You're not always going to get positive feedback. I've gotten feedback that wasn't positive, that's pretty much a given in this business but feedback, negative and positive, is what helps push your script to the next level. You have to be open to both. Like Craig said, it's a marathon, not a sprint.
Like Krista said, you need feedback, it's the only way you're going to grow and improve and you can't just ignore negative feedback because you don't like it. Use that negative to improve your writing to the positive stage and until you start receiving positive feedback you're simply throwing money away when you pitch at this stage.
All feedback, good, bad, indifferent is good. Maybe the guy knows what he's talking about, maybe he doesn't. Feedback is not supposed to be an atta-boy feel good pat on the head or a soothing ego stroke. Work your way up to some professional feedback and toughen up your hide.
I'm going to go against the tide here and talk from my own experience.
If you're highly sensitive to feedback then tough love is the last thing you need to maintain your motivation and progress. Beside the fact that most peers/consultants/services will fail to give you sound advice, you're going to make yourself vulnerable to trolls and you're going to take any negative comments like a sledgehammer.
I hear a lot of this "toughen up" "grow a thick skin" stuff and I don't think people appreciate how toxic that can be for those right at the bottom who are lost and often need writing (and to feel their writing is good) to survive. I've been that writer on suicide watch after harsh feedback. We don't talk about this enough.
I've also watched two talented writers on here give up after receiving "critical feedback". One paid a well known consultant for guidance and the other had an infamous troll on DoneDealPro convince them they needed their advice and tore into their work.
We don't acknowledge just how wilfully cruel, predatory, and self-serving much of the break in scene is. In all fairness, many of us have managed to slip by it, broke in earlier on, or have simply forgotten what it's like. It's absolutely horrific and it costs us talent on a daily basis.
Artists are precious and delicate yet we've industrialised the system to be cold and cutthroat.The big joke is that the advice dished out in the name or harsh truth is all too often complete garbage because it's spouted by those who are failing and want to knock others down to build themselves up. This is the sad reality. We tell those starting at this to set off on their journey, wave them away, and turn our backs not realising that the first thing they'll run into is a troll under a bridge.
The books are the preparation. For crying out loud, read the books! Read the blogs too. Watch the interviews. There's so much free or low-cost advice out there from successful screenwriters that you can apply directly into craft and business understanding. Reading is the fastest way to digest information. Improving craft will lead to improving every script written thereafter. Understanding the business will clear the fog ahead. At least do this before anything else. If someone wants to use a consultant, fine, but give them something well developed so they don't have to explain any basics.
What I do agree with is that pitching in this position is foolhardy, not only in terms of likely success rate but also in terms of well-being. Pitching/entering competitions/buying evaluations in desperation is a one-way ticket to writer madness and heading backwards.
The loop is simple;
Research
Practice
Broadcast
Research knowledge on the craft, the business, the market and put it into practice writing and developing your voice. Get out there, network and offer up what you have. Pour those results back into your research and just keep doing that. Maybe you'll learn about a model that makes story structure just click for you, you'll write something with a new passion, and option a short to a student filmmaker you've connected with. Great. Now you repeat and hopefully go up a level each time. A positive upward spiral paying your dues and earning your stripes.
You want to get yourself into a position where your knowledge and successes (however minor) become like a shield of objectivity. Criticism will still hurt, even if you know when its malicious, but you'll be able to better determine its value to you.
I'll add this too. Script Revolution is not a feedback site. I've actively stopped that happening. I do not think writers should be getting feedback from strangers on the internet. I know it can do more harm than good. Please do not sit and wait for that on there. Read the blogs, the Turn & Burn guide, and check out the books recommended within that.
I can vouch for Pierre Langenegger though and keep in mind I usually despise anybody calling themselves a consultant.
Wow, CJ Walley, you nailed it. This is the best thing I have heard anyone say about feedback/criticism. And it totally resonates. Thanks for saying this!
Lotsa good advice here. I'll add mine (I'm a guy who's been writing for 20+ years, made some money, still working a day job): put that script in a drawer and write another. Then another, and another. The fifth script will likely be the first one good enough to get interest.
