Q & A with Tim Schildberger of Write LA

Tim Schildberger is an experienced writer, script coach, and co-founder/Head Judge of Write LA – an annual screenwriting competition that gives writers a chance to get read by managers, and hear their winning script read by professional actors in LA (and posted on YouTube). He cares far too much about helping writers improve their craft and get access to the industry. Tim is an expat Australian, a former TV journalist, writer on the globally popular soap opera NEIGHBOURS, newspaper columnist, creator of a comedy/reality series for the Travel Channel called LAWRENCE OF AMERICA, and one of the key members of the original BORAT team. He has stories.

In his spare time, Tim is a husband, parent, tennis player, road tripper, and he and his family foster kittens. Seriously. Twitter: @write_la Instagram: @writela

What was the last thing you read or watched you considered exceptionally well-written?

I hate to be a cliche, but THE CROWN – sets the bar very high. Peter Morgan is a genius. His ability to tell story with and without words, and build tension in scenes that on the page might appear boring, is remarkable. THE QUEEN’S GAMBIT had similar skill, attaching us to an unconventional character quickly and effectively.  Feature films – I loved PALM SPRINGS – structurally, and characters/dialogue, and who doesn’t love a woman solving the problems using education and intellect!

How’d you get your start in the industry?

I was 22, living in Australia (where I’m from), working as a trainee TV News Producer. I had applied to newsrooms, and I’d called up various TV series, asking if they needed a writer. It was a simpler time. A nightly soap opera, NEIGHBOURS, let me do a writing submission, which they liked – and said they’d get back to me. In the meantime I got the job in TV news.

One day, six months later,  I got a call in the newsroom, it was NEIGHBOURS, asking if I’d like to write an episode. I said yes, obviously. They mailed me the scene breakdowns, I typed my script on a typewriter, and ten days later mailed it back. All after working a full day in the newsroom. I did that 5 more times before it all got far too overwhelming. I was the youngest writer they’d ever had, and that experience made it clear to me that writing, in all its forms, was my future.

What was the inspiration for creating the Write LA competition?

We wanted to create a competition we’d want to enter. I’ve been writing for a long time – and I’ve entered competitions large and small. I’ve won a few, placed in a bunch, and it became clear that many of the writing comps out there don’t really do much when it comes to attracting attention, gaining industry access, or launching careers. And pretty much none put any kind of focus on helping writers improve their command of craft. So our goal was to build a competition that somehow combined both goals – to help with the craft, and to help with the access.

What makes Write LA unique compared to other screenwriting competitions?

Two things I think separate us. First, we are a competition run by actual writers. So we are able to deliver a certain degree of respect and admiration for the act of actually finishing a script and entering it – that many competitions lack. We know how it all feels.

Second, we stand proudly in front of the competition. Everyone knows I’m the co-founder and Head Judge. When you email a question, it comes to me. I do an enormous amount of reading, and I’m supervising every aspect of the competition. We try hard not to be a faceless comp where sometimes it can feel like you’re sending your script into a void, and then hoping something emerges. It matters to us that the entrants feel ’seen’.

A big concern for writers entering a screenwriting competition is the quality/experience level of its readers. How does Write LA address that?

I hear that. And I’ve experienced it first hand. A script will make the Nicholl semifinals, and won’t make it out of the first round somewhere else. And then you get ‘feedback’ that feels like it was written by someone who never actually read the script, they just strung a few buzzwords together.

So to address that – I’m heavily involved in the reading process. I’ve handpicked our small team, I do a ton of reading personally, and I set pretty clear parameters when it comes to what I’m looking for when it comes to command of craft. Every script that makes it into our top 15 semi finalists will have been read by at least three different people, including me.

We give every script, whatever the genre, or whether it’s a TV pilot or feature, full respect and attention. And all the additional feedback (offered at an extra fee), is done by me personally. So there is a consistency of the feedback, and a name attached to it (mine). I’m not interested in telling anyone what I would do, I’m focused entirely on maximizing the opportunities presented by the writer and doing my best to empower them to bring the most out of their idea, and their skills. 

What do you consider the components of a good script?

Gosh – this isn’t easy to answer quickly, but I’ll try. For me, a good script needs fleshed out characters, who face clear challenges – no matter how big or small. Because no matter how detailed the world, or ‘big’ the story, if we don’t care about the characters, it’s all a waste of time.

