Post by Deleted on Aug 30, 2010 9:46:22 GMT -5
This is an excellent article on giving and receiving feedback.
Unfortunately, I have done some of the DON'Ts in the past. I will be correcting that in the future!
Giving and Receiving Feedback
by Julie Gray
Giving and receiving feedback on scripts is a daily experience for writers. How do we know if our script works without the opinion of someone else? But we've all been burned by bad feedback. Rude, insensitive, bossy, arrogant, wrong-headed, cruel even. It can set back a writer's confidence and process hugely.
So don't let that mean-feedback-person be you. Put yourself in the other person's shoes. You put your heart and soul into the script, for months and weeks. And now somebody is going to pass judgment. Writers awaiting feedback are in a very vulnerable position. That doesn't mean you should obfuscate - it just means you should always deliver your opinion with kindness and professionalism.
The Good Karma Feedback Check List:
Do it often; develop a support system with peers you respect.
Don't promise to read a script and give feedback if you really don't have time.
Do read the script promptly once you have it.
Do ask your friend what they want out of this read. You'd be surprised at the different answers. Tailor your notes to the needs and wants of the writer.
Do start on a positive note. If you can only think of one thing - stress it.
Don't throw out your own suggestions - this is not your script; you'll derail the creative process.
Do frame concerns in a "what if" question. (What if you tried this? What if you tried that? I wonder what would happen if this?)
Do understand what the writing is going for or trying to achieve.
Don't chide the writer for failing to execute the idea well; that's why you're reading it, ding-dong. If they thought it was perfect, they wouldn't ask.
Do limit your comments to things like: logic, characters, stakes, ticking clock, and pacing; don't go all McKee/Campbell on your friend. I feel the subplot doesn't connect to the inner need of the protagonist and this is not reflected thematically in the arc of the dynamic character who has reached statis but must find Euclydian balance before the elixir can motivate the shapeshifter. Very annoying.
Do write your notes down and summarize them.
Don't do page edits and correct typos unless requested. This is also muy annoying.
NEVER read a script so you can put it down and then feel better about yourself. Say it with me. NEVER read a script with that attitude. Why? It's bad karma and it will come back to you like a boomerang and whack you upside the head. And at least as importantly, reading with a superior or authoritative attitude deprives you of the learning experience built in to giving feedback.
Good feedback is kind, thorough and timely. It is professional and focused. It leaves the writer feeling challenged to do better but great about their strengths. Even if that just means the location they chose was cool. Give your feedback relative to the skill set of the writer. Never lie or obfuscate. Just serve it up gently. An upset writer isn't going to hear your points anyway. But an encouraged one will. Trust me on this.
Ask questions of the material rather than dictating your own concepts. Giving the writer your own ideas only derails or co-opts the writer's creative process - and in my view, this is a huge trespass. If the writer wants brainstorming they'll ask for it. Even then lead the writer toward realizations or ideas. Writing by committee is the fast track to obsolescence. Even if you think you're helping by making very specific suggestions (unless requested, I can't stress that enough - it happens) really you are hijacking someone else's material and it's just not cool.
Receiving Notes
Handling notes is easy when you can remember one simple thing. It's not about you. It's ALL about the story. If you don't have to kill some darlings then you may not be getting totally honest notes. Want to know how to handle notes better? Here's how: Just write all the notes down. Don't judge them, don't get your hackles up, just nod and scribble. If you are in a meeting situation you may need to dialogue about the notes right there in the moment. But I am talking about receiving notes from a consultant, coverage or even a friend who was nice enough to read your script.
Notes are not personal attacks. Notes are opportunities for you, the writer, to improve your story. Set your ego aside and get selfish. Yes, selfish. Do you want the best script ever? Grab those notes and see what you can use to improve your script. Check your ego, kill your darlings and don't get defensive.