Tasha Lewis I want to do a pitch but some are telling me to get feedback. Well some are saying to wait for the right time. Others are saying I shouldn't want feedback because it can hurt my drive.
Enter the Stage 32 Logline contest that covers all of that while you decide. You can also conduct a focus group and get feedback. Alternatively, you can practice in the mirror.
Pierre Langenegger honestly Pierre, Cj was right about the feedback. It does hurt a screenwriter. Some of your notes are useful and some make it feel like my story is being picked apart cut out for a autopsy. Screenwriter's put their whole lives into it and it hurts them.
Nicholas P Again, sorry, but if feedback hurts you, you're in the wrong biz. Yes, we put our hearts into our work, but that work doesn't define us. To have a Career in this biz, rather than a one-off sale, you gotta have a thick skin - EVERYONE will give feedback, asked for or not. And sometimes it will seem personal (rather than just about the story) and you have to shrug. it off.
And NO screenplay is 100% ready - this is a collaborative business, as well as a BUSINESS. It WILL get changed.
Unless you plan on financing, acting, shooting, directing and editing the thing all by yourself - it WILL be altered.
Just to clarify, I'm not advising the avoidance of feedback or suggesting it is, by default, a bad thing.
All I'm really saying is that "feedback" is a very ambiguous term for something that has a massive variance in quality and usefulness.
It's absolutely possible to receive high quality feedback that's bespoke to our situation and motivates us to continue. It is however very hard to find that.
Feedback really needs to be orientated toward craft, commerciality, or logistics. The problem is, the feedback that comes the easiest, or even uninvited, rarely covers any of that. It's just someone's subjective opinion on the material often muddled in with some backward views of what the industry does and doesn't want to see.
I can pretty much list all the feedback I got before I landed my first assignment;
Some Black List evaluations.
Table Read My Screenplay feedback.
Nicholl Screenwriting Competition feedback.
I did a couple of peer reviews on DDP.
I did a couple of peer reviews here.
A few reviews on the old Amazon Studios website.
Unsolicited feedback on Simply Scripts.
Unsolicited feedback on Reddit.
Unsolicited feedback from a friend.
That's all I ever got, much of it unrequested, and I can say that there was nothing of any real use to me within any of it. There was nothing there to help improve my craft. There was nothing there to improve the script's chances in the marketplace. There was nothing there coming from a knowledge of making films. There was however a lot of really discouraging remarks and advice that, in some cases, took me backwards because people where projecting their fear and ignorance onto me.
What was really powerful though was the odd person or organisation effectively saying "Hey, you know what? You're alright at this." That's all the feedback I ever needed. Just a bit of validation. That motivated me to keep reading up on the theory and keep executing the practice. That helped me to commit to another year of sustained effort. That helped me become objectively strong and sure about my direction rather than confused and lost.
Those people that were mean to me, attacked my work, and told me I didn't have what it takes. I've watched them go nowhere since.
So just be realistic and seek out those tiny wins. They all add up and become bigger and bigger wins over time. Keep a log of every positive thing that happens. Stop waiting for a mentor and go out and find multiple via their books, blogs, and videos. You have to be a self starter.
This feed makes me feel lucky, so far I haven't gotten any feedback telling me I suck or that my script totally sucks et al. One feedback I got was not great but it was right. I may or may not try to save that story. I have enough scripts to work on from the fresh start point.
I had a Black List reader give a script a 2 with the comment it will never get made.
It was produced the next year as a short.
Mark Vincent (aka Sundowninretreat on DDP) told me I should give up because I had never made the semi-finals of a competition.
A script of mine was featured by Amazon Studios shortly after.
Jeff Bush (aka Dreamscale on Simply Scripts) told me my writing was bad.
I optioned my first feature script that fall.
A prominent member here said I was a bad writer.
I got my first feature assignment soon after that.
Each time it destroyed me and nearly caused me to quit everything but something came along and gave me faith in myself. Then I came to learn quitting wasn't an option anyway.
I also read about my heroes. They were all torn down, took it badly, but kept fighting.
