experience

Thank you. I’ll take that under consideration.

Maximum Z analysis, criticism, experience, feedback, screenwriting, script, Star Trek, writing
I'm afraid I find your suggestion to be most illogical (RIP Mr Nimoy)
I’m afraid I find your suggestion to be most illogical (RIP Mr Nimoy)

I had a great coffee-chat conversation with another writer earlier this week. Among the many topics we discussed was the fine art of giving and receiving notes.

When you give notes, you want to be equally helpful and critical (without being mean or condescending about it). A lot of the time, the person seeking notes is a peer or someone with pretty much a level of experience more or less equal to yours, so they know how to interpret the notes, and don’t take anything personally.

They also realize the only way to improve is to learn what mistakes they made, make the proper adjustments, and make a mental note to not do it again from here on in. This is an essential skill that takes time to get the hang of.

But what about the writer who asks you to read their just-finished first script? “Don’t worry. Be as brutally honest as you need to be. I can take it.”

Are you sure about that?

If you’ve been doing this for a while, you’re quick to recognize what works and what doesn’t in their script, and you make the appropriate notes and suggestions.

I’ve encountered almost the entire spectrum of reactions from newer writers, ranging from “These notes are fantastic! Thank you so much!” to “Hmph. You obviously don’t recognize my genius” (I’m paraphrasing that one). You’ve probably heard similar things, but hey, at least you tried to help.

Then there’s being on the receiving end. It’s not easy to hand your baby over to somebody so they can find fault with it, but again, it’s a necessary part of the process. Many’s the time I have felt my pulse quicken in the moments just before the comments were unleashed.

As stated above, if the notes are from someone on an equal level to me, I appreciate the positive things they have to say, but am more interested in their critical comments (which doesn’t automatically mean they’re negative). I may be having trouble with how to fix a particular problem, so outside suggestions are definitely appreciated. Sometimes it’s an “Of course!” moment, sometimes it’s a “Huh?” I may not always agree with what they say, but it may spark the thought of a new approach. Anything helps.

On the other side of the coin is getting comments from writers with less experience than you. You’ve written ten scripts, and they’ve written one, maybe two. How much value can you place on what they have to say? They don’t have the benefit of experience, so their comments may come across as uninformed or focusing on the wrong things. The best you can do is take what you think might be useful and discard/ignore the rest, reminding yourself that they’ll learn over time.

The whole point of notes is to help make the script better, and both note-giver and receiver need to approach this from that viewpoint. It’s not the time for the note-giver to say “This is how I would do it,” and the receiver can’t get ultra-defensive and overly possessive of their work.

Once the notes are given, the responsibility falls on the writer to interpret and use them as they see fit.

The benefit of connecting with people in person

Maximum Z criticism, encouragement, experience, feedback, pages, public forums, reading, screenwriting, script, writing, writing group
Availability of coffee is always a pleasant option
Face-to-face. Classic. Effective.

I had the good fortune earlier this week to attend the meeting of a new writing group. It’s been a while since I’ve been part of one, and it was nice being able to once again interact with other writers and engage in casual discussions about our respective projects before moving on to the focus of the evening. Since it was my first time attending, I’d opted to stay in the role of observer/commenter, rather be than one of the four-to-five who brings pages for review.

Following a brief table read, the group then offers up its collective comments. This week’s selections weren’t bad, but each set had room for improvement. Some maybe a little more than others.

When I got the opportunity to toss in my two cents, I talked about what stood out for me and what I thought needed work, making a point of being nice about it.

Others chimed in with their opinions and suggestions, not all of which I agreed with. While I may have been thinking “That’s not right,”or “That doesn’t make any sense,” my lips remained sealed. I didn’t want to come across as the pompous know-it-all. It’s important to make a good first impression, no matter who you’re meeting.

When the meeting was over, I talked to the guy who organizes it (we were in a different writing group years ago), saying I’d hoped I wasn’t too obnoxious with my comments. “Not at all,” he said. “A lot of these folks are newer writers, and you told them some things they needed to hear. It’s the only way they’re going to get better.”

Whew.

It’s been my experience, and hopefully yours, that getting feedback from an actual person is beneficial on several levels. Chances are you’ll know something about that person’s background and experience, so you can put the appropriate level of merit into what they have to say. And unless they’re a jerk to begin with, they might be a little less harsh with their comments than if it was an online forum, where for some reason people have no problem letting loose with vitriolic criticism and put-downs.

