PROMPT BOOK: Gratuitious Paperwork

[RuthNY]

With the help of a quote from another thread, I'd like to begin a new discussion:

You do not have to make every single piece of paperwork ever created for every show.  
<snip>
Sometimes a list is all that's needed.  Paperwork is a tool to aid in the job, not the sole purpose of the job.

As someone who started in this business back in the days of manual typewriters and yellow pads, I am constantly amazed by some of the documents I've seen other stage managers create.  Sometimes I wonder if it's only because with computers we now can come up with every permutation of every possible plot.

So, how many of you do paperwork that is not really needed for the running of the production, just because you CAN?  How many of you find yourself working on something, thinking do I REALLY need to create this? How many of you learn to use a new application by doing just this? Or do you have other reasons to create paperwork that, ultimately do not aid in the job?

Discuss!!

[MatthewShiner]

I actually find myself doing less and less the more I travel down this career path.

I think the show will demand exactly as much paperwork as it needs, and doing more it just plan silly.  Although, I have had to work on some complicated shows that required me to create extensive paperwork (heavy automation shows to make sure weight loads were correct and numbers of rotations not violated . . .) and when I have to do more complicated paperwork, it makes me feel better for having a purpose to do it rather then just doing it.

(I am also really keen on one format - multiple uses - like using the prop list as a basis for the prop pre-set; using the character scene breakdown to create costume quick change plots.)

The more time I spend in rehearsal

[sarahbear42]

I don't create too terribly much "unnecessary" paperwork, or at least I end up using everything that I create at least a couple of times.

My paperwork tic is to re-do the same paperwork daily-- I can't stand to have things in my promptbook that have lots of handwritten notes/changes on them-- it feels unfinished until I've typed it up. Which probably makes for a lot of unnecessarily wasted paper... but it also makes it a lot easier to find things at a glance.

[Sarah]

I agree with Matthew; I have a core set of documents that are continually updated and modifed to fit the scope of informational needs.  I don't stray much outside of those unless the show demands it.  For example, if there is only one way onto the stage, then I don't really need to make an entrance/exit chart; a French scene breakdown will suffice unless I need to record specific timings for entrances or exits.

Great topic, Ruth.

[SMrose]

Having also come from the days of no personal computers, I only use the paperwork I need.

[LCSM]

Most of the paperwork I create is necessary since, honestly, I have enough to be getting on with at any given time without adding to the load. However, since I'm still in school and lots of my tech crew are volunteers or friends doing me a favor, I try to make life as easy for them as possible. While there are some types of paperwork that I can do fine without, I often write them up for others who may/may not have as much expiriennce working backstage. It saves me having to anwer a bunch of questions and makes things a lot less stressful for everyone.

[RuthNY]

B-I-N-G-O!

I actually find myself doing less and less the more I travel down this career path.

[MatthewShiner]

It's very interesting, when I started this job, I thought it was all about fancy paperwork and my technical skills, now, I know, it's all about my personality and my people skills (and the fact I bring bagels in once awhile.)

Paperwork is a tool.  You don't show up at a job site with every tool in home depot, you bring the tools you need to get the job done.

[ChaCha]

ah yes, the older i got as a stage manager the less paperwork i seemed to need. definitely.
i bet all those 'young' stage managers are reading this and finding it hard to imagine. it's all that training - paperwork for every eventuality. all that anxiety - must have the paperwork for every eventuality.  i am so with you matthew and ruth and co on this!

[tempest_gypsy]

I tend to make and carry more paperwork than I need, but, so far, it's never been more than the production needs.  The fifteen extra minutes on the computer is worth it, to me, when a designer/director/actor/crew member can ask me a question or to chart something for them, and I can take ten seconds and pull exactly what they need out of a binder.  This has also led to the practice of keeping two-volume "show bibles": one binder that is just the pre-show check list, script and post-show check list, and the other containing all other paperwork.
I look at my paperwork sort of like I do the contents of my kit.  I might not need the Tide-to-Go pen every production (OffTopic: Those things SMELL!) but when it is needed, having it will save tons of time and headache.  Same thing with some of the more obscure pieces of paperwork.  Besides, with a computer and spreadsheet program, cut and paste is my friend, and I can work up anything in ten minutes from the basic pieces.  Better to take the ten minutes in pre-rehearsal prep week, when you have it, than ten minutes in tech week, when you're near to pulling out your hair!

[zayit shachor]

Personally, I like making lots of paperwork (although I am definitely "one of those young stage managers") - it helps me get a better grip on everything I need to know for the show by breaking the information down, even if I have it all already.  I agree with tempest gypsy about the kit mentality: it's true, as Matthew said, that you bring what you need to get the job done, but in our job, you never know what you'll need to be efficient in completing your job.  But, as with a kit, if something is pointless for a production I wouldn't bring it.

[Rebbe]

Better to take the ten minutes in pre-rehearsal prep week, when you have it, than ten minutes in tech week, when you're near to pulling out your hair!

I sometimes create document templates during prep week that I don’t end up using for a particular show, but those are usually just “save as” from a previous production, so at least I haven’t spent a lot of time on them. 

However I am guilty of spending entirely too much time trying to pick the perfect font or fix a logo alignment issue in my document headers.  Since I know I’m going to waste time on this, I try to play around with it before prep week if I can, and once it’s done I’ll use the header for the whole run, so it feels worth it to me, even though it’s not something I really need to do.  If I didn’t have a computer, I’d be content to just type the show name and theater name in Arial on everything, and leave it at that.   

Rehearsal run sheets/scene by scene tracking documents are the only paperwork  that I really debate with myself about.  You need clear information to do run throughs in the rehearsal space, and in a complex show carrying your binder, or flipping back and forth between scribbled notebook pages as you move props/costumes SL/SR isn’t always possible.  Plus, if others are helping to do rehearsal run throughs, but they’ve been on book or something else the rest of the time, a printed guide is certainly helpful.  On the other hand, spending time formatting and updating docs that will quickly become obsolete when you move to the stage doesn’t  make a lot of sense, so lately I’ve been trying to simplify these things as much as possible.  A case where yes, tracking things is good, but I'm not sure using computer tracking is always the best method. 

[RuthNY]

This is one of the things I was thinking about when I started this thread.  I have to admit that I am way over spending my time on cosmetic embellishments to my paperwork.  It's just not important to me any more.

<snip>

However I am guilty of spending entirely too much time trying to pick the perfect font or fix a logo alignment issue in my document headers. 

[smejs]

I have one major piece of paperwork I depend on these days.  What I call a "Running Info" sheet - the theatre version of opera's who/what/where, and I list (with stopwatch timings) every entrance and exit, with prop-in-hand info and "change to X" for costume after each exit.  And I put include sound cues and anything else I may want to time.  I've used that in multiple ways after that, and can hand (or glean from it) things for multiple departments...but often I don't have to do a thing, and the costume designer goes "oh, I have X amount of time for that quickchange, great".  And I even used it once to time EMT's giving a shot to an actress with an asthma attack.  Prep THAT paperwork.

Oh, and my 2nd paperwork is the preset - which has props, set, costumes, everything.   (Also helps that right now I'm NOT using a union crew and the crew needs to know the preset of everything.)

I did do a scene breakdown for my own purposes during prep that soon went by the wayside after the director created his own with lettered mini-scenes, but otherwise I've felt pretty good about not having extraneous paperwork this time.  Guess it is that "getting older" thing for me too.

[VSM]

May I see your "Running Sheet"?
I am always looking for new and improved ways/ideas for my  books.

Thanks ahead of time...
V