I wear my vulnerability as an artist as a badge of honour and I'm not servile to anybody. I'm here to represent the writing and will fight its corner. That said, my experience of the industry is that it's far kinder than the break-in community. I found that openly talking about that vulnerability attracted industry members to work with me.
Something I've come to learn and accept is that, the stronger your voice and more you stand out, the more likely you're going to hit resistance from those who feel challenged by it.
This is all partly why Script Revolution is focused around education and growing an audience over gaining peer feedback.
CJ Walley I agree with you. I had a reviewer go page for page with notes and on about 4 notes mentioned how funny the joke was on that page. Then in summary says it doesnt work as a comedy and its not funny. Im like you mentioned four times you found portions amusing. IMO if you laugh at least once or twice at a sitcom in a 30 minute format then the show is doing its job. Some of the greatest comedies ever dont have you knee slapping the entire show, there has to be story too.
In my 'umble opinion, passive script listing services are not the way to get your material in front of producers. Like everything else worthwhile in life, trying to sell a script is about acquiring an education as well as great writing. What do I mean by that? You need to do the research on the optimum ways to get your material in front of industry people. You may want to try to get your feet wet by using a couple of paid services like Stage 32 and Virtual Pitch Fest. I'm not saying part with a lot of money, I'm saying try a couple of pitches and don't spend more than a C-note; and see what kind of feedback you get on your script.
There are also free sources advertising for screenplays such as Infolist.com. This source is recycling ads that you would normally pay for at Inktip.com. I've never received any action for. script that I've listed. I have received many script requests by answering ads. That includes two this week.
Nick, as long as you've still got the fire in you, keep writing...and keep working on your scripts to make them shine. Keep fighting to get better.
I know you can.
I joined Stage 32 in January 2019; I put my first four REAL scripts up by the end of the month and thought I was ready to pitch.
Man, was I pure-dee wrong!
In fact, I felt so stung about the responses I got that I threatened not to come back to 32 until ALL my scripts were perfect. But I told myself that if I wanted to succeed in this marathon called screenwriting, I'd have to buckle down and do the work.
Since then, I've been reading other people's scripts, checked out online articles about improving the craft, and I've been writing every moment I can (when not working my paying job as a machine operator in a plastics factory).
I'm now up to twelve screenplays; they're not only here on Stage 32, but also on Script Revolution and Network ISA...and I still keep trying to get them up to snuff.
I had a chance to read "Issues," and as soon as things slow down for me, I'll read it again.
You've got something original...just keep working on it.
Don't give up.
I'm rooting for you...and wishing you all the VERY BEST. Glad you're on Stage 32!
Will you be entering a competition? Once you get your feedback, time to rewrite again. Even when we think our script is 100%, we can have others take a look and find another 20% or more that we can refine. I know BLUE MYST ROAD went from a 126 page screenplay to 120 after I received some notes from a competition. It strengthened what I already had and shaved off some more fat.
Nick, who says your script is ready and set to go? Maybe it is; maybe it isn't. But you're not the one to say. You've put a lot of time and effort into it - for which you ought to feel rightly proud - but the reality is that it's not your decision to make The real decision maker is the studio Reader. That's the person who will judge your script's worthiness. The Reader will pass judgement to pass, consider or recommend your script to the Producer. Not you.
A testimony of overcoming In Luther Vandross's biography, he was boo off the Apollo countless times and rejected by various studios. He made a significant part of his fortune from jingles and singing backup. We all know how successful he turned out to be.
Nicholas P, my apologies if you felt my notes were picking on your work and making you feel bad, that was absolutely NOT my intention. I tried to make them as constructive as possible to help you move forward where I felt it needs work. If you're offended, I apologize. If you'd like to talk to me off-line, please do so. If you'd like to highlight any particular comments that you didn't like, please let me know.
My intention is to help writers, not criticize their work or denigrate them.
Pierre Langenegger I'm sorry. I know you are only trying to help. What might help is that you read the whole script for me. Maybe I can fix it with your input. Maybe the first ten pages were not as good as the rest.
Pierre Langenegger Honestly the nick rivers character has been used but it is a different nick. I read the characters occupation and it does not match up. Nick is a homeless man, not a totti frotti singer. Shelly is not a gangster but a racketeer. She only has one friend. Joy is a trafficked victim, not a prostitute. Nothing against you.
