Just Say No! Why You Shouldn’t Take Every Note

How to take notes for screenwriters Carole Kirschner.jpeg

I advise all my clients and mentees to always listen to feedback and notes with an open mind, let the person really feel heard; but, at the end of the day, only incorporate the notes that resonate. The ones that, as soon as you hear it, you say to yourself, “yeah, I knew that was a problem”. The others, the ones that are out of left field and take your script away from your vision, don’t feel obligated to take them. But of course, be polite.

If you’re in a meeting, or on the phone with a producer or executive, and you’re unsure about one of their notes you can very tactfully say, “Let me look at that” and really mean it.  Really take a look and see if it works. If it does, great. If it doesn’t, don’t change the way you have it. But again, be tactful about it.

Here are 4 tips on whose screenwriting advice to take, who’s to ignore, and how to navigate it all:

1. Family

For the purposes of this post I’m going to assume your father isn’t Kemp Powers and your mother isn’t Diablo Cody. This is for all of the screenwriters out there whose family members are not in the industry and who have rarely (or maybe never) read a script. Feedback from family is typically always going to be positive because they love you and don’t want to hurt your feelings. (Unless of course, you have a terrible relationship with your family… but that’s for therapy, not this blog). Most times those “loving notes” don’t equal the critical feedback your script might need (especially if they don’t have a lot of experience critiquing screenplays). So, for most ‘family feedback’ situations I would suggest being grateful for the praise but aware of the dynamic. That being said, there’s always an exception to the rule: sometimes a ‘non-writer’ is the perfect person to spot structural, logical, or character-related script problems you overlooked. Which is why you shouldn’t ignore family feedback completely, just take it with a grain of salt.

2. Coverage Services

When most screenwriters are starting out they don't have access to industry insiders who will read their scripts and give them feedback. Enter the"coverage services” you pay for. These services are typically offered as an "add on" with a screenwriting competition or offered on screenwriting websites as a stand alone service. If you’re considering paying for coverage, be wary. Some are good, others not so much because you rarely if ever know who's actually reading your script. It could be an up-and-coming development executive, a fellow writer with a chip on his shoulder, or a bartender who’s looking to make a few extra bucks. This doesn’t mean don’t pay for coverage if you think it might be useful - it means maintain your perspective when you receive these notes. If they resonate with you, take them. If they don’t, ignore them. As I said, I tell all my screenwriting clients the same thing: if you know in your gut that the note is right, take it. If the note takes your script in a totally different direction than your vision, disregard. This is especially true with coverage services.

3. Fellow Screenwriters

This one can be tricky too. Yes, it’s true that fellow screenwriters are probably going to know more about writing than your Mom, and yes, a screenwriter will probably give your script the time and attentive read it deserves (especially if you agree to swap scripts and read theirs in return). But, even though they’re in the same “game” you are, it’s still important to take your peer’s feedback with a grain of salt. For one, even if they know as much about screenwriting as you do (or more) it doesn’t mean they always know what's best for your story.  Two, being objective can be hard, and some screenwriters (whether it’s intentional or not) project their personal taste onto your script. Three, jealousy happens. You’re going to encounter screenwriters who are envious of what you’re writing, how fast you’re writing it, and what you’ve achieved so far in your career. I’m not telling you to be paranoid or cynical - I know some screenwriters who swear by feedback from their fellow writers. But I am suggesting you be careful about who you share your scripts with and only incorporate notes that makes sense to you and your story. Toss out the rest.

4. Industry Pros

As soon as you start sending out your script to potential reps, producers, and development executives you are going to get feedback. It’s exciting! You worked hard to create a blazing hot script and finally people who might want to work with you or hire you are reading it. Of course you should take notes from industry professionals seriously, but just because notes are coming from someone who is currently employed in the entertainment industry (and who can employ you) doesn’t necessarily mean its right for your story. If someone is asking you to change the lead character of your female driven crime drama to a middle aged man - does that ring true for you? If you wrote a romantic comedy and they want you to take all the romance out and make it a horror flick - is that a story you want to tell? If your intuition is telling you a note doesn’t serve your story, or offends your personal morals or values you don’t have to incorporate it just because an executive told you to. That being said, consider everything. If someone reputable wants to help you develop your story, be open to shifting and changing but be clear what your boundaries are in terms of your creative vision (after all that’s why they want to work with you). Be nice, be a team player, but don’t completely sacrifice the unique perspective you’re bringing to the story just to please someone else… unless of course, they’re paying you a sh*t ton of money. In which case, you decide which is the better way to go.

What are your best practices for taking feedback constructively? Let me know @CaroleKirsch!