All News
Photo Credit: metamorworks / Shutterstock
Advice , The Daily Roundup , Theatre

The Pitfalls and Privileges of Directing Your Own Words


February 14, 2024

Many actors and artists are multifaceted in their work and the writer/director combo is a common one.

Directing the work you have written comes with many highs and lows. I’m currently directing a musical I wrote the book and lyrics for and the struggles (as well as the joys) are very top of mind. Let’s take a look at some things to consider.

Should I direct my own work?

The first thing to do is examine whether this is the right choice for your project. There are many benefits to surrendering your script into the care of another, not the least of which is outside perspective and creativity. Many, if not most projects benefit from the added scope of collaboration.

Writing is such an intimate process. The closer you are to the words, the more time you’ve spent in the world of your own making and the narrower your perspective tends to come. If there is not a strong reason to direct your own work, I would advise against it.

Some reasons you might want to direct your own work:

  • You’re developing a project from scratch and there is no one else with the drive and resources to push the project into existence.
  • You have a very specific vision for the project, and in fact, wrote it for the purpose of directing it.
  • You have a team of creators and collaborators working closely enough with you and with equal stakes in creation and therefore have people to provide balance and insight.

 

What are the challenges of directing your own words?

1. You think you have all the answers.

It’s very easy to feel like your interpretation of the characters is the right interpretation (after all, you wrote them). You were inside their heads.

This can be incredibly restrictive for the actors. If actors are not given the freedom to play, explore and interpret work in their own way, you’re not letting them do their job. Once the work is written, you have to accept that your version of the words is just one of many valid interpretations. Micromanaging the script will be the death of creativity.

What’s the fix?

Put your writer hat away. Directing your own work requires firm internal boundaries. Think of the writer as another person when you’re directing. Avoid giving direct, all-encompassing answers to actors if they ask. Instead, ask questions. What do these words mean to them? What impulses do they have? Come back to the basics: actions, obstacles, tactics. You’re creating something new together.

Of course, there is the danger of overcorrecting. You’re still the director, so you can’t give it all up to the gods and be entirely loosey-goosey or the structure of the rehearsal room will collapse and actors will lose confidence in the process. Be open-minded, not indecisive.

2. Spreading yourself too thin.

Once you start taking on multiple jobs, there is a danger of doing many jobs poorly instead of one job well. If half your mind is on script development while you’re in rehearsal, you can’t be fully present as a director.

What’s the fix?

Surround yourself with support. Make sure you have as many workhorse artists on your team as possible, people who care equally about the project and don’t need anyone to pick up their slack. An experienced stage manager is an absolute must. Make sure your producers, designers, and anyone who puts their hands on the project, are invested and competent. Invite their collaboration. And make sure you are relinquishing control when appropriate. Trust your team to do their jobs so you can do yours.

3. There is only one voice in the room.

Theatre is meant to be the result of many voices. When you are filling two of them, it’s easy to dominate the creative conversation completely.

What’s the fix?

Put as many eyes on it as you can. Get multiple editors. Workshop far and wide. Hire an assistant director. Encourage exploration in the room. Make sure you’re showing up every day ready to listen.

4. There is a power imbalance.

Much in the same vein, actors can feel hesitant about expressing their opinions when they know you wrote the thing. This is not good for the final product and makes for a terrible rehearsal environment.

What is the fix?

Keep open communication. Express clearly and often that you value the input of others and back it up with your actions. Don’t get precious about the words. Make sure the venue has a solid and clear conflict resolution path so you are not the one fielding issues that might arise.

The wonderful thing about directing your own work is the incredible creative agency it affords you. As a director, you have the advantage of the most intimate knowledge of the script and the goal of the message. As a writer, you have the safety net of knowing your work will be handled with respect and care.

There is such joy to be found in creating something from nothing and seeing it all the way through from page to stage. With a little forethought, clear boundaries and an open mind, there’s no reason this joy shouldn’t be yours.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

You may also like:

Related Articles