Screenwriting : Questionable Script Feedback from a Film Festival by Melanie Star Scot

I've experienced this, Melanie Star Scot. I think it's certain readers.

Thanks Maurice Vaughan I'm glad I'm not alone in this. But it's happened to me several times in the last year and from completely different places. It's happened enough times now that I'm questioning if anyone really reads the scripts and wondering if I should bother with any of it right now or just focus on getting my script into the hands of producers, lit management companies, etc.

You're welcome, Melanie Star Scot. My favorite screenplay reading service is Screenplay Readers. I don't think you would have this issue with them. Do you think your script is strong enough to submit to producers, etc. without script coverage?

Maurice Vaughan I do. I've had over 30 people from all over the country read the script, most of whom are not in the industry. Every one of them came back with excitement and positive feedback and said they couldn't wait to hear what happens next and that they'd definitely watch this show. I've never heard of Screenplay Readers. I will check them out based on your recommendation. Thanks for the tip!

The reality is a lot of contest readers are getting a small fee for reading your script and may not be doing the most thorough job reviewing the material. And, as somebody that was a judge for the. New York Midnight Screenwriting Contest, I know it can be a chore to slog through a mediocre or terrible script. So even though you may be paying for coverage, your judge or reader is probably under the gun to read a lot of screenplays in a short time period. So I'm not surprised to hear about your recent experience.

Sadly, some contests don't even pay their readers at all! I've read for a fair few festivals, some of which I would be dubious submitting to, knowing how they approach reading scripts and feeding back to writers. Sorry you had bad experience with one of the better ones Melanie.

I used a freelancer, working solo, for coverage. It was my first script, and I felt I needed professional eyes on it. She was great. Nothing flashy, just careful notes on what worked and what didn't work. And, of course, I had made several novice errors, which she pointed out.

Once those were ironed out and I had done several rewrites, I submitted to some coverage service. It was obvious from the notes that the person had skimmed. He got names and relationships wrong, for example. Basic stuff.

Long story short, I wouldn't waste money on anonymous coverage. Also, the definition of "professional" has become distinctly wobbly in recent years.

My understanding is that, with or without feedback, most of these contests are readily dismissed by the majority of industry execs, probably because they know how they work behind-the-scenes. Only exceptions are the ones they consider major (like Nicholl Fellowships etc.) which means for most writers, it is ultimately a waste of time and money. My TV pilot script was a quarterfinalist in the Los Angeles International Screenplay Awards, but I doubt it will make any difference when pitching even if it won, because who knows who makes that call and based on what criteria. For now, I'm sticking to Stage32's coverage service because at least I know the scripts are actually read and there's a name and face attached to those notes.

Juan Seattle Thanks for that. You pretty much nailed the scenario I had in my head regarding this "reader" and this experience. And I get it. I really do. It can be miserable to trudge through a bunch of scripts and especially bad or predictable ones. I was a screener for films for a film festival once and it was TOUGH. But I really expected much better from this particular festival with a good name who made so many promises. It really hammers home to me that festivals just are not worth it. Surely I can find better, more effective ways to spend my money to "boost" my script.

Christiane Lange Thanks for sharing your experience. I didn't mention in my original post that earlier this year, I used Script Services here on Stage 32 and got Sara Ray of Barbara Halls' office for "coverage". She was absolutely wonderful. It was 100% clear that she went through my script with a fine toothed comb and understood everything about it. She actually amazed me with how well she knew my story and characters. She loved my script but also gave me invaluable coaching and I made many changes in my script because of it. I did two sessions with her - one for my script and one for my pitch deck and it was a great experience, extremely helpful and well worth every penny. In the end, she said it was in great shape and she felt it was ready to pitch. Everything I've read says that when you're good or have a good script, the industry will FIND YOU. So I guess, in my attempt to get it out there and get "stamps of approval" on it, I tried the festival route and now I know that's just not the way.

@Mohammed Isa Excellent point. I hadn't thought about it until I was responding to Christiane (above) but I did use Script Services here at Stage 32 earlier this year on my script and it was a fantastic experience - thorough, helpful and professional.

