Plays need a set, whether it's an elaborate ever-changing stage with rotating backdrops and several intermissions to swap out bits and pieces, or a simple black box setup with white lighting. It's up to you to figure out what scenery must be in the script so it'll be on the stage and what can be left to the imaginations of the producer and actors.

There are always factors like stage size, production budget, acoustics, and lighting, or any lack thereof. Usually there is a lack of at least one of those aspects when it comes to scenery management. It helps if your scenery requirements are either minimal, adaptable, or cost effective. Ideally all three.

I'm a fan of the black box method, leaving pretty much everything to the viewer's imagination. Giving in-script notations to your actors what scenery they should be picturing and pretending to interact with is vital for black box set ups. Otherwise there's a dangerous amount of free reign interpretation that'll go on between your perspective of the plot, the producer's perspective, the actors' perspectives, and the viewers' perspectives.

But Word Ninja, you may say, you've ranted before about how you enjoy putting descriptions and details in your work. Why would you prefer the black box method when it's the antithesis of all you've said before? Well, my response to that is – hey look, a space koala! *runs away while you're distracted*

I like the black box method because it helps show which actors/actresses have the most adaptability. It's like putting them in front of a blue or green screen when filming for a movie. There's nothing really there so they have to imagine and react as best they can. And any actual scenery I notate into the story will be even more impactful to the viewers. Even if it's just a dirty flower vase with a single wilted rose. On a black box set, that vase will stand out and mean something important. Knowing my twisted humor, though, I'd make it a red herring and have it mean nothing in context to the story. I'm evil that way.

The more scenery you detail in your script, the more contention you're going to end up getting between the producer, the actors, or the budget. Usually it seems the budget comes first, especially in this fiscally paranoid world we live in. So if your script calls for a house made out of diamonds and gold, be ready to substitute that for glass and spray painted wood or Styrofoam. All that glitters is not gold and all that sparkles is not diamond. (Note: sparkle!vampires are a horrible myth and are not counted in the previous statement. They do not exist nor should they ever.)

This is all going on the presumption that you're writing a non-Broadway level script. If you are, in fact, writing for a Broadway show...then budget should not be much of an issue. You might have to argue for the gold and diamond house, but I've heard of less ridiculous scenery and props in a Broadway show.

How do you set up the stage? What works best for you and your stories? What challenges do you face? Inquiring ninjas are curious.