{"id":106067,"date":"2018-10-12T06:00:05","date_gmt":"2018-10-12T11:00:05","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=106067"},"modified":"2018-10-11T11:44:58","modified_gmt":"2018-10-11T16:44:58","slug":"right-way-give-receive-script-feedback","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/right-way-give-receive-script-feedback\/","title":{"rendered":"The Right Way to Give and Receive Feedback on a Script"},"content":{"rendered":"

No (good) script exists in a vacuum. Giving and receiving feedback is essential for successful screenwriters. So what’s the best way to go about it?<\/h2>\n

We all know that writing is re-writing. It’s a process. You have an idea, and that idea evolves and ends up on paper. It gets revised, reshaped, and re-crafted yet again. At some point, you need a fresh perspective \u2014 a trusted pair of eyes to delve into the story for the first time and give you honest feedback.<\/p>\n

This can make the writer feel vulnerable \u2014 and the reader uncomfortable. How can you navigate these choppy waters, so both people feel it was worth the effort?\u00a0Just look to screenplay structure as your guide. Everything said and received should be goal-driven, specific, and moving toward an honest conclusion.<\/p>\n

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Giving Feedback<\/h3>\n
\"The<\/a>

Image via Wonder Boys<\/em><\/a> (Paramount).<\/p><\/div>\n

When you’re reading someone\u2019s work, you are not a critic. Your role is as an adviser, and your ultimate goal is to help the writer improve the screenplay. It\u2019s easy to think the best course of action is to point out flaws. That doesn\u2019t create trust in relationships. Why would it work in art?<\/p>\n

Focus on suggestions for improvements rather than pointing out flaws. Anyone can see the broken fence; it takes knowledge to offer ways to mend it.\u00a0 And remember, there are many choices \u2014 patch it, secure it, replace it. The same principle applies to a screenplay. You won\u2019t have the one right answer to fix a story issue.\u00a0However, if your feedback is honest, if you take the time to read carefully and lovingly, if you ask smart questions and offer encouragement, you can help the writer craft a better draft.<\/p>\n

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Be Specific<\/h3>\n

Be concise with feedback. Use a scalpel, not a sledgehammer.\u00a0 And choose wisely so you don’t over-burden the writer.<\/p>\n

For example, if the format is off, don\u2019t point out every flaw \u2014 that can be overwhelming.\u00a0Tell them you\u2019ve noticed a few format mistakes and suggest they brush up on the rules. If they then solicit specific advice, feel free to point it out.\u00a0Now, you\u2019re being helpful and reducing stress \u2014 pointing out every one of their mistakes would have simply added<\/em> stress.<\/p>\n

\"The<\/a>

Image via Adaptation<\/em><\/a> (Columbia Pictures).<\/p><\/div>\n

However, don\u2019t be general with story issues. It is unhelpful to simply say, “This doesn\u2019t work” or “I don\u2019t believe this character.” Go back to the first piece of advice. Goal-driven suggestions.\u00a0If your goal is to help the writer to make the script stronger, how does vague feedback help?<\/p>\n

You may not have the answer, but if you put your response in the form of a question, you and the writer can brainstorm together. At the very least, you’re giving the writer something to ponder for the next draft.<\/p>\n

To be goal-driven and specific, look to the facts of what you’ve read. Instead of saying “This doesn\u2019t work,” for example, you might say “You\u2019ve set up this character as someone who is very confident. Why would she defer to others in this scene?” You\u2019ve now taken an astute observation and used that detail to ask a smart question that will guide story development.<\/p>\n

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Be Honest<\/strong><\/p>\n

Nobody improves by hearing that nothing needs to change. Every artist knows a painting is never finished; at some point, you simply put down the brush. If you’re in a position wherein a writer has asked you to read the script and wants feedback, that means it\u2019s not time to put down the brush.<\/p>\n

Giving honest feedback is your obligation when you agree to read the screenplay. The thing to remember is that it is facts, not your opinion, that the writer is soliciting. Who cares if you liked it, or it\u2019s not your preferred genre. You can hate horror films, but as a professional, you should know the elements that are necessary to produce a successful horror script.<\/p>\n

\"The<\/a>

Image via The Exorcist<\/em><\/a> (Warner Bros.).<\/p><\/div>\n

Every screenplay is going to have some aspect that works; look for that and point it out to the writer. That could be the spoonful of sugar that makes the medicine go down when you address significant story and character issues later.<\/p>\n

If you read with a purpose, use structure and character as your guide; give honest feedback with an eye for discovery and opportunities to improve. You\u2019ll be a smart advisor. And if you know the writer well, you’ll also be able to preserve your friendship!<\/p>\n

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Receiving Feedback<\/strong><\/p>\n

Nobody sets out to create bad work. Sometimes we get attached to a specific idea or element in the story that isn\u2019t working, but we can\u2019t let go. Sometimes that attachment makes us blind to seeing any issue. I call this the “key syndrome.”<\/p>\n

\"The<\/a>

Image via Get Out<\/em><\/a> (Universal).<\/p><\/div>\n

I know I put my keys in the kitchen. I can\u2019t find my keys. I look all over the kitchen. Still can\u2019t find them. In a panic, I\u2019ll search other places, but I often fly through that search \u2014 quickly hit the bedroom, bathroom, and come back to the kitchen, where I am sure I left the keys.\u00a0I may have a moment of inspiration!\u00a0Check the car! Then I get mad at myself. Idiot \u2014 how did you get into the house if you left the keys in the car?<\/p>\n

Enter a neutral party.\u00a0This person doesn\u2019t own the keys, is not crazed with finding them. This person only wants to calm you down and be helpful. They often ask questions.<\/p>\n

“When did you last see them?”<\/p>\n

“Were you carrying anything else in your hands at the time”<\/p>\n

“What pants were you wearing?”<\/p>\n

All of a sudden, smart questions that yield facts are solving your problem.\u00a0You realize you changed clothes and that the keys are in your jeans on the bathroom floor.\u00a0That is what you need to remember when getting feedback. The goal is to help you find the key to the story, to strengthen it and fulfill the promise of your initial idea.<\/p>\n

Remain open, ask questions, and don\u2019t feel obligated to accept every note as direction. It\u2019s still your story. You don\u2019t need to incorporate someone else\u2019s feedback if it doesn\u2019t resonate with you.\u00a0What you do need to do is take it in, and if that note is consistent among other people who read your script, you should examine it. Perhaps it was the suggestion of a solution that didn\u2019t appeal to you.\u00a0Maybe you only need to focus on the story issue the reader pointed out and find a way to fix it that makes sense to you.<\/p>\n

Focus on the goal \u2014 a better draft. Be open to specific feedback, and embrace the truth of what you have now. The work ahead is to make it better.<\/p>\n

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Cover image via gerasimov_foto_174<\/a>.<\/em><\/p>\n

Looking for more information on scriptwriting? Check out these articles.<\/p>\n