Also, an understanding of the audience experience is awesome. A writer who is aware of audience expectations, and is able to manipulate those expectations is exciting. And finally, a clear sense of where the story is heading. Not a lot of extra clutter. Just a solid story, competently and confidently told.

What are some of the most common screenwriting mistakes you see?

Misuse of Scene Description is HUGE. Using it to reveal character details an audience couldn’t possibly know. Using it to show off a writer’s literary command – with all sorts of flowery descriptions that waste time, rather than establish ‘mood’.

Not writing an outline. I’m confident I can pick within 5 pages if a writer has an outline, and a firm idea of who this story is about, and where it is going. And taking too long to dive into story. Spending page after page building a complicated world, and then finally starting some sort of story – is a big mistake. Even STAR WARS had a brief title explanation, and then we were into Darth Vader storming Leia’s ship. The rest we figure out as we go.

Lastly, I have to add too many spelling errors. A sloppy script does not inspire confidence.

What story tropes are you just tired of seeing?

A character waking up, turning off their alarm, and getting into the shower as the first thing we see. Happens WAY more often than you would expect, and is not only dull, but unwise. What viewer who sits in a darkened movie theatre wants to see a feature film start that way?

I’m also not a fan of drawn out action sequences. It’s great that you see the car chase in your head, but all a reader cares about is ‘does someone important die?’

Oh, and a shot of ‘overdue bills’ on the kitchen table. Anything but that please. I see a lot of stereotypes with the characters too – which usually tells me a writer is basing a character on another character they’ve seen in a movie or on TV – rather than an actual, flawed, complex human being.

What are some key rules/guidelines every writer should know?

What you are doing is more about hard work than flashes of inspiration. It’s less about talent than it is about grind.

Accept that re-writing is inevitable. Your first draft will not be a work of art. It’s a starting point.

Learn to receive notes as comments on the words on a page, not a personal attack, or a statement on your writing ability.

Characters are more important than story nowadays. Put the extra effort into figuring out who they are, and their emotional journey through your story.

What you are doing is brave, and awesome, and you should feel very proud of yourself every time you finish anything. Every time. Plenty of people talk about writing something. You went and did it. That’s huge and should never be ignored.

There is no work of art in the history of human beings that has ever been loved by 100% of the people. Accept that your work will not be universally loved – because humans are humans.

Details matter. Every scene matters. Every line of dialogue matters. Everything you do is conveying a message to an audience. Understand and embrace that.

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

I read many scripts like that! I read hundreds of scripts a year, so I regularly find writers who are very skilled. As for reasons, I would say the absolute, clear number one is making me feel something. I’m not alone in this. I tell anyone who’ll listen if you can make a reader feel a genuine human emotion, that is FAR more important and impactful than any set piece, world, intricate story or cute scene description. It isn’t even close.

Also, it’s fun to read scripts by writers who think about the audience, and work hard to provide us with a rich, enjoyable experience. I know the expression “write what you know” is popular. My version is “write what you know, but make it accessible to strangers.”

And while I’m here, let me add that writing what you know really refers to your emotional experience and authenticity. Not your time in middle school. If you can dig into your emotional space, which is uniquely yours, and share that on the page – that authenticity connects you with a reader/audience, and goes a long way to establishing what the industry likes to call your “voice”. I’d like to say it was easy to do. It’s not. But it’s important.

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

I have to say I’m a big fan of custard. There’s a custard tart in my homeland Australia – a mini pie – which is very much my favorite. But as that doesn’t really exist here – I’m going to say I like banana cream, apple, peach, and I’m a big fan of all the cobblers and crumbles too. I don’t think I’d refuse any pie that came my way.

Q & A with Anat Wenick of The Write Script

Anat Golan-Wenick started her career in the entertainment business working as a production assistant and researcher in a team that produced series for a large educational channel, while also pursuing a bachelor’s degree in Film/Television and English Literature. After graduation, Anat moved to Los Angeles to dip her hands into the screenwriting pool. Her screenplays have won or placed in contests like Sundance Table Read My Screenplay, StoryPros, Scriptapalooza and others, with one getting optioned by the producer of THE LAST WORD with Shirley MacLaine and Amanda Seyfried.

After taking a script analysis class, Anat discovered her true passion in the entertainment business: reading and improving other writers’ scripts. She became a reader for companies like Amazon Studios, Crispy Twig Productions, The Radmin Company, the Atlanta Film Festival and others, while developing connections with creative voices she aspires to bring to the big and small screens. In her spare time, Anat volunteers as the Secretary on the Board of the San Fernando Valley Writers’ Club (a chapter of the California Writers’ Club).