If you asked somebody for feedback, wouldn’t you rather the notes were helpful in a supportive way, rather than “This sucks! What makes you think you can write?” That would be pretty devastating, right?

Now imagine that situation reversed. A newer writes comes to you, asking for notes. Do you think “They don’t realize how fortunate they are to have the wonderfulness of my vast superior knowledge bestowed upon them!” or “I used to be where they are. How can I help?”

My advice: opt for the latter. Both of you will be better off for it.

Ask a True Veteran Script Consultant!

Maximum Z contest, dialogue, emotion, experience, exposition, genre, goals, grammar, mentoring, Pilar Alessandra, production company, reading, screenwriting, script, spelling, story, storytelling, structure, tropes, writing ,

John Lovett

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on John Lovett.

After leaving the military in 1992, John went to work as an associate producer for a small production company that produced movies for Cinemax. In 1996, he started The Hollywood Military Advisor and L & M Productions to provide military technical advice to the motion picture industry and produce military documentaries. THMA contributed to numerous military movies and documentaries including BAND OF BROTHERS, PEARL HARBOR, and several military video games.  Now based in the Pacific Northwest, John teaches screenwriting and creativity at a local college, works with emerging and veteran screenwriters as a career coach, and is heavily involved in the local film making community.  John is also the screenwriter behind two produced films: CATHY MORGAN, a science fiction drama, and TWO WEEKS, a tween comedy.

1. What’s the last thing you read/watched that you thought was incredibly well-written?

Akiva Goldman’s ‘Winter’s Tale’, from the book by Mark Helprin. Regardless of the changes from the book, the movie read and played well. The quality of Goldman’s writing came through in how the actors executed against a fantasy/reality setting.

2. How’d you get your start reading scripts?

I worked for a small production company starting in the early 1990’s and had to learn all the aspects of movie production from lighting to camera work, which included being able to read and evaluate scripts for the producer/owner. Also, I took a script reading class from Pilar Allesandra and independently read for various studios for many years.

3. Is recognizing good writing something you think can be taught or learned?

Yes, but with a caveat that while the characteristics of good writing can be taught and instilled, the skills of recognizing good writing are learned by reading, reading, and reading more. In addition, mentoring by experienced readers and writers helps considerably.

4. What are the components of a good script?

Besides following the rules regarding script appearance; structure, structure, and structure.

5. What are some of the most common mistakes you see?

Mechanically, the most common mistakes are misspellings, word misuse, and grammar errors. And yes, all of that is important to good writing.

Artistically, the most common mistakes are not having a consistent through-line, long-winded exposition, and on-the-nose dialogue.

6. What story tropes are you just tired of seeing?

I look for the heart of a story. If the story is well written, I can look through the genre or internal tropes. To that end, I have seen some B-films that went DTV or direct to Netflix that told effective and emotionally engaging stories whilst the core genre or trope had been significantly overdone. Were I to pick one trope, it would be the ex-GI who witnesses some evil deed and becomes a ‘super soldier’ who knows how to handle every weapon and every karate move.

7. What are the 3 most important rules every writer should know?

-If you are writing, stay off the ‘Angry Birds’ and Facecrack.

-Develop business and writing goals and stick to them. As you write and continue to improve your writing, you will modify and update your goals, but at least have a starting point.

-A writer should also know what life is about. Copying over tired ‘Transformer’ or ‘Twilight’ scripts is not going to lead you to new writing truths. Living a life is. Get out from behind the computer and join the Peace Corps or the Army, travel, get a job scraping boats in Florida. Do something, anything, that is not directly writing but is a life experience.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

While I was a reader for a small production company specializing in DTV material, I wrote a “recommend” for ‘Dark Secrets’ written by S. Tymon. The logline was “An aspiring young reporter becomes involved with the subject of her investigation; a millionaire businessman who runs an underground SM club and is rumored to be involved in the murder of a fashion model.” For the intended audience, the movie turned out okay.

9. How do you feel about screenwriting contests? Worth it or not?

I don’t participate in screenwriting contests. I figure if you’re going to be a writer, then write and sell your work. Contests are great and you get lots of compliments, mostly. The truth of the matter is that we’re writers because we love to write, but we still need to pay the mortgage, buy diapers, and put food on the table. So, write your material well enough to sell, and not win contests.

10. How can people get in touch with you to find out more about the services you provide?

My email address is twoscriptguys@gmail.com. My site is www.twoscriptguys.com. My Facebook page is Screenwriter John Lovett.

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Shepherd’s.