Notes for Screenwriters
A screenwriter receiving notes is generally one of the best ways to spruce up a script (apart from peer review). The struggle is, when relying on these notes, we have to trust that the person providing them isn’t doing so with a bias or any other malice intent. Meaning, we have to hope that they’re providing the best version of notes for what is currently working or not working within the industry, industry standards and the likes across the board.
I once received terrible, “inactionable” notes on a script (a top 15% script, mind you) and, in trusting those notes, went back to the drawing board and re-worked the script entirely. This was not a problem for me because creativity flows how it flows and many writers enjoy a couple of challenges when it comes to shaping their writing.
The issue is: WHAT IS CURRENTLY SELLING [AND WORKING] IN THE ROMANTIC COMEDY AND COMEDY GENRE RIGHT NOW? That budding romance story between a normal, in-her-career-middle-aged-woman and a superstar! And what was my script about? You guessed it this very thing and yet I was approached with a comment that saw my script as nothing but Fanfiction. All that I can say from this is that we have got to do better.
If you’re in a position to provide notes and scores on screenwriter’s scripts then you had better know what’s currently selling in the industry, what’s desirable, and what’s actually good. Stop looking for the same old boring scripts that all say the same things with the same terrible formatting! Do better!
Devils Advocate
This reader could have just hated the way that I told my story, the way my story unfolded, etc., but that doesn’t cover it for me because of the nature and reasoning for not liking my plot listed by the reader. My plot and storyline are what’s currently dominating these genres right now and I had drafts out before any of this stuff had pre-or-post production scripts prepared (but not before the book)! Imagine having been ahead of that game. But no! You were so busy looking for a million copies of what’s already being produced which is definitely not what I’m writing.
These are all dangers inherent in being an early career screenwriter who has to rely on random juries and random readers who can claim that they’re in the industry all day.
It’s also an ever-present reminder to continue to network and grow within the fields that you hope to someday dominate. Although slow, throughout my entire screenwriting journey, I have put myself out there and met amazing people who have been open to reading and reviewing my scripts to provide useful notes on them. This on top of reading your script out loud or having someone else do so truly helps in adjusting what’s awkward about your script, and having additional eyes on the script helps with grammar and formatting mistakes.
Without a village, this screenwriting thing doesn’t work!
I Received Dope Advice At A Screenwriters Salon In The Bay
Franklin Leonard, an American film executive and the founder of The Blacklist (the screenwriter/filmmaker platform known for starting and skyrocketing careers), sat down for a chat with Rafael Casal, writer, actor, rapper, poet and creative, to talk about all things screenwriting and they both dropped some gems!
One of my favorite gems, however, was the one on when to release your script out into the wild. A short paraphrase of the answer is:
“You shouldn’t be paying me to host your script [on the Black List] unless you’ve exhausted all editing options and your script is at it’s best.”
Now this may seem like common sense to many but have you ever been a screenwriter typing away and so excited about your script that you just needed to get it out to other eyes? That excitement will have you putting your script out way before it’s ready. Trust me! If you get actionable notes on it, then it’s not a complete waste (especially if you have the money to submit), but otherwise, you should just work and re-work that script until it’s truly ready. Then move towards peer-review — yes, keep creative friends who read around you!
Anyway! This post started out an angry rant about the woes of screenwriting but ended with a gem from a film exec with a new love and appreciation for the Bay Area, so I think we’ve earned the right to end on that happy note.
Best [editing],
Bree