Maurice Vaughan - I hadn't thought about it until I was typing a response to Christiane (above) but I did use Script Services here at Stage 32 earlier this year on this same script. It was a fantastic experience. She loved my script but also gave me invaluable coaching. I made many updates to my script because of it. I used her for two sessions - one for my script and one for my pitch deck. In the end, she said it was great, she would recommend it and it was ready for pitching. I considered her services as coaching but I guess it also falls under "coverage" and anytime I've pitched it since then, I definitely lead off with her recommend of my script.

A few years back, many people (including myself) tried to warn screenwriting communities the competition scene was spiralling out of control and becoming increasingly predatory as it was becoming far too easy to set a "festival" up overnight and hand out meaningless awards, often with the option to purchase bottom dollar feedback.

We warned that it would turn competitions into gambling, exploit the most vulnerable, and send writers backwards rather than forwards on their journey.

It was a pointless battle because the vast majority of aspiring screenwriters wanted their fantasy to be true. They wanted to believe that throwing $50-$150 at an entry ticket might result in a lottery win and, at worst, some high quality feedback they could reinvest into their writing.

And now we're here with over two thousand completely unregulated competitions/festivals to choose from where the amateur writers are getting notes from other amateur writers.

While some of the options out there are outright scams, it's mostly just crappy. Competitions were always a crappy way to curate content that put writers through the grinder in the process.

The problem is, despite so many people going in circles, writers still push other writers into entering them and buying feedback with the claims they are "legit" outfits giving "solid" notes through which, if you place highly, you will become a known entity in Hollywood. It's mostly complete nonsense and sadly now almost impossible to counter.

There are a few better ones out there like Nicholl, Austin, and those run by Stage 32 but nothing compensations for reading the books in my opinion.

Thanks Juan Seattle ! I'll check it out.

my 2cents advice... worth 1cent. ppl's mindset is wrong. They're looking at contests to sell their scripts - wrong. Maybe focus on contests to launch careers, get signed. The folks I listen to all write for someone else, generally; They used their contest specs to get meetings, paid assignments, staff jobs.

Same as making short movies. They are all samples. Auditions.

That happened to me twice with script coverage (not contests). Needless to say, I never used them again and moved on.

@Dan MaxXx Yep. I have four shorts under my belt. They were invaluable experiences but they're sitting and collecting dust, too. I would love to know how to start putting them to use to springboard my career as well.

@JerryRobbins So sorry to hear that.

Melanie, I'm with you!

Five months ago, I decided to stop entering screenwriting contests after receiving feedback from the judges of We Screenplay's 2021 Diverse Voices screenwriting competition.

We Screenplay's judges found no reason to advance "Pixie Dust" into the quarterfinal round...despite it resonating with people here on Stage 32 and on Script Revolution.

Oh, sure, the judges opened their critique with flattery, saying how they'd like to see the script made into a movie someday. But the same judges tried to get me to shift the credit for the car restoration project from Gunilla to the two leads...Cindy and Huck. And the arbiters thought Johanna's main instrument was the organ. (It wasn't. Her main axe was her $30,000 pedal harp.) And, of course, the judges got me for the Myriad Twelve's jam session: "Be warned that using music in a movie is very expensive."

Little things like that from We Screenplay's reviewers got my goat.

I'm happier with feedback from peers here at 32 and on SR. It's done me a whole lot more good than anything contest readers can contribute.

Plus: I've never reached the quarters in ANY script contest I've entered.

Melanie, I wish you all the VERY BEST...and I'm glad you're here on 32!

This happened to me with recent Stage 32 coverage. It's happened elsewhere. I don't bother with contests and I dislike cheap coverage. Reader pay is often too low. I'd prefer to pay extra for quality, but quality coverage is rare. I don't enter contests and I wouldn't pay for contest coverage. I've read some posted and I'm horrified at how poor it is. Sometimes I wonder if they've ever read a script before, yet the people they read for will tell you they only selet the best of the best. Scary sometimes.

I have a pilot script that is being possibly greenlit... received nothing but double recommends on Stage 32 for the last year.. and has received nothing but praise... it has never placed in any contest that I've entered it in lol Not even a quarterfinalist.. moral of the story is... it's all relative and this business is super subjective.

