COMING SOON (still compiling this page)
Here are some tips on things to consider to end up with a high quality Christian Drama:
- Brief. Find out as much as you can about the theme your drama is meant to service. The goal of drama is not entertainment, though is shouldn't be dis-interesting, but is to communicate a concept, and that is usually the same as the sermon of the day. If someone asks for a drama, never just present something irrelevant.
- Research. If doing a script about a Bible story, it's very easy to think we know the story, but often there are myths and variations in the casual re-telling of well known Bible stories. Make sure you go back to the Bible and get a refresher on exactly what is written. To some degree minor facts being wrong won't matter, especially considering you're probably creating an imagined set of actions and dialogue, but in getting facts right you not only help teach the actual story, but the scholars in the room will be less distracted without seeing common misconceptions shared. So, while the overall message is the most important part of your script, getting key facts rights is what can take your script to a higher level.
- Respect. Make sure you respect God and respect others in your script. Never be frivolous for a laugh and break this rule.
- Clean. Keep your scrip free of any kind of sexual innuendo or euphemisms. Something mild may be able to be thoughtfully included for adults to understand, if in full context of the story for a giggle, or for leading the audience in a dark drama that hits hard. Keep free of any dialogue or actions that, though used without ill intention, will distract people.
- Dialog patterns. When you have several cast members on stage at once and have a series of dialogue lines to go back and forth with in conversation, it may flow better when you limit blocks of 'back and forward' conversation exchanges to two people, rather than having many people involved in the conversation jumping in with their one line. It's harder to remember when to come in with their single line, and it also may not flow as smoothly.
- Alternate gag. It can be fun to occasionally have everyone pipe in with a line, one after the other, starting logically and getting more ridiculous or end on with the final comment being majorly unexpected for a laugh. For example:
CAPTAIN: Someone is going to have to go out of the submarine and clear the propeller for us.
COOK: Can’t be me, I’ve got some pancakes cooking.
CLEANER: Can’t be me, I have to clean up after the pancakes.
MECHANIC: Can’t be me, I’m eating pancakes
NAVIGATOR: Can’t be me, I’m allergic to pancakes.
- 4th wall. While normally you will try and ignore the audience, for they are not in the scene, you could occasionally break the fourth wall for effect and acknowledging or even engage the existence of the audience.
eg when it's apparent something funny or naughty is about to happen, and the actor knows and will make it happen, they can turn and grin mischievously to the audience, with a double eyebrow rise, before moving into the action. Or turning to the audience and asking for their feedback, like 'Kids should I pull the leaver or push the leaver?" - Cultural references. Include the occasional cultural reference (famous TV/movie/book quotations) as long as they are not too distracting. Also you can include the occasional local reference, about someone in your church, for a giggle - but do so with respect and thoughtfully.
- Deep Layers. Include a layer for kids, and also a layer for adults to muse on, and even a third very deep or artistic layer not everyone will spot. This engages everyone if pulled off.
- Comprehension. Are there enough clues for most of the audience to follow along and confidently know what is going on? The first few lines could be spent setting the scene and catching up the audience where and what is happening. Of course you may also on occasion want to keep things a mystery or even misdirect the audience until the end - but usually try and and drop in character names early, state where they are and what they are doing as part of the dialog - especially if you don't have elaborate sets or costumes. A narrator with a few lines at the beginning, and even end, is the simplest way to do such thing, but also laziest, so don’t always use that method if you want next level dramas.
- Truth. If your drama is a true story, like a Bible story, never start with ‘once upon a time’ which is a catchphrase for a fictional story. Use ‘many years ago…’ kind of terminology.
- Visible. Are there any key actions that need to be seen and comprehended. Make sure it is so. IF they cannot be seen by all the audience, they can miss a key point or story element and miss the the plot?
- Draft approval. If writing for someone else, be sure to show them a draft you are confident meets the brief the first time. They may lose faith in your script and go elsewhere if they think you’re not on the same page.
- Age. Write to the right age group
- Cast. Write to the capabilities of available cast. Often it’s good to have the cast members in mind as you write - helping you picture how the dialogue and actions will come across. Keep it simple for kids, or amateur cast. buy for more advanced actor you can have longer monologues or movements choreographed.
- Background ambiance Sounds. Consider if having background ambient sound that fits the location of the scene will enhance you drama. IF you have location changes in your drama, background sound changes can help communicate that without too many props. Country sounds. Office sounds etc. but not if it will be distracting.
- Music Mime. Some of the most powerful dramas are those set to be mimed with powerfully emotional (happy or sad) music. Work hard to choreograph the action with the music’s changes in melody, either by adjusting the script or editing the music by cutting out sections or repeating sections.
- Sound FX. Are there any opportunities for dropping in any sound FX connected to actions happening. Breaking glass, baby cry, siren etc. Use Powerful Subwoofers for thunder or earthquakes.
- Surround Sound. While the buildings sound is probably left and right channels only, you can bring in your own stereo, or two, and have speakers in different parts of the room. To synchronize the tracks, have the main track play first and when you reach certain cues in that track, hit play on the device playing though the other stereos. This effect can be used for storms, flyovers, angels, different vehicles.