What’s the last thing you read/watched you considered to be exceptionally well-written?

Not really “the last thing”, but KIDDING on Showtime is a great example of how dialogue, visuals and story come together perfectly. Also on Showtime is I’M DYING UP HERE, which very skillfully weaves many plotlines together. Netflix’s SHTISEL is an example of how a story about a seemingly insignificant part of the world’s population can be made relatable. And for those catering to the younger audience, I recommend studying BOY MEETS WORLD. In terms of reading, THE CARTOONIST’S MASK by Ranan Lurie is a book I’d love to see adapted to screen.

How’d you get your start in the industry?

I always thought I would be a screenwriter. But an internship (followed by a full time position) at a TV station, working on a youth drama, set me on another course. I was a rookie intern when I was allowed to join my first script meeting. I sat quietly, just hoping to learn as much as possible, when the director, an amazing woman by the name of Yael Graf, turned to me and asked for my opinion. Without thinking, I said the solution won’t work. A second later, I was mourning the loss of the best (and only) internship I ever had, when much to my surprise, the director actually wanted to know why I reached such a conclusion. Based on my explanation, the script was revised.

A few years later, I took a script reading class. Based on my analysis, the instructor encouraged me to pursue this career. My hope is to move from script reading to creative executive so I can work with undiscovered writers to help bring their stories to the screen.

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

Akiva Goldsman once said: “Writing is both a pleasure and a struggle. There are times when it’s really aversive and unpleasant, and there are times when it’s wonderful and fun and magical, but that’s not the point. Writing is my job. I’m not a believer of waiting for the muse. You don’t put yourself in the mood to go to your nine-to-five job, you just go. I start in the morning and write all day. Successful writers don’t wait for the muse to fill themselves unless they’re geniuses. I’m not a genius. I’m smart, I have some talent, and I have a lot of stubbornness. I persevere. I was by no means the best writer in my class in college. I’m just the one still writing.”

You can absolutely become a better writer. But just like any other job – if you want to be good at it, you have to study it, stay on top of new trends, and practice, practice, practice.

What do you consider the components of a good script?

Visual over telling. Don’t say “he walks into a room,” say “he skips, dashes, stumble, falls, dances, shuffles into a room,” etc.

Know the genre you’re writing. Nothing wrong with a horror rom-com, but make sure characteristics of all genres are present in the script.

A well-executed “wait for it” moment. Scripts that constantly challenge me to wonder what will come next, even in based-on-true-event movies. Sure, we all know the Titanic is going to sink, but we wonder what will happen to the protagonists.

If you spent time developing your characters’ external and internal conflicts, make sure to address them during the climactic moment. In CASABLANCA, Rick must get Ilsa and Victor safely to the airplane (external), while saying goodbye and convincing the love of his life to exit his (internal).

Good balance between dialogue and action sequences. Allowing the two to play off of one another, rather than feeding viewer/reader with a spoon.

What are some of the most common screenwriting mistakes you see?

Excessive usage of voiceover for no reason. Personally, I’m not one of those “never voiceover” believers, but use it with caution.

Unimaginative character description (i.e. JANE DOE, 26, pretty).

Unnecessary camera and other directorial instructions as well as endless parentheticals in dialogue sequences.

Undeveloped subplots.

Usage of “Starts to,” “Begins to,” “Commences to,” etc. as well as “beat.” These phrases can kill the flow of a screenplay, especially when writing an action-adventure movie. Instead of using “beat”, state what causes it (i.e. biting lip, looking away, cracking knuckles, etc.). Instead of “starts to walk but rethinks it,” consider “marches off. Halts.

What story tropes are you just tired of seeing?

I would read anything, but if you’re going to write about vampires or zombies, make sure you put a fresh spin or angle on the genre. WARM BODIES and INTERVIEW WITH THE VAMPIRE are two good examples. If writing a romcom, love doesn’t have to be the ultimate goal. In WORKING GIRL, the protagonist wanted a career, and along the way she found love.

What are some key rules/guidelines every writer should know?

Read, watch, internalize, and execute in your own writing, repeat.

Connect with other professionals. You never know when an early connection will lead to a later opportunity.

When receiving comments, always thank the person even if you don’t agree with them.