Jim Boston Thank you for your kind words. I really just want people to enjoy issues. I'm currently working on the second script. Possibly on the third soon.
It's true that full script notes will look at the story as a whole instead of just the first ten pages however the notes, proofreading and editing are services that I provide for clients and it would be unfair to them if I provide them to you for free. I sometimes choose to provide a free "sample" on the first ten but that's all I can for free, unfortunately.
Absolutely no problems, Nick. No offense taken, and always happy to field any questions if you want to through them my way. We're connected so you can always send me a pm/dm if you like.
*Typo - "throw them my way". See, first drafts always have them.
Register / Log In
2 people like this
So what is the issue?
William Martell looking for the person to pitch it to.
1 person likes this
There are a million of us and only a small
number of them.
scriptrevolution.com
People will come and read it.
Craig D Griffiths Yeah I know. I been checking my statistic's. So far one has downloaded my screenplay
3 people like this
You’ll have to develop your marathon muscle. It feels like you’ve trained for a sprint.
Take all that excitement and energy and channel it into another script.
Have you received any feedback on your script? Do you have an idea of where your story stands when compared to similar stories?
all the best!
Thanks John.
Pierre Langenegger I have looked at the comparisons and my story is original.
Adite Banerjie thank you.
Nicholas P I recommend you email Nick Assunto and ask him for recommendations for whom to pitch.
2 people like this
I strongly recommend you get some feedback on your script before you start spending money on pitching.
Pierre Langenegger the last time I asked for feedback, the guy wasn't very nice and didn't give me positive feedback.
2 people like this
You're not always going to get positive feedback. I've gotten feedback that wasn't positive, that's pretty much a given in this business but feedback, negative and positive, is what helps push your script to the next level. You have to be open to both. Like Craig said, it's a marathon, not a sprint.
3 people like this
Like Krista said, you need feedback, it's the only way you're going to grow and improve and you can't just ignore negative feedback because you don't like it. Use that negative to improve your writing to the positive stage and until you start receiving positive feedback you're simply throwing money away when you pitch at this stage.
2 people like this
All feedback, good, bad, indifferent is good. Maybe the guy knows what he's talking about, maybe he doesn't. Feedback is not supposed to be an atta-boy feel good pat on the head or a soothing ego stroke. Work your way up to some professional feedback and toughen up your hide.
1 person likes this
Krista Crawford I can be my biggest critic
Pierre Langenegger I'm trying to wait until someone does read it and give me feedback
Doug Nelson I'm waiting for feedback, patiently
If you give me a couple of days I'll give you feedback on your first 5 pages or so.
Pierre Langenegger I can do that. I already talked to Nick. I can hold off until the end of this month.
No problems, Nick. It will be constructive feedback.
11 people like this
I'm going to go against the tide here and talk from my own experience.
If you're highly sensitive to feedback then tough love is the last thing you need to maintain your motivation and progress. Beside the fact that most peers/consultants/services will fail to give you sound advice, you're going to make yourself vulnerable to trolls and you're going to take any negative comments like a sledgehammer.
I hear a lot of this "toughen up" "grow a thick skin" stuff and I don't think people appreciate how toxic that can be for those right at the bottom who are lost and often need writing (and to feel their writing is good) to survive. I've been that writer on suicide watch after harsh feedback. We don't talk about this enough.
I've also watched two talented writers on here give up after receiving "critical feedback". One paid a well known consultant for guidance and the other had an infamous troll on DoneDealPro convince them they needed their advice and tore into their work.
We don't acknowledge just how wilfully cruel, predatory, and self-serving much of the break in scene is. In all fairness, many of us have managed to slip by it, broke in earlier on, or have simply forgotten what it's like. It's absolutely horrific and it costs us talent on a daily basis.
Artists are precious and delicate yet we've industrialised the system to be cold and cutthroat.The big joke is that the advice dished out in the name or harsh truth is all too often complete garbage because it's spouted by those who are failing and want to knock others down to build themselves up. This is the sad reality. We tell those starting at this to set off on their journey, wave them away, and turn our backs not realising that the first thing they'll run into is a troll under a bridge.