Most of you seem totally naïve to the film festival circuit reality. There are maybe half a dozen old time, long standing film festivals that have been highly profitable/successful. That has naturally lured many (without the knowledge or knowhow) to emulate them in the hopes of fortune & fame; just as it does for the unknowledgeable screenwriter dreamers (It's akin to guide cats for the blind),

Let's you & I start a little Film Festival in our little backwater towns - shall we. Our little Chamber of Commerce would love it, our little town government goes all in. We get a free/low cost venue and promote our scheme. We offer free passes to our unpaid and unknowledgeable volunteers. We'll sell tickets to the event, we'll charge filmmakers to show their 'films', we'll charge screenwriters to read & to write 'coverage'. Sounds profitable doesn't it? It is. Let's charge $75 per entry (film or script) and we get 1,000 entries (some times way more than that). We'll select 20 'films' (we keep the entry fee for all) and we charge $10 per ticket (200 audience); totals $2,000. So we reap $77K with very little expense - maybe a beer & pizza award ceremony.

And most of you don't understand why they are not entryways into the pro world. We thank you for your support - please come back next year.

Doug has a point lol... I didn't want to be as bleak..but selling dreams to people also is a huge part of the industry... They'll offer you fake encouragement and then welcome you to keep sending them money to enter your script or receive "feedback" to get better.

It's not a scam. It's the same result you will/could get from 99% of gatekeepers. They're human beings. We got some atrocious feedback last year from Austin. It was not copy edited, the protagonist was named the villain's name throughout the feedback and they made up a couple of characters names that weren't in the script. You are already playing a long-haul numbers game where the odds are stacked against you. It's sort of a matter of deciding do you want to buy a Powerball ticket or no? Because ultimately, the odds are about the same. You never know what stars might align even though the odds are really against everybody.

Yeah I’m finding the entertainment business has more con artist in it then a used car lot

I'm sorry this happened to you and I can totally relate! When I finally found someone whose feedback I really valued and respected, I just held onto him (luckily had his contact info) and now I send my scripts to him and pay for feedback instead of gambling my money. I can tell that he read the script and takes my vision seriously and also the feedback was specific and helpful, instead of just vague platitudes. It sucks but what everyone is saying is so true- people just want our money. Persevering with your creative dreams takes SO much resilience and passion so I applaud you going down this road!!!

With some exceptions, those running film festivals usually don't have a lot of industry knowledge or capability. I always say that no one should bother even seeking feedback from anyone who they don't personally respect and who hasn't got a verifiable resume better than you. Period. As well, the whole reader/coverage mechanism is one of the pathological aspects of the industry. But that's another topic...

Cameron Tendaji - I think you nailed the issue right on the head!! Thanks for that answer. :)

Im old enough to remember the internet boom of 2000s and new services like coverage . I think the first website coverage company I saw was called, "Shark reader" or "Shark site" (I think the name was inspired by "Swimming with Sharks" movie. I remember telling a co-worker at a prod company, "Why the hell would writers pay for coverage?" Oops. I missed the boat on that.

I dunno anymore. Now I dont hate on anyone doing coverage, blogging, consultating, website owners. Mainly because I am shocked at the crappy salaries in front and behind camera, and staff positions.

Interesting conversation. I must admit that I started entering contests a few months ago and so far, my experience has been nothing but positive. However, I am starting to wonder. There are an incredible number of contests and festivals out there and I'm pretty sure that many of them have very little (if any) impact on a writer's career. It's kind of sad because many people tell aspiring screenwriters that one way to get attention is to enter contests. But I'm not so sure anymore.

@EvelyneGauthier - Exactly. Over the last few years, I've heard many agents and managers through various videos, etc say that we screenwriters shouldn't worry too much about finding an agent or a manager and "when you're good, THEY will find YOU". And now....realizing what a racket most of these competitions or festivals are - I'm really wondering HOW DO THEY FIND YOU??

Melanie Star Scot, my God, you take the words right out of my mouth!!! That's exactly how I feel. Query letters? We all know that agents receive thousands of these every month! So... now what?

They find you by networking - building relationships over time. Spend your resources (time and money) building relationships (often that means being on set in however small a capacity).