Your work may get rejected not because it’s not great, but because it’s not what the company is looking for. Do your research before sending.

Entertainment attorneys are a lot more approachable than agents and managers, and often can get your screenplay to the right hands.

People will have a more favorable view of you if when boasting about your achievements, you take a moment to acknowledge others. So when posting “my screenplay just advanced to quarterfinals/semi-finals/finals in “this and this” contest, add “congrats to all others who advanced” or “thank you for this opportunity, etc.

Even if making the slightest change to your script, make sure to save it as a new version. You never know when you may want to refer to an older version.

Always email yourself the latest version of your script, not just in PDF format, but in the writing-program-of-your-choice format, so you can restore the file if the software fails to open.

Ever in a slump and can’t come up with an idea? Public domain is your friend. Either adapt a project, or use it as the base for your own interpretation (e.g. how EASY A was inspired by THE SCARLET LETTER).

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

The number of scripts I recommended can be counted on one hand. However, I have yet to encounter a project that was not salvageable, even those I scored extremely low. I encourage all writers to watch Toy Story 3: Mistakes Made, Lessons Learned to realize we all struggle to “really get it.”

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

Winning a contest can do wonders to boast the spirit, but winning alone will do nothing to advance a writing career, unless you build on the momentum. I recommend listening to Craig James, Founder of International Screenwriters’ Association (ISA) advice on Screenplay Contest Strategy.

How can people find out more about you and the services you provide?

I mostly read for agencies, studios and contests. Screenwriters often don’t want to hear the truth about their screenplays, they just want someone to say they’re great, as Josh Olson wrote in his article “I Will Not Read Your F*%!ing Script”. However, I have done quite a few free readings for aspiring screenwriters. They can find me through my website The Write Script, social media like LinkedIn and Twitter, or through the San Fernando Valley Writers’ Club, where I volunteer as a Board Member. Writers don’t have to pay big bucks for a quality reading. Join a writing group or a writing community like Talentville that tells it like it is, and swap screenplays.

Do your research if you plan to pay for someone to read your script, especially if they boast about recommending your material to their contacts within the industry. I once encountered a person advertising his reading services on known screenwriting platforms, stating he was a final-round reader/judge for the Austin Film Festival and an Emmy Award Winner. Since the prices he charged were low for someone with such experience, I researched his claims and found out they were far from true. This is not to say the person didn’t give good feedback, but writers can receive the same type of professionalism for much less, or even for free.

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

I have yet to find a pie I haven’t liked, and not for lack of trying. I volunteer as a tribute to boldly go where no pie lover has gone before to try new flavors. Has hazelnut chocolate cheesecake pie been invented? (Editor’s note: it has.)

I (and others) will not hesitate to help

Unless you’re collaborating with a co-writer, the actual process of screenwriting is for the most part a solitary process. All of the work involved depends on you, and you alone. It can be tough and frustrating.

And that’s just the writing part. We haven’t even touched on dealing with notes, rewriting, or marketing your script.

It’s an uphill climb. Practically vertical, even.

“Argh! It’s too much for one person to take on by themselves!” you might exclaim.

Never fear. You are most assuredly not alone. Every other screenwriter has gone through the exact same things you have, and will continue to do so.

And one of the most powerful weapons to help you get through it all is easily at your disposal: those other writers.

I can honestly say both my writing and my career (such as it is) would not be at the level they are today if it hadn’t been for other writers lending their helping hands over the years.

Whether it was notes, leads, or connections, my network of writing associates has proven to be an indispensable resource.

The writing community wants to see writers succeed. Sure, we all want it for ourselves, but if you can give somebody else a boost, why wouldn’t you?

I get all the usual “scripts wanted” emails. About 98 percent of the time, I don’t have a script that matches what somebody’s looking for. But due to interaction with all my fellow screenwriters, I might see something and think “Hey! I think _____ has a script like this.” I’ll then forward it to that writer, saying I thought of them when I saw it. Sometimes they’ll have already seen it and applied, or it’s totally new and they’re very grateful for the lead.

Additionally, because I’ve spent so much time cultivating relationships, a lot of these writers know me and what scripts I have, so they’ll send me a listing. Even if it doesn’t work out, it’s still more results than I would have gotten by myself. Like with the writing, any progress is good progress.