The books are the preparation. For crying out loud, read the books! Read the blogs too. Watch the interviews. There's so much free or low-cost advice out there from successful screenwriters that you can apply directly into craft and business understanding. Reading is the fastest way to digest information. Improving craft will lead to improving every script written thereafter. Understanding the business will clear the fog ahead. At least do this before anything else. If someone wants to use a consultant, fine, but give them something well developed so they don't have to explain any basics.
What I do agree with is that pitching in this position is foolhardy, not only in terms of likely success rate but also in terms of well-being. Pitching/entering competitions/buying evaluations in desperation is a one-way ticket to writer madness and heading backwards.
The loop is simple;
Research
Practice
Broadcast
Research knowledge on the craft, the business, the market and put it into practice writing and developing your voice. Get out there, network and offer up what you have. Pour those results back into your research and just keep doing that. Maybe you'll learn about a model that makes story structure just click for you, you'll write something with a new passion, and option a short to a student filmmaker you've connected with. Great. Now you repeat and hopefully go up a level each time. A positive upward spiral paying your dues and earning your stripes.
You want to get yourself into a position where your knowledge and successes (however minor) become like a shield of objectivity. Criticism will still hurt, even if you know when its malicious, but you'll be able to better determine its value to you.
I'll add this too. Script Revolution is not a feedback site. I've actively stopped that happening. I do not think writers should be getting feedback from strangers on the internet. I know it can do more harm than good. Please do not sit and wait for that on there. Read the blogs, the Turn & Burn guide, and check out the books recommended within that.
I can vouch for Pierre Langenegger though and keep in mind I usually despise anybody calling themselves a consultant.
2 people like this
CJ Walley Nicely said. Thank you CJ. I also thought about what you said about my own audience. Having it I mean.
2 people like this
Hey CJ nice post on the whole banana of this crazy endeavor of madness.
2 people like this
Wow, CJ Walley, you nailed it. This is the best thing I have heard anyone say about feedback/criticism. And it totally resonates. Thanks for saying this!
1 person likes this
Thanks, CJ Walley , I appreciate the vouch.
1 person likes this
Lotsa good advice here. I'll add mine (I'm a guy who's been writing for 20+ years, made some money, still working a day job): put that script in a drawer and write another. Then another, and another. The fifth script will likely be the first one good enough to get interest.
Not trying to be harsh, just realistic.
2 people like this
Love CJ's reply on feedback!
John Ellis To me, it's not about making money, it's about the experience. I want to see my craft come to life.
Pierre Langenegger It's alright to get a little feedback.
What are you asking?
Tasha Lewis I was saying that my screenplay is a 100 percent ready.
What are your next steps?
Tasha Lewis I want to do a pitch but some are telling me to get feedback. Well some are saying to wait for the right time. Others are saying I shouldn't want feedback because it can hurt my drive.
Hey Nick, I added some notes to your Logline page. Let me know what you think.
Enter the Stage 32 Logline contest that covers all of that while you decide. You can also conduct a focus group and get feedback. Alternatively, you can practice in the mirror.
https://www.webtalk.co/n/5426478
Pierre Langenegger honestly Pierre, Cj was right about the feedback. It does hurt a screenwriter. Some of your notes are useful and some make it feel like my story is being picked apart cut out for a autopsy. Screenwriter's put their whole lives into it and it hurts them.
Nicholas P Again, sorry, but if feedback hurts you, you're in the wrong biz. Yes, we put our hearts into our work, but that work doesn't define us. To have a Career in this biz, rather than a one-off sale, you gotta have a thick skin - EVERYONE will give feedback, asked for or not. And sometimes it will seem personal (rather than just about the story) and you have to shrug. it off.
And NO screenplay is 100% ready - this is a collaborative business, as well as a BUSINESS. It WILL get changed.
Unless you plan on financing, acting, shooting, directing and editing the thing all by yourself - it WILL be altered.
Just to clarify, I'm not advising the avoidance of feedback or suggesting it is, by default, a bad thing.
