Script-making is something we never really learnt or practised throughout most of the drama course at school, and only became a concern this  year, while trying to make our plays, Split and Dystopia. Since little to no theory  about the script-making process was presented to us before writing the scripts, all we had to rely on was plays we'd seen or we had read, to have a vague idea of how it worked. First of all, the idea, or concept has to be clear, in order to know what to aim for. Then the outline of a story, or an already existing one, to be the vessel of this idea or concept we had previously chosen. After these two steps are clear, starting to focus on the characters may be a good idea, because when understanding the characters, and their intentions, the script will start flowing easily, rather than just leaving character development behind, and use them as excuses for the play to happen. For example, in the play "Fiesta de cumpleaños" we saw the other day, the actors didnt seem to understand their characters, thus it didn't really work, but im sure that another director, or acting group could take the exact same script and make a better job. After that, in terms of script the remaining process is free, and very dependant of the play and the approach the director decides to take. For example a consistent style, or certain patterns that are repeated throughout scenes, are completely dependant of each play. But in most plays at least, it is important no to be too direct, or objective with what you writ on the script, some of the meaning has to be given to it by pauses, intonation, or situations, so being a bit more abstract with what you write could potentially have a greater impact on the audience, and the play itself. Research is also helpful in the creation of the script, that way you can have a background of different playwrights and their style, or ways of writing, etc.

A playwright may have his ideas about characters, and write with certain tone of voice in mind, in order to give a specific effect. But once the play is published, it is totally open to interpretation. How can a certain boundary be set by the playwright?