And speaking of the writing, after I think a latest draft is ready to show, I’ll go to my usual circle of reliable note-givers to get their feedback, and they’ll do the same with me. Every once in a while a writer I’ve only interacted with via social media will contact me, asking if I’d be willing to take a look at their script. If there’s no deadline, and I can squeeze it in, I’ll gladly tell them to send it along.

There will also be those times where you’re feeling low; like nothing’s going right. Guess what? This is definitely another one of those “it happens to everybody” scenarios, and believe me – everybody can relate to it. Want to talk about it and get it off your chest? Writers are willing to listen – and offer a solution if they can. Just getting it out of your system can be helpful.

Also very important – return the favor. Somebody’s helped you out? Offer to do the same – in any capacity you can. When I ask somebody for notes, I make sure to say I’m more than happy to return the favor – because I am. They were willing to put in the time and effort to help me, so the least I can do is the same for them.

A big part of all of this is to accomplish any of this, you have to become part of the community itself. Fortunately, even that’s pretty easy. There are so many ways to get to know your fellow writers.

My recommendations:

-screenwriting groups on Facebook, but mostly the smaller ones. The bigger ones tend to be a lot of egos and sniping.

-Script Pipeline’s #PipelineWriters on Twitter. 5pm PST on Fridays. Especially helpful if you like mugs.

-#scriptchat on Twitter. 5pm PST on Sundays

Regarding all of these, groups and communities overall, you get out of them what you put into them.

Leave your ego at the door. Be nice to people. Treat them the way you’d want to be treated.

Ask questions. Make it about them, not you.

Establish relationships. Be supportive for good news and bad news.

You may be working on your scripts by yourself, but you’re most definitely not alone.

Q &A with David Schwartz

David Schwartz is a freelance screenwriter and script consultant. Prior to being a script consultant, he took a few screenwriting courses in college along with other film courses. After college, he continued working on his first feature and started submitting his scripts to a variety of screenwriting contests. In fact, his first feature made it as a quarterfinalist in the 2019 Bluecat Screenwriting Competition. He’s written several scripts, mainly short films, and is focusing on helping writers with their scripts!

What was the last thing you read or watched you considered exceptionally well-written?

In my spare time, I’ve been watching a variety of things, but as for shows that have been well-written, I’d say WandaVision and Bridgerton. I thought I wouldn’t like those types of shows because I’m not much of a comic book fan and had never heard of Bridgerton, but I find both shows enjoyable to binge. I’m usually someone who likes musicals, so this might sound a bit cheesy, but I’m really enjoying Zoey’s Extraordinary Playlist! It’s got humor, heart, and great songs that tell a story and moves the plot forward. At first I thought the concept sounded corny, but seven minutes into the pilot, I was hooked and became totally obsessed. I sometimes get emotional during that show. Oh, and I also like The Mandalorian.

How’d you get your start in the industry?

I started when I first took a screenwriting course in college. At first, I thought it was going to be a real challenge. Prior to taking the course, I had no idea how much work it takes to write a script. But after completing the course, I actually found screenwriting very enjoyable and took a few more courses to develop my craft. In fact, I’m still working on a script I started writing during one of my courses. After college, I continued working on my script and started submitting it to contests and paying for some feedback. After receiving feedback from professionals in the industry, I was inspired to start my own script consulting business.

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

I think it’s a mix of both. When I look at a script, I can tell the writer’s experience based on their writing. For example, if someone has dialogue that’s flat or very on-the-nose, I can tell they’re just starting out. But then again, lots of writers, even professionals, tend to sometimes have some on-the-nose dialogue in their writing. When it comes to writing, I see myself as both student and teacher so it could go either way. When I read a script, my feedback is based on both what I’ve learned in my screenwriting courses and the feedback I’ve received on my own scripts.

What do you consider the components of a good script?

A good script in my opinion is a solidly structured story. If you don’t have a structured story from start to end, the reader tends to lose interest early on. I’ve noticed this in more than a few scripts I’ve read, but it can be easily fixed. Before anyone starts writing, I’d suggest having a beat sheet so the writer has a blueprint of their script from beginning to end. Another component of a good script is conflict. Every scene, whether it’s big or small, has to have conflict. And finally, character development is extremely important. I love seeing characters develop from start to end, and that’s what makes movies great.

What are some of the most common screenwriting mistakes you see?

