No one said writing a play would be easy. (You may think some playwrights make it look easy but that’s because they are highly skilled, experienced practitioners or alternatively because they have cunningly hypnotised you.)

We asked our kindly playwrights to share with us some of the evil traps that may plague the path ahead of you.  

You may recognise some of these in your own work; others may be lurking nearby!

Read on, and be alert but not, you know, all over the top about it.

New writers often think that a play is just people talking at each other. Every line should be driving the dramatic action forward, it shouldn’t just be people chit-chatting. (Rachel Hennessy) 

Thinking that everything is resolved and explained through the spoken word. In most great theatre the revelations come through action and the spoken word is little more than a response to that, or a description of it, or acts in counterpoint to it. So don't over-write; long speeches, torturous arguments. Worry about what is happening, not what is being said. (Tom Wright)

You can’t be precious about the first draft. It’s only a first go at it. The biggest mistake I see young writers make is not being tough enough about rewriting. (Debra Oswald)

Thinking that a play is supposed to convey some sort of message. I think it's more important that it raises questions… the misconception that a play is all about dialogue. … the real work lies in the architecture of structure and characters.(Hilary Bell)

All the characters are the same person – the playwright. (Catherine Zimdahl)

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Cliched characters and situations…rather than tussle with the rigorous task of creating new and vibrant characters who are uniquely alive… (Caleb Lewis) Copying. Derivative styles. TV dullness. (Donna Abela) Repetition. Sometimes a new writer believes that different scenes are saying different things. The scenes themselves may look and sound different but they repeat the same thoughts and the characters are really doing the same things. (Louis Nowra) Trying to consciously write “an idea” which leads to painfully contrived, laboured and obvious symbolism. (Catherine Ryan) *Trying to say everything in one play. *Putting in too much information too early so there’s no unfolding of character; you don’t want to know everything straight off. *Clever, gimmicky plot structure that is trying to cover the fact the story isn’t very interesting. (Michael Gow) Many young playwrights write characters that all sound the same and use the same sort of language. The way a character speaks is the best way to quickly differentiate and complexify your stage world. (Tom Wright) I guess not being adventurous enough sometimes. Or not having enough fun in the writing. (Lally Katz)