Be professional, give more than take.

It's a marathon not a sprint.

Juan Seattle of course, but I don't want to throw my money away either. ;) If entering contests turns out to be useless, I'll stop and find another way to attract attention. ;)

"Hi Melanie, Our readers carefully read your script and found it to be of interest, although in need of just a little further story and character development. You are obviously a fine screenwriter. We look forward to your next entry. Thank you for your support.".

Hollywood is where you go to die of encouragement.

"While your project, redacted, did not advance, we'd like to thank you for submitting and we encourage you to keep writing and keep sending your work to industry talent-discovery programs like redacted.

It's an incredibly competitive industry, and some of the best writers and filmmakers endured many years of being passed on before they had their first break. We'd love to read your material going forward - whether it's a revision of this project, or new work. Keep writing! We're here to help."

The exact email I got from a contest I entered in months ago. I bet they would want me to keep paying and "sending work to industry talent-discovery programs" haha

It's a hope selling business and it's completely legal...no one forces you to enter, but they tease a lot and the rest is on your accountability (or desperation)...

From a POV as a former reader, I can say no one controls what you gonna score or comment on a script. Moral is to read it A-Z, but if you don't ure perfectly stealth over it...

@CameronTendaji - haha! While the email I received was constructed a little differently, it had all of the same components as yours! In fact, if I were to go back through previous years of any kind of festival or competition entries, they pretty much all follow that form letter, which, when translated equate to: "We don't actually READ all of your script and give it a fair shot but please, keep sending us your money and maybe you'll hit a lucky break one day".

Who benefits? Always ask that about "experts " who claim they can fix your script...

I've been paid for scripts and rewriting scripts. Usually the requester is very happy, then an "expert" offers to fix what I've done and totally screws it up, in terrible English. Guess who gets paid more? The so-called "script doctor".

That is quite sad to hear.

It’s also happened to me very frustrating considering that we pay a fee to have our scripts read and evaluated

Melanie Star Scot I can relate to your disappointment because I’ve heard this sad story many times. Most of what I’m about to say is for the future because I think you deserve better treatment.

1. Research festivals before entering. For example, Do a hashtag search on Twitter and see if others report good or bad experiences.

2. Try to only hire dedicated Script Readers with stellar credentials and studio connections. Full-time Readers promote themselves so you know exactly who you’re dealing with and what they have to offer. Those who have worked in the studios know exactly what Producers are looking for and who is most likely to buy your script.

Good Luck!! and Keep Writing!!

That sucks they didn't read it.

Just a reminder that relying on coverage/feedback/notes while wanting to be seen as a professional writer is paradoxical. You have to be able to stand on your two feet with conviction based on your understanding the craft and appreciation the business. If I enjoy a script, Google that writer, find a load of stuff online which shows they've been soliciting feedback from everywhere they can and redrafting over and over again, I'm likely going to question that writer's ability to deliver on an assignment or a future spec without all that external support. In a case like that, it's clear that the tail is wagging the dog and, rather than learn the principals behind critical creative choices, they are simply paying someone else to keep them on course.

I respect that people are trying to refine spec scripts into something that will sell but that market is so incredibly limited and oversupplied, it's insane.

Your voice is the commodity you are really trading, so investing in that is paramount. Trying to satisfy another person's tastes, or worse, multiple people's tastes, actually waters your voice down, or at least morphs it into something that doesn't truly represent you.

There are good readers and bad readers, just as there are good feedback services and bad ones. If you have a bad experience, then name and shame so that we can all avoid them! We are a community and should shape the way things work.

I completely agree with CJ Walley here. The best professional actors I have worked with already know how good their performance is before a director says anything. The best musicians and singers I have worked with already have assessed their performance before the producer utters a word. The best directors know when the scene is working, and the best writers can assess their work as well or better than any reader or so-called "script doctor". All such people welcome and are open to the input of their colleagues - meaning people they have assessed as being at their same level. But none of them need or listen to the opinions of lesser talent. Nor should they. As a writer (actor, director, musican... etc.) your first and foremost task should be to understand what is good and what isn't and be able to assess your own work and rely on your judgement.