All I'm really saying is that "feedback" is a very ambiguous term for something that has a massive variance in quality and usefulness.
It's absolutely possible to receive high quality feedback that's bespoke to our situation and motivates us to continue. It is however very hard to find that.
Feedback really needs to be orientated toward craft, commerciality, or logistics. The problem is, the feedback that comes the easiest, or even uninvited, rarely covers any of that. It's just someone's subjective opinion on the material often muddled in with some backward views of what the industry does and doesn't want to see.
I can pretty much list all the feedback I got before I landed my first assignment;
Some Black List evaluations.
Table Read My Screenplay feedback.
Nicholl Screenwriting Competition feedback.
I did a couple of peer reviews on DDP.
I did a couple of peer reviews here.
A few reviews on the old Amazon Studios website.
Unsolicited feedback on Simply Scripts.
Unsolicited feedback on Reddit.
Unsolicited feedback from a friend.
That's all I ever got, much of it unrequested, and I can say that there was nothing of any real use to me within any of it. There was nothing there to help improve my craft. There was nothing there to improve the script's chances in the marketplace. There was nothing there coming from a knowledge of making films. There was however a lot of really discouraging remarks and advice that, in some cases, took me backwards because people where projecting their fear and ignorance onto me.
What was really powerful though was the odd person or organisation effectively saying "Hey, you know what? You're alright at this." That's all the feedback I ever needed. Just a bit of validation. That motivated me to keep reading up on the theory and keep executing the practice. That helped me to commit to another year of sustained effort. That helped me become objectively strong and sure about my direction rather than confused and lost.
Those people that were mean to me, attacked my work, and told me I didn't have what it takes. I've watched them go nowhere since.
So just be realistic and seek out those tiny wins. They all add up and become bigger and bigger wins over time. Keep a log of every positive thing that happens. Stop waiting for a mentor and go out and find multiple via their books, blogs, and videos. You have to be a self starter.
1 person likes this
This feed makes me feel lucky, so far I haven't gotten any feedback telling me I suck or that my script totally sucks et al. One feedback I got was not great but it was right. I may or may not try to save that story. I have enough scripts to work on from the fresh start point.
1 person likes this
I had a Black List reader give a script a 2 with the comment it will never get made.
It was produced the next year as a short.
Mark Vincent (aka Sundowninretreat on DDP) told me I should give up because I had never made the semi-finals of a competition.
A script of mine was featured by Amazon Studios shortly after.
Jeff Bush (aka Dreamscale on Simply Scripts) told me my writing was bad.
I optioned my first feature script that fall.
A prominent member here said I was a bad writer.
I got my first feature assignment soon after that.
Each time it destroyed me and nearly caused me to quit everything but something came along and gave me faith in myself. Then I came to learn quitting wasn't an option anyway.
I also read about my heroes. They were all torn down, took it badly, but kept fighting.
I wear my vulnerability as an artist as a badge of honour and I'm not servile to anybody. I'm here to represent the writing and will fight its corner. That said, my experience of the industry is that it's far kinder than the break-in community. I found that openly talking about that vulnerability attracted industry members to work with me.
Something I've come to learn and accept is that, the stronger your voice and more you stand out, the more likely you're going to hit resistance from those who feel challenged by it.
This is all partly why Script Revolution is focused around education and growing an audience over gaining peer feedback.
2 people like this
CJ Walley I agree with you. I had a reviewer go page for page with notes and on about 4 notes mentioned how funny the joke was on that page. Then in summary says it doesnt work as a comedy and its not funny. Im like you mentioned four times you found portions amusing. IMO if you laugh at least once or twice at a sitcom in a 30 minute format then the show is doing its job. Some of the greatest comedies ever dont have you knee slapping the entire show, there has to be story too.
2 people like this
Nick:
In my 'umble opinion, passive script listing services are not the way to get your material in front of producers. Like everything else worthwhile in life, trying to sell a script is about acquiring an education as well as great writing. What do I mean by that? You need to do the research on the optimum ways to get your material in front of industry people. You may want to try to get your feet wet by using a couple of paid services like Stage 32 and Virtual Pitch Fest. I'm not saying part with a lot of money, I'm saying try a couple of pitches and don't spend more than a C-note; and see what kind of feedback you get on your script.
