Wrapped up reading for a contest earlier this week. Happy to have helped, but it was exhausting.
And a good percentage of the writers could really benefit from this recent post.
Now that that’s out of the way, I can return to devoting more time on a few of my own projects, as well as start getting to the scripts in my “to read” queue.
I’m really looking forward to both, and especially the latter.
Some were sent with a request for notes, others were “thought you might enjoy this”, and the rest were ones that got my attention with the logline or the concept.
I’m extremely fortunate to have a professional relationship with a lot of these writers, and many of them are great writers to begin with, so it’s a pretty sure bet their scripts will also be of exceptional quality. And those are always great to read.
It can’t be stressed enough that reading scripts helps a writer become a better writer. So take it upon yourself to start making that a regular practice.
You’ll be glad you did.
And speaking of reading, my new book GO AHEAD AND ASK! INTERVIEWS ABOUT SCREENWRITING (AND PIE) VOLUME 2 is now available in paperback and ebook here and here. It makes a great companion piece to Volume 1, and Volume 3 will roll out a little later this year.
Simply put: notes can help make a script better. This also heavily relies on several factors, including the experience level of the person giving the notes, the notes being of high quality, and the relevancy of the notes in relation to the script.
I’ve had the recent experience of being on both sides, and both proved to be extremely helpful on several levels.
First: the giving.
I’d been invited to take part in a group Zoom call giving notes on a new script from an established writer-producer.
I thought the writing was okay. Nothing stellar.
As the call progressed, the comments seemed to go back and forth between honest, critical feedback and flat-out gushing. Were those doing the latter doing that in order to get in the writer’s good graces? I hope not.
When it was my turn, I started with what I liked about it (the characters and the strong establishment of tone, in particular) and then segued into what I thought could use some work, which was mostly tightening up the writing, and trimming scenes or sequences.
Just to clarify – I wasn’t trying to tear anything down; just offering some suggestions of what I thought could help make the script better.
The writer appreciated my positive comments, but the other ones were met with a lot of “well, these other people I work with in the industry LOVED that” or “Nobody else mentioned that. This doesn’t mean you’re wrong; just in the minority.”
I’m not really the biggest fan of a writer who gets defensive when they get notes. It’s what they asked for. I don’t have a problem if you disagree with what I’ve got to say. Just say thanks and move on. Don’t try to make me feel small or wrong. If you wanted praise for your script, you should have started with that.
I had to hop off the call soon after that for work-related business, so don’t know how the rest of it went. While I’m slightly curious if any of the other participants had a similar experience, I’ve no pressing desire to find out.
Despite this bump in the road, I still enjoy giving notes and will continue to do so; maybe just a little more selectively.
Second: the getting.
A few weeks ago, I wrapped up the latest rewrite on the animated fantasy-comedy spec. My usual m.o. is to contact a few colleagues to ask their availability to give notes. This time, I opted to keep the number even lower and asked two.
Still waiting to hear back from one, but the other sent back a thorough set of notes. They explain what worked for them, what didn’t, and ask a lot of questions centered around the story and the characters.
It was my intent to get notes that would help make the script better, and that’s exactly what these are – and what I need. Yes, it would be great for someone to say what a fantastic script it is, and how much they loved it, but that’s not going to help improve the script, or why I asked them to read it.
An outside pair of eyes is more likely to see things that I, as the writer, might not. How could I argue with that? Maybe there’s something in there I don’t initially agree with, but would still want to know why they said it – the “note within the note”.
Getting solid notes from those within your network of writers can be a priceless resource, and hopefully you’ll be able to reciprocate with the same level of quality.
After the whirlwind of the last few weeks organizing the Maximum Z Summer ’22 Script Showcase, putting together Volume 2 of my book series Go Ahead and Ask! (officially published on July 21, and Volume 1 still available here and here), reading for a contest, and working on my own stuff, I think I’ve earned a brief respite.
But never fear. I wouldn’t want you to go without a post for this week.
During the occasional break between all that stuff I just mentioned, I’ve also been able to do enjoy some just-for-the-hell-of-it reading of friends’ scripts. Each one has been a great read, and even better – no notes necessary.
That, of course, reminded me of a post from Jul 26, 2019 that was all about giving and receiving notes.
Enjoy (and happy 4th of July weekend to my American chums).
After a brief hiatus, I’ve started giving notes again. It’s always helpful to step away from your own material and dive into somebody else’s. More often than not, it’s a win-win situation.
Sometimes there are exceptions to that rule, but more on that in a minute.
