid fresh eyes on a 'new' play. My approach having finished something is to park it. Leave it to sweat for a few weeks before you open it again. Resolve your doubts and differences and park it again. Rest, read, revise, repeat. And when you can read a new work and not want to change anything, your work is done. But save the bright ideas for the revision, post-production. And don't print it off. After air travel, Writers must contribute more to global warming because of the amount of paper wasted on 'finished' scripts! We deserve our own recycling bin!
61. Last one from me you'll be pleased to read.  A long one, so bear with me as I try and draw together many of the above. What or who has funded your play and its production? 
    Let’s assume you’ve got a work on stage. Whose money got it there?
    Think of the practicalities. Was there a sponsor? A grant? Your money? Was it solely ticket sales? And did that involve a box office split to help you engage a venue to buy into, even trust your proposal? 
    The money for your creative output seeing the light of day has come from somewhere. 
    And now the ‘biggie.’ If the financial model for the production relied on a ticket purchasing audience, what relationship do you now have with them? 
    “A relationship with the public who bought a ticket. That’s nonsense. I'm just the writer.”
    Nonsense? Really? How well do you know your audience? After all, an audience are a group of individuals, aren't they?
    They have (hopefully!) made your production viable. Every person who chose to buy a ticket is your funder, personal backer, a pseudo-investor. They have seen something in your work, in you, that they’ve felt had enough value to give their time and money to see it.
    If you could sit them down, what would you want to know from them? There are some broad ‘givens’ from that. Did it work? Was it entertaining enough that you’d see it again? That you would tell others about it? Tell them about you? Vitally, would they want to see more of your work? And finally, if they like your writing, what else would they be interested in seeing? As a story, did it have legs? Did it fire their imagination enough that they could imagine a follow-on play, a sequel … even a prequel?
    Interesting, don’t you think?
    If that all has value, how do you get to engage these folk? With a little planning, it is possible.
    Social media in all its guises is the ‘go to’ for everyone. But remember, it’s a platform, not a panacea. An online presence littered with hashtags doesn’t create a relationship or a ticket sale in isolation. It takes thought and a blended approach. They need maintenance and time as any relationship does if you want it to endure. And you need it to. A QR code in the programme or on a poster in the theatre, a flyer on the bar tables, a pop-up banner. Seek feedback and contacts/details. A wipe-board wall in the bar for them to write comments or stick post-it notes on with their comments and details. Vox pop videos from people as they leave. Online (brief) contact and feedback forms. 'Feedback Freebies' and they get tickets to your next project. And with that in mind, ALWAYS have the next project lined up. Catch them whilst you have them to avoid catch-up when they've left.
    You may think of yourself as small fry, insignificant, the new kid on a very large and imposing block. If it makes you feel better, talk yourself down. But also consider that you deserve more, are capable of more. And the people capable of getting you there are the ones who paid to see your first play. That group of individuals.
    Whether you consider yourself to be one or not, you are a brand. You have an identity. You have produced a product. And that will help with that all important relationship you develop with theatres once you develop a following. Consider this. Your play has helped them with occupancy, footfall, increased sales; enabled them to produce their season, their audiences and the arts for all. You have a value and that is saleable.
    Still not getting it?
    Then, think of the conversations you may have heard over the years.
    “When are you next at the theatre?”
    “Next week.”
    “What are you seeing?”
    “The new Ayckbourn play.”. 
    “What’s it called?”
    “No idea, but we’ve booked.”
    Writers have followings. Plays have followings. Yes, it takes time, hard work and a track record. But you have to start somewhere. Don’t wait or expect to be followed, just because for several days, you were on their radar. Dare to consider that success is a reality and then, accept it must be planned for. The chance to engage an audience and turn them into a following is initially, a small window of opportunity. Plan for it now, because they won't hang about staring through that window. Find ways to speak to them, thank them, value and engage them. That's where buy-in begins. A sense of ownership. Of satisfaction. Of wanting to know - and watch more. Building a relationship. After all, that's how fan-bases operate. It will take work - and so will the consequences. But they will be happy ones! One play. Small steps. But what steps.
    Interesting, don’t you think?