I feel compelled to remind everyone on this post that a feature script that is under consideration by a movie production company and two producers got the most bizarre script feedback with more typos then a 1st grader from a platform that touts their great reviews. It's all bullshit, that's my attitude on it at this point.

I thought I was the only odd ball here who never entered a contest and never got feedback from anyone. I don't care about the cost, I just don't want to hear what someone else thinks unless they're interested in buying it, or I am working for them.

@WL Wright you make a good point. Actually, what does spelling and formatting have to do with writing? Let me put the same question differently: what does spelling and format have to do with story telling? The answer is: absolutely nothing. Spelling and formatting are a copy-editor's job, a technical matter which has literally nothing to do with the story, dialog, or any other important part of the script. People are way way way too obsessed with form and not worried enough about substance.

Over ten years ago, I entered quite a few script contests; won quite a few. And that did me absolutely no good what-so-ever, but I did catch on to the scheme (I guess you could say that I learned from it). I learned not to do that anymore. I may be a little slow but I did figure it out after wasting a couple of grand.

There are about 5 contests that matter - like the Nicholl, the winners were announced yesterday. The others don't matter.

But readers start skimming a script when it doesn't involve them.

I entered a few competitions in my third year of trying to break in, mainly because other writers kept pushing me in that direction. Regardless of the results, I didn't like the psychological impact it had. I think I found out I hadn't advanced in Page beyond the quarter-finalists when I checked my phone at a friend's wedding reception once and just thought, why am I putting myself through this?

Back then, buying feedback along with a competition entry was seen as ridiculous as pretty much everyone knew the organisers were passing the scripts on to bottom dollar Craigslist readers who had no bearing on the judging process at all. They were just grabbing a little extra profit by upselling to the customer.

I'd also watched a writer on DoneDealPro do really well in the competitions (plus got a nine on the Black List) and watched them go absolutely nowhere. Still nothing to show for it now, nearly ten years later.

While I have my concerns that people are trying to learn craft through feedback/coverage, I do think it's a huge step forward from competitions. Scripts get read properly, writers aren't left waiting, the feedback is more detailed, and a consider/recommendation (from reputable source) is a good endorsement to have, especially if the reader is named.

CJ & Shadow: I haven't entered any competitions or festivals because I want to or need to, quite the opposite. I don't need anyone to stroke my ego. I love my story, my characters and have full confidence in my script. I do value input from someone who is actually working in the business, so I did pay for a consult here on S32 with Sara Ray of Barbara Hall's office and chose her because she's worked on some of my personal favorite series. Her assessment was that it was a great story and the script was in "great shape" and she had "few notes". But the notes she gave me were absolutely invaluable and SPOT ON. She was a consummate professional and it was clear she had gone through it THOROUGHLY. She caught things that never occurred to me. I was extremely impressed with how well she knew my story, the characters and its purpose. I booked another session with her for my pitch deck and had the same experience. It was good but her input made it all so much better. It was money well spent. In the end, she said my package is ready and she would definitely give it a "recommend". I've also let over 30 people, all across the country, from all walks of life, some friends, some acquaintances read the script and without fail, every single one of them responded favorably and with excitement. They were engaged, they cared about the characters and when the pilot episode ended, they were left hanging for more, wondering what happens next. They ALL said they would definitely watch this show. (All of that is PLENTY for me!) I have entered this script into just a few festivals and competitions (3 I think..) because every where I turn, people are telling me this is what you HAVE to do in order to get your script "out there". Unfortunately, my experience has been that while Sara Ray (a working Hollywood writer) and 30+ members of the VIEWING PUBLIC love my script, another few handful of people who CALL THEMSELVES professional and SAY they want to help me (for a fee) have not been as supportive of the script and then it becomes apparent that they haven't even read the damn thing. So----this still leaves me standing here with the question of how to get the script into the hands of the people with the experience, connections and resources to actually DO something with it. (CLEARLY it's not competitions and festivals)

@WilliamMartell - And I've talked to writers who've placed or won the Nicholls and said it did them absolutely no good whatsoever. It was more of a just a nice vanity thing to put on a resume.