The quality of the writing has ranged from just-starting-out to seasoned professional, so my notes and comments are provided with the level of feedback most suitable to the writer’s level of expertise. One writer might still be learning about proper formatting, while another might want to consider strengthening up that second subplot.
One of my cardinal rules of giving notes is to not be mean about it. I never talk down to the writer, because I’ve been in their shoes. I do what I can to be supportive and offer some possible solutions, or at least hopefully guide them towards coming up with a new approach to what they’ve already got.
One writer responded by saying they were really upset about what I’d said, but then they went and re-read my notes, and couldn’t argue or disagree with any of them.
I’ve always been fascinated by the expression “This is a reflection on the script, not you (the writer).” In some ways, the script IS a reflection of the writer; it’s their skill, their storytelling, their grasp of what should and shouldn’t be on the page, that are all being analyzed. After spending so much time and effort on a script, of course a writer wants to hear “it’s great!”, but as we all know, that doesn’t always happen.
Sometimes I worry my comments are too harsh, but just about every writer has responded with “These are SO helpful!”
About a year ago, a writer I was connected to via social media asked to do a script swap. Some quick research showed they seemed to be experienced with writing and filmmaking, so it seemed like a good idea.
I read their script, and didn’t like it. I said so in my notes, and offered up what I considered valid reasons why, along with questions raised over the course of the story, along with some suggestions for potential fixes.
What I was most surprised about was that this person presented themselves as a professional, and maybe I was naive in taking all of that at face value and believing the quality of their writing would reflect that and meet my expectations.
It didn’t.
It also didn’t help that they opted to not give me any notes on my script. At all. Just some snarky retorts. Guess my lack of effusive gushing hurt their feelings, and this was their method of retribution.
Oh well.
Interesting follow-up to that: I later saw them refer to my notes in a quite negative way, along with “this script has even gotten a few RECOMMENDS”, which is always a great defense.
Follow-up #2: we’re no longer connected on social media.
Could I have phrased my comments in a more supportive way? I suppose, but I figured this person wanted honesty, not praise. And like I said, I assumed they had a thick skin from having done this for a while.
Guess I was mistaken.
And I’ve been on the receiving end of it as well. A filmmaker friend read one of my scripts and started with “Sorry, but I just didn’t like it,” and explained why. Did I pound my fists in rage and curse them for all eternity? Of course not. Their reasons were perfectly valid.
Or the time a writing colleague could barely muster some tepid words of support for one of my comedies. I was a little disappointed, but after having read some of their scripts, realized that our senses of humor (sense of humors?) were very different, so something I considered funny they probably wouldn’t, and vice versa.
I’ve no intention of changing how I give notes. If I like something, I’ll say so. If I don’t, I’ll say so. You may not like what I have to say, but please understand that it’s all done with the best of intentions. My notes are there for the sole purpose of helping you make your script better.
Isn’t that why we seek out notes in the first place?
That’s how long until the great unveiling of the Maximum Z Summer ’22 Script Showcase (June 24th, with a deadline of the 22nd, so mark those calendars!)
As of this writing, 51 screenplays (including several shorts) and 35 TV pilots have been submitted. As you’d expect with this large a collection, a wide variety of genres is represented.
I’ve been asked more than a few times why I’m doing this, what benefit I get, and who’s going to see it.
The first two are easy. I do this because I think it’s great to promote the work of other writers. I’m not asking for any kind of fee or “I did this for you, so now you can do this for me”-type scenarios.
(I will, however, humbly ask that you check out my book to consider for purchasing. Link over there to your right –>>)
As for who’s going to see it…that’s a little tougher to say.
It really comes down to how many people promote it. I do that as much as I can on a few social media platforms, and if your script is included in the list, highly recommend you do the same. Nothing wrong with tooting one’s own horn. The more eyes we can get on this thing, the more interest it can generate.
Also once again- if any of the scripts really grabs you or sounds like something you think you’d be interested in reading, CONTACT THE WRITER!! I’ve done that for a few, and the writers were more than happy to send their script.
So for those who might have missed it, here’s how it works.
Send the following info here with the subject ‘Maximum Z Summer ’22 Script Showcase’:
Film or TV?
Title
Author
Genre(s)
Logline
Awards (if any, and a limit of 5)
Your email
DO NOT SEND THE SCRIPT!!
ONLY 1 SCRIPT PER PERSON
Also – short scripts are more than welcome, and it’s preferred for TV writers to send in original material, rather than scripts for pre-existing shows.
As mentioned before, the deadline for sending in is Wednesday, June 22nd, with the final list posted on Friday, June 24th, so don’t put it off until the last minute.
Maximum Z 