The most common mistake I see is sometimes the writers will start their script with the inciting incident at the very beginning and continue on from there. The problem with this approach is I don’t get a sense of who the protagonist is as a person. I don’t necessarily have a reason to root for them to achieve their goal over the course of the film. That’s why I strongly recommend writers have a beat sheet before they jump into writing their script. It’s going to make things so much easier for the reader and the script is going to be a smooth read. (If you want to know more, I’ve written a blogpost about it.)

What story tropes are you just tired of seeing?

I’m kind of tired of seeing love triangle plotlines. If I wanted to watch a love triangle plotline, I’ll just rewatch Friends. I also hate it when two people are having a conversation in the car and the driver takes their eyes off the road and continues talking with the passenger for 30 seconds or longer. Seriously, it irks me a bit.

What are some key rules/guidelines every writer should know?

Don’t be boring.

Every scene must have conflict and serve a purpose. Additionally, each scene needs to drive the plot forward.

If you have writer’s block, keep writing and come back to it later.

It’s okay to take a break every now and then. Sometimes it’s best to rest after 2 hours of writing nonstop.

Don’t be afraid to ask for help.

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

I remember reading a script a while ago where it was a bit hard for me to provide critical feedback on their script because it was so well-structured. I was in awe of their script and in fact, made a few minor suggestions to them in the feedback. A few months later, they posted in one of the Facebook screenwriting groups that their script made it to the quarter-finals in a screenwriting contest.

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

It depends on the contest. Some contests, like Bluecat for example, have a reasonable price and the feedback is free. The best part is writers can resubmit their scripts twice, which is nice. But not all feedback is free, and you have to pay an extra fee to get feedback on your script. Plus, depending on where you’re submitting, the contests can be very competitive. As a script consultant, my goal is to help writers develop their craft before they start submitting their work to the professionals in the industry.

How can people find out more about you and the services you provide? 

Check out my website: www.davidschwartzconsulting.com. I’m also on Instagram: davidschwartzconsulting

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

I’m going to go with apple pie. Mmm…apple.

Love ‘em or hate ‘em, they’re here to help

daffy typing

Currently working my way through the latest draft of the horror-comedy. It’s coming along nicely, primarily due to the incredibly helpful notes I’ve received from my readers.

It’s been a mixed bag of comments – loved this, this kind of fell flat for me, didn’t understand this, maybe try a different approach on this. While I may not agree with all of them, each one has merit and is worth taking into consideration. A lot of them involve ideas and suggestions I hadn’t considered, let alone thought of.

It’s tough to evaluate your own script. You know the story you’re trying to tell, so how you interpret what’s on the page is going to be completely different from how everybody else does. You “hear” a line of dialogue being spoken in that character’s voice in the way you imagined them saying it, whereas a reader will see…words on a page.

This is really what it comes down to: NOTES HELP YOU SEE WHAT YOU MIGHT NOT BE SEEING.

Remember – You might not like what the reader has to say, but the whole point is to help you make your script as solid a piece of work as you can. It’s tough, but don’t take it personally. They’re critiquing the work, not you.

A few years back, I gave a writer some extensive notes on a script that had a great premise but the execution of the story needed a lot of work – especially in terms of really showcasing what the premise was all about.

About a week after I’d sent my notes, they responded by telling me they were initially angry and upset about what I had to say, but then they went back and read my notes again. Upon that second review, they couldn’t argue with what I said, and were grateful that my notes helped them realize that.

Notes should be about helping you shape your script into what you want it to be. Be wary of readers whose notes are about changing your script so it matches the story they think it should be.

There are also going to be notes that completely miss the point. Maybe the reader was having an off day. Maybe they’re not a fan of this genre. Maybe they lost interest and just skimmed. All of these are possibilities, and have been known to happen.  There’s not much you can do besides say “thanks” and move on.

Which brings up another point – no matter how you feel about the notes, especially if they don’t seem to be very helpful – is to BE POLITE AND THANK THE READER FOR DOING THIS. They took time out of their schedule to help you out, so the least you can do is thank them.

DO NOT berate them with a rant of “How dare you doubt my genius?!” It’s not a good look.

And if a swap is involved, make sure to hold up your end of the bargain. I speak from experience as one who’s been burned.

In the end, this is your script to do with what you will. Find a reader whose opinion you trust and let them know what it is you’re looking for. Help with the story? Characters? Dialogue? Grammar and punctuation? They and their notes are here to help you.

Let them do that so you can reap the benefits.

(please note that paying for notes was not discussed because it’s an entirely different topic for another time)