Sundance Lab seems to be the most successful program to helping new creators with actual jobs, employment. They're like pro baseball's Triple AAA ball club before playing in the Major Leagues.

Look at the class of 2012. Roster of unknowns before they became All-Stars.

https://www.sundance.org/blogs/news/12-feature-film-projects-selected-fo...

@Juan - hahahahaha!!!!! :)

Thanks @DanMaxXx

"So----this still leaves me standing here with the question of how to get the script into the hands of the people with the experience, connections and resources to actually DO something with it. (CLEARLY it's not competitions and festivals)"

If only someone had gone and built a platform to try and help do this and offered it to everyone for free. Imagine that.

Of course it's a scam.

Melanie Star Scot You booked for a pitch deck session? Now I am confused, unless it's for another project. Are you selling a script or trying to produce a project yourself? If the former, you need an experienced literary agent, not a pitch deck. And that experienced agent will certainly not be putting together a pitch deck. If you do a pitch deck, you are not selling the script anymore, now you are selling the project, be it film, series, etc. and that's an entirely different goal, entirely different task and has an entirely different set of variables.

Melanie Star Scot , just addressing the feedback part, an electrical engineering rule says, if the feedback is not constructive, it's noise. And it's almost a Hollywood rule that nearly every great non commissioned project was also passed on, by a superstar exec or two. Finally, if it is mean, it likely isn't “with” the Hollywood program, like @DougNelson reasoned above and said, in Hollywood you get to die of encouragement (and maybe silence,) not criticism. : )

I had a good friend do a read on one of my scripts and made the same mistake in her notes. I trust and respect her and considered it an oversight. I personally take all notes in stride and use what I feel is pertinent to getting a better end product. It's always nice to get another set of eyes on the thing but in the end, you are the end all be all on the final product.

@BrianSnow Thanks for your input. That's a great outlook. I love that philosophy and I would hope I always extend the same consideration to any friend who takes time out of their busy lives to read my script. I have many. They are my first line of defense when it comes to spotting blaring errors like typos, missing information, "holes" in my story, etc. and yes, they're human and capable of mistakes. In the scenario I've outlined here, however, this was a prestigious, long running film festival who makes the bold promise that when you submit to their festival, every single page of your script is read and thoroughly analyzed by a professional and that they never use interns, inexperienced readers, etc. So I decided to roll the dice and trust them and see what happens. Considering my feedback, I now know it's all a bunch of balderdash and the person who was assigned my script definitely did not actually read it. I expected them to honor their word, especially since I paid for their service.

Really don't see the frapping over this. Black List's Franklin Leonard hires readers over LinkedIn adds, pays 60/40 bucks per read, literally anyone can apply...

Sound advice Brian Snow. I will say this, Melanie that there may be a valid reason the reader didn't note information they say is missing. If you feel strongly that it is conveyed correctly then move on and use what is helpful.

@MartinReese yes, the reason they didn't note information they said was missing is because they didn't read the full script, as promised by their CEO. haha! And I have moved on. Just responding to the conversation. I will not be entering any more festivals or competitions. I'm already figuring out much, much better ways to spend my time and money.

I've been there, Melanie. I once received feedback that claimed one line from a character was "random" since the reader didn't know who he was. Really? He'd been introduced as the protagonist's father, and the protagonist called him "Dad" in dialogue -- all before the line in question. I'm not giving up on competitions quite yet, but am much more selective!

@AndreaZastrow - I get it. I really do. Since making this post (and others elsewhere), I have heard from SO MANY screenwriters with near identical experiences as mine. I have entered enough festivals and competitions in the past with my films and another script that this latest experience for me is just simply the last straw. We all have to walk our own paths, so I totally understand if you're going to keep entering. I truly wish you the best!! Please keep me posted! I would love to hear of your successes!

I can't even. Seriously, how can anyone critique anything without actually reading it? I can see if the reader couldn't get past the first page because the writing was so terrible, so that might be the critique, but to insinuate something isn't there, when it is, because they were too lazy to read it? SMH.

@DebbieElicksen - Yep. And this, after multiple emails from them promising that when you send in your script, "every page" is read thoroughly, analyzed and scored. What made it especially odd is the reader was complimentary of my script for the most part - but threw shade, stating information was missing which WAS there...in FIVE different places. It's definitely the last straw for me. I'll have no confidence in any of them anymore.

