Screenwriting : Conflicting feedback! by Gavin D Walsh

Hi Gavin. Yes, there has been several great discussions about notes, however mostly within other related subject threads. I posted this not too long ago: https://www.stage32.com/lounge/screenwriting/Script-Notes-What-do-they-r.... Also, another thread regarding script consultants had fantastic commentary about notes/professional opinion: https://www.stage32.com/lounge/screenwriting/Script-consultant-or-script.... Or, you can easily do a subject search in the Lounge and all related threads will be shown. However, to answer your question, yes, I prefer to receive several reviews/notes on one script -- although only reviews from people who's opinions I trust; and opinions from those who can truly be objective and not subjective. For some that means peer reviews, or script consultants, or a mix of both. :) I posted the following within the note thread mentioned above: I came across a way, or perhaps an approach, to help a writer better discern notes after receiving feedback from several different intellectual and supportive sources. It is: take all the notes and group or organize the comments by story elements to better translate the issues. So, create a story element category list; premise, character, dialogue, antagonist, subplots, ancillary characters, narrative, structure, logic/world, theme, set up, resolution; then, break down the comments and place them under their respective categories. What do the notes have in common? Did every reviewer have the same issue with your script? Did only one reviewer not see a theme? Did an issue land in several categories for several reviewers? Now re-examine your premise. Are the problematic issues you've categorized related to the premise or the execution? The distinction is vital. I know this all sounds like a heavy-handed, overly-serious approach, but I have found it to be quite helpful, certainly before beginning the rewrite process. I try to receive at least three separate sets of notes on a script, then after the sting wears off, I lay them out next to each other and break them down. It is quite effective -- helps to better see the forest for the trees. :)

Hey Gavin, you'll find a lot of my comments in the 2nd thread that Beth referenced above about script consultants. When you get conflicting suggestions, I encourage you to ask "what's behind the note." Notes can be like tree branches, and they often trace back to the same tree trunk. Sometimes notes can be hastily written or just not well-written. So try to trace them back to a source. Or ask your readers why they are giving that note. I very often find that young readers have trouble translating what's really behind the note to the page, but when you talk to them, they will be able to better articulate the "real" note. (I realize it may not be possible to ask the person who wrote coverage for more feedback - another reason I'd recommend a professional script consultant over basic coverage.)

Thank you, both. I will take a look at these other threads. Thanks for taking the time to comment! :)

Closest I've been to this is Blacklist reads which technically aren't coverage but is considered professional feedback. The polarisation was remarkable, genuine love and hate. It basically messed me up for a long time and sent me in circles. Therefore I echo what Beth and Regina have stated. Particularly Regina's point about using a professional consultant over fire and forget feedback. Generally speaking, I steer toward feedback from those who clearly see the good in my writing and want to see the script improve.

Thank you, CJ. I don't think I'll be seeking feedback from more than one consultant. Not on this occasion anyway.

Sure did Gavin. The exact same script on which I received a "Full Consider" from 1 well-known consultant received a WTF? from another well-known consultant. And what the first person really liked is what the 2nd person hated. Sometimes it comes down to personal taste. But don't despair. Learn what you can. Make the script as good as you can. And know that even if 20 studios reject your script, all it takes is 1 to accept it.

It's no different than two movie critics or restaurant critics disagreeing. I would be way happier with one with good notes rather than both with bad. I have a TV show idea and one said my (written pitch) was well written but they just didn't have a need for that type of show.

I certainly echo what CJ Walley said about the Blacklist -- I often get diametrically opposed opinions. And also between the Blacklist and other sources. I've had two scripts in the top 50 of the Nicholl that did not do all that well with the Blacklist readers. But I always try to get a lot of opinions, even though it can be gut-wrenching and incredibly annoying. As Beth Fox Heisinger pointed out, watch for the things that almost everyone is telling you. That means something. And I agree with Regina Lee that you should consider what's "behind the note," and unfortunately that also sometimes includes things like the reader's personal career frustration and the fact that you may have thrown the reader something he or she has never seen before.

Thank you, both. I like that, Tom. I totally get that not everyone is going to like the same ideas. After all, we don't all like the same movies. There's bound to be a difference of opinion if several consultants give coverage. I definitely think I'll be sticking with the one, lol. And yes, Laurie. I totally get your comparison, too. And I'm sure if you have already had positive feedback on your written pitch from one producer, then another producer will be looking for the type of show you have written. And with that I wish you good luck. :)

Thank you, Richard. I appreciate your post. :)

Different people are always going to react to scripts in different ways. However, this question of notes arising from "personal taste" is exactly where so many readers go wrong. If you're trying to enter the Hollywood market, the best notes are objective, not subjective. The best analysis of a project's market potential is objective, not subjective. If you are entering the Hollywood market, you should be looking for objective feedback. (If you're completely indie, and not relying on the market for financing, distribution, casting, etc., then you have the freedom to do whatever you want.) For example, Story Analysts employed by studios are paid to write coverage and story notes that are driven by the Hollywood mainstream marketplace, not arising from their own personal taste.