There are also free sources advertising for screenplays such as Infolist.com. This source is recycling ads that you would normally pay for at Inktip.com. I've never received any action for. script that I've listed. I have received many script requests by answering ads. That includes two this week.
Best of luck to you.
1 person likes this
Nick, as long as you've still got the fire in you, keep writing...and keep working on your scripts to make them shine. Keep fighting to get better.
I know you can.
I joined Stage 32 in January 2019; I put my first four REAL scripts up by the end of the month and thought I was ready to pitch.
Man, was I pure-dee wrong!
In fact, I felt so stung about the responses I got that I threatened not to come back to 32 until ALL my scripts were perfect. But I told myself that if I wanted to succeed in this marathon called screenwriting, I'd have to buckle down and do the work.
Since then, I've been reading other people's scripts, checked out online articles about improving the craft, and I've been writing every moment I can (when not working my paying job as a machine operator in a plastics factory).
I'm now up to twelve screenplays; they're not only here on Stage 32, but also on Script Revolution and Network ISA...and I still keep trying to get them up to snuff.
I had a chance to read "Issues," and as soon as things slow down for me, I'll read it again.
You've got something original...just keep working on it.
Don't give up.
I'm rooting for you...and wishing you all the VERY BEST. Glad you're on Stage 32!
Will you be entering a competition? Once you get your feedback, time to rewrite again. Even when we think our script is 100%, we can have others take a look and find another 20% or more that we can refine. I know BLUE MYST ROAD went from a 126 page screenplay to 120 after I received some notes from a competition. It strengthened what I already had and shaved off some more fat.
Nick, who says your script is ready and set to go? Maybe it is; maybe it isn't. But you're not the one to say. You've put a lot of time and effort into it - for which you ought to feel rightly proud - but the reality is that it's not your decision to make The real decision maker is the studio Reader. That's the person who will judge your script's worthiness. The Reader will pass judgement to pass, consider or recommend your script to the Producer. Not you.
A testimony of overcoming In Luther Vandross's biography, he was boo off the Apollo countless times and rejected by various studios. He made a significant part of his fortune from jingles and singing backup. We all know how successful he turned out to be.
1 person likes this
Nicholas P, my apologies if you felt my notes were picking on your work and making you feel bad, that was absolutely NOT my intention. I tried to make them as constructive as possible to help you move forward where I felt it needs work. If you're offended, I apologize. If you'd like to talk to me off-line, please do so. If you'd like to highlight any particular comments that you didn't like, please let me know.
My intention is to help writers, not criticize their work or denigrate them.
1 person likes this
Pierre Langenegger I'm sorry. I know you are only trying to help. What might help is that you read the whole script for me. Maybe I can fix it with your input. Maybe the first ten pages were not as good as the rest.
Pierre Langenegger Honestly the nick rivers character has been used but it is a different nick. I read the characters occupation and it does not match up. Nick is a homeless man, not a totti frotti singer. Shelly is not a gangster but a racketeer. She only has one friend. Joy is a trafficked victim, not a prostitute. Nothing against you.
Jim Boston Thank you for your kind words. I really just want people to enjoy issues. I'm currently working on the second script. Possibly on the third soon.
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It's true that full script notes will look at the story as a whole instead of just the first ten pages however the notes, proofreading and editing are services that I provide for clients and it would be unfair to them if I provide them to you for free. I sometimes choose to provide a free "sample" on the first ten but that's all I can for free, unfortunately.
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Pierre Langenegger Thank you for your services. The best thing I can do is proofread it myself. Please forgive my attitude. It's been a long week.
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Absolutely no problems, Nick. No offense taken, and always happy to field any questions if you want to through them my way. We're connected so you can always send me a pm/dm if you like.
*Typo - "throw them my way". See, first drafts always have them.
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Pierre Langenegger will do
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Good Luck. Writing it is the easy part. Now is when things get tough.
Take all this feedback and commentary and create a notebook on your script to assist with readiness.