As a Reader; if you're paying me to read every page, I will - no matter how terrible/good your script is. If you've coned me into reading your script for free and I find it to be total trash by page 2 - I torture myself no more. The VAST number of scripts I read fall into this category. I don't even respond to those because I don't want to be the one to hurt your feelers and I have no time to argue with you. The festival circuit readers are in a whole different pond - I know, I've been there.

If people are missing these kinds of detsils, I’d be willing to bet that the script is structurslly passive. Information stands out more naturally,, and never actually needs to be shoved in the reader’s face, when it’s a direct product of the efforts of your characters to achieve their goals rather than a function of some other kind of story logic. If a story is a chain reaction, rather than a concerted effort to achieve “X, Y, or Z,” then you can’t blame someone for missing a question on the chemistry quiz - no matter how many times you went over the information.

I know this might seem like a big leap… but I’ve read a LOT of xcreenplays and it’s definitely a pattern. If you need to know more about what I mean by “structurally passive,” I’ve actually written a Stage 32 blog about it: https://www.stage32.com/blog/Why-I-Passed-On-That-Screenplay

I definitely know the feeling and know how upsetting this could be. I have pitched to many and one that sticks out to me everytime is when the reader told me I wasn't giving him eye contact and his screen was OFF! And im like is he talking about me or what. It was weird. I understand your frustration and have been there

@ChastitySingletary - Oh my goodness!!! That's quite the FUBAR on the readers part!! Wow!

Exactly.

Tennyson Stead This is a good point. I always pay close attention to what readers garble. Cause if they didn't get the point, the info or the sequence of events, then I need to communicate that bit more clearly.

You're not alone. I get it a lot, No matter what, keep up the good work!

@LarryDeGala - In the time since I've posted this and have spoken and messaged with a lot of people, I've gotten so many messages from a ton of screenwriters who have experienced almost the exact same thing and worse. My "favorites" are the ones who criticized things in my script - THAT WEREN'T EVEN IN MY SCRIPT!! hahaha Ya gotta laugh it off and move on. And thanks for your kind words of encouragement.

Questionable SCRIPT FEEDBACK from a FILM FESTIVAL? I don't go to my Dentist for tax advice.

All feedback tells you something.

If it's 4 times in the script and they didn't notice it? You probably need to make it more clear. What have the screenwriters you swapped scripts with (before you entered it in the contest) said?

William - Feedback illuminates the reader as much as it does the writer, sometimes moreso. I had a reader in coverage ask questions that were answered in the script. Did that illuminate my failing, or his/hers? I am slow to blame writers given the amount of times I've heard this happen and more receptive to blaming readers given the poor pay and generally low standard of dramaturgical understanding they possess. I've had feedback where I doubt the sanity of the reader. No joke.

One thing I learned about getting feedback is that I need to be clear. Like blatantly obvious lol. There are some occasions where I've received notes on something that wasn't even in the script but most of my frustration with readers has always been I wasn't clear enough.

This is a general comment but I think it applies to everyone.

Before getting feedback and/or professional notes decide what you want to accomplish.

1. Do you want the Reader to point out what you already know? (i.e. existing grammar issues). I just read a script last month and it was overflowing with multiple serious spelling errors which I pointed out to the Writer. The Writer responded, “Yeah, I knew about those.”

OR

2. Do you want to get your script into production ASAP? If an influential reader or Producer reads it, they are going to be paying attention to marketability and how “do-able” your story is and may overlook spelling mistakes.

I’m just saying that by a certain time in our lives and careers we should know what you’re great at and what needs help. I always get dinged on formatting (which all my English teachers have always pointed out) but I get positive feedback in other areas of my writing. (Now I just need a 3 picture deal with MGM)!

Hector - that book is ALWAYS on my desk! It's been a tremendous help to me. I second your recommendation.

Take all feedback and comments and try to learn something and how to improve upon your work. My professor hat on.

Looks like they skimmed through the script, not reading thoroughly. So, I suggest you boycott that festival and submit the script to another festival.