Some of the hardest notes to handle are the outright suggestions: Why don't you make the husband a cross-dresser? What if the killer is from Poughkeepsie? Oh! I know! If you make the lion a hippo, it would be way scarier! The way to handle notes like this is exactly the same. Nod and write them down...
This note is a character issue. This note is a tone issue. This note is a premise or logic issue. This note is structural in nature. Take an inventory - do your notes all have something in common? Maybe your structure is not working. Maybe your characters need a lot more development. Some of the notes will feel vague and you won't be sure how to interpret them. But here's how you can try. If the note is something like - it would be really cool if the killer attacked the police woman in this scene! This note probably translates to there's not enough exciting action in this segment of the script. If the note is - I didn't buy that the character really *had* to find the treasure. This note is about character motivation and set up.
Make sure you do some quality control when seeking notes. Get notes from experienced writers and get notes from some regular folks - who are smart and movies. Don't get notes from your cousin Jimmy or your mom. They won't be helpful. Absolutely, no matter what, you will get some notes that are ridiculous. That's okay. Write them down, categorize and evaluate them - and toss them out. This is your story after all. If you use a consultant, you shouldn't really get any completely ridiculous notes. If the consultant is any good, the notes will be fairly organized and generally spot-on. Yes, personality comes into it. Some people just won't like your script. Full stop. They don't like the genre, the type of humor or a particular character. A professional won't have those personal issues; they will remain objective and judge the script in a mechanical way.
So here're five tips on receiving notes:
Breathe it out - don't take it personally.
Nod and scribble. Write it all down.
Sort out the notes, look for a pattern.
Interpret notes that weren't clear to you. Look for the underlying note.
Thank the note giver and buy them a drink. They deserve it. If you react with graciousness and sincerity - they might just read for you again.
Hollywood is a highly collaborative business and the ability to take notes professionally and work them into the story makes the difference between a writer who is a good fit for this industry and one who is not. Pay it forward by giving notes to your peers when asked and remember the golden rule: Be honest but be kind. Do unto others.
www.moviebytes.com/ContestDetail.cfm?StoryID=3912&ContestNumber=2258&NewsTab=TRUE
Unfortunately, I have done some of the DON'Ts in the past. I will be correcting that in the future!
Giving and Receiving Feedback
by Julie Gray
Giving and receiving feedback on scripts is a daily experience for writers. How do we know if our script works without the opinion of someone else? But we've all been burned by bad feedback. Rude, insensitive, bossy, arrogant, wrong-headed, cruel even. It can set back a writer's confidence and process hugely.
So don't let that mean-feedback-person be you. Put yourself in the other person's shoes. You put your heart and soul into the script, for months and weeks. And now somebody is going to pass judgment. Writers awaiting feedback are in a very vulnerable position. That doesn't mean you should obfuscate - it just means you should always deliver your opinion with kindness and professionalism.
The Good Karma Feedback Check List:
Do it often; develop a support system with peers you respect.
Don't promise to read a script and give feedback if you really don't have time.
Do read the script promptly once you have it.
Do ask your friend what they want out of this read. You'd be surprised at the different answers. Tailor your notes to the needs and wants of the writer.
Do start on a positive note. If you can only think of one thing - stress it.
Don't throw out your own suggestions - this is not your script; you'll derail the creative process.
Do frame concerns in a "what if" question. (What if you tried this? What if you tried that? I wonder what would happen if this?)
Do understand what the writing is going for or trying to achieve.
Don't chide the writer for failing to execute the idea well; that's why you're reading it, ding-dong. If they thought it was perfect, they wouldn't ask.
Do limit your comments to things like: logic, characters, stakes, ticking clock, and pacing; don't go all McKee/Campbell on your friend. I feel the subplot doesn't connect to the inner need of the protagonist and this is not reflected thematically in the arc of the dynamic character who has reached statis but must find Euclydian balance before the elixir can motivate the shapeshifter. Very annoying.
Do write your notes down and summarize them.
Don't do page edits and correct typos unless requested. This is also muy annoying.
NEVER read a script so you can put it down and then feel better about yourself. Say it with me. NEVER read a script with that attitude. Why? It's bad karma and it will come back to you like a boomerang and whack you upside the head. And at least as importantly, reading with a superior or authoritative attitude deprives you of the learning experience built in to giving feedback.
Good feedback is kind, thorough and timely. It is professional and focused. It leaves the writer feeling challenged to do better but great about their strengths. Even if that just means the location they chose was cool. Give your feedback relative to the skill set of the writer. Never lie or obfuscate. Just serve it up gently. An upset writer isn't going to hear your points anyway. But an encouraged one will. Trust me on this.
Ask questions of the material rather than dictating your own concepts. Giving the writer your own ideas only derails or co-opts the writer's creative process - and in my view, this is a huge trespass. If the writer wants brainstorming they'll ask for it. Even then lead the writer toward realizations or ideas. Writing by committee is the fast track to obsolescence. Even if you think you're helping by making very specific suggestions (unless requested, I can't stress that enough - it happens) really you are hijacking someone else's material and it's just not cool.
Receiving Notes
Handling notes is easy when you can remember one simple thing. It's not about you. It's ALL about the story. If you don't have to kill some darlings then you may not be getting totally honest notes. Want to know how to handle notes better? Here's how: Just write all the notes down. Don't judge them, don't get your hackles up, just nod and scribble. If you are in a meeting situation you may need to dialogue about the notes right there in the moment. But I am talking about receiving notes from a consultant, coverage or even a friend who was nice enough to read your script.
Notes are not personal attacks. Notes are opportunities for you, the writer, to improve your story. Set your ego aside and get selfish. Yes, selfish. Do you want the best script ever? Grab those notes and see what you can use to improve your script. Check your ego, kill your darlings and don't get defensive.
Some of the hardest notes to handle are the outright suggestions: Why don't you make the husband a cross-dresser? What if the killer is from Poughkeepsie? Oh! I know! If you make the lion a hippo, it would be way scarier! The way to handle notes like this is exactly the same. Nod and write them down...
This note is a character issue. This note is a tone issue. This note is a premise or logic issue. This note is structural in nature. Take an inventory - do your notes all have something in common? Maybe your structure is not working. Maybe your characters need a lot more development. Some of the notes will feel vague and you won't be sure how to interpret them. But here's how you can try. If the note is something like - it would be really cool if the killer attacked the police woman in this scene! This note probably translates to there's not enough exciting action in this segment of the script. If the note is - I didn't buy that the character really *had* to find the treasure. This note is about character motivation and set up.
Make sure you do some quality control when seeking notes. Get notes from experienced writers and get notes from some regular folks - who are smart and movies. Don't get notes from your cousin Jimmy or your mom. They won't be helpful. Absolutely, no matter what, you will get some notes that are ridiculous. That's okay. Write them down, categorize and evaluate them - and toss them out. This is your story after all. If you use a consultant, you shouldn't really get any completely ridiculous notes. If the consultant is any good, the notes will be fairly organized and generally spot-on. Yes, personality comes into it. Some people just won't like your script. Full stop. They don't like the genre, the type of humor or a particular character. A professional won't have those personal issues; they will remain objective and judge the script in a mechanical way.
So here're five tips on receiving notes:
Breathe it out - don't take it personally.
Nod and scribble. Write it all down.
Sort out the notes, look for a pattern.
Interpret notes that weren't clear to you. Look for the underlying note.
Thank the note giver and buy them a drink. They deserve it. If you react with graciousness and sincerity - they might just read for you again.
Hollywood is a highly collaborative business and the ability to take notes professionally and work them into the story makes the difference between a writer who is a good fit for this industry and one who is not. Pay it forward by giving notes to your peers when asked and remember the golden rule: Be honest but be kind. Do unto others.
www.moviebytes.com/ContestDetail.cfm?StoryID=3912&ContestNumber=2258&NewsTab=TRUE
