How to Approach Script Notes
Whether you’re developing a screenplay for a movie, TV show, or a commercial, there are many ways to skin a cat when it comes to providing and receiving feedback on the script.
As someone who has worked across almost every aspect of writing for creative production, from feature film screenplays to animated social media short form content (and everything in between), I have gotten and given notes on all forms of scripts. TV pilot? Check. 30-second radio spot? Check. 5-second motion graphic with one line of copy? You better believe it. In my experience, there’s a certain level of tact and intrinsic understanding of the material required on both ends.
First, let’s talk about receiving notes. There’s an old saying: “writing is rewriting”. That is 100%, undeniably true. Your first draft is never your final draft. As a writer, the earlier you accept that, the better your material will be in the long run. When you write, going in with the knowledge that your script is not, and never will be, perfect immediately puts you ahead of the game. When you receive notes, whether from a trusted reader, a producer, a creative director, or a client, be open and willing to accept them. You don’t HAVE to implement every note you receive but you do need to CONSIDER every note you receive. I’ve gotten outlandish feedback at times but, after spending some time with it, have come to realize that it is, in fact, beneficial. Now, there is a definite difference between writing for film and television versus writing for a client and their brand. That difference being a client has ultimate control over the messaging. You can always defend your script but at the end of the day, if a client or creative director wants the script changed, it needs to be done. At times like those, and I’ve had quite a few over the years, it is important to maintain your professionalism and make the changes. It’s a bit easier to push back against a note on a feature or tv script because that project isn’t representing a brand, millions in market research, and millions of dollars in media spend aligned with a 360 campaign.
That said, you will still get producers, directors, and studio executives pushing for changes that you may not agree with. But remain openminded because you never know from where a great note will come. Lastly, before we move on, I live by a fairly simple rule: I will debate each individual note I get. But if I get the same note from two (or more) different sources, then that note needs to be addressed. You cannot be precious with your material because invariably, you will have to cut something that you love because it just doesn’t work. It’s called killing your darlings and it sucks. But it is part of the process.
On to providing script notes. For you to be effective at this, there are a few things that are vital to your approach. I have produced, developed, and consulted on hundreds, if not thousands, of scripts and creative copy and I pride myself on my ability to deliver feedback in a constructive and productive manner. When I speak to writers about their material, before I give any notes, I always begin by saying, “I’m going to be blunt. I’m not going to be an asshole but I am also not going to sugarcoat any notes for you. My goal is to make your script better so if I soft-shoe around a note, it doesn’t help you or the script at all.” Now, this isn’t a blanket invitation to rip someone’s script to shreds but it does set in their mind that they are going to receive frank feedback that will better their script, should they choose to implement the notes. This is something I do across every piece of writing I give feedback on. I will caveat this by repeating what I said above, you must have a certain level of tact and an intrinsic understanding of the material.
So, what does that mean? Tact should be obvious. Don’t be an asshole when delivering feedback. Constructive feedback goes a long way in the “good graces” department and a writer will often go the extra mile if they like you. This applies to everyone: CDs, agency owners, clients, producers, directors, whomever. Now, if you’ve given a note and the writer doesn’t implement it, ask them to explain why. If the defense is strong – good. If they can’t defend it, then press them to implement your note. If they do it a third time for no good reason, then they’re being stubborn and there may be bigger issues at hand. This pops up more frequently in entertainment than in marketing. If it happens with a freelancer or agency-side, that writer may not be the right fit. I’ve had it happen on occasion.
I spent more time on the tact thing than expected so let’s get to the intrinsic understanding part. There are two subsections to this. One is understanding of the content itself. If you don’t understand the content, the voice, the story, the brand messaging, etc. how can you possibly give contextualized feedback? Make sure you familiarize yourself with it before trying to change the script. I’ve been asked to give feedback on commercial scripts without any context before and I always ask to know more about the brand and the campaign before I’ll weigh in. If I don’t know that, I may give a note that goes against the campaign messaging or the overall strategy. The other is the structure of the material. Having even a basic understanding of the format and how to read it will carry you a long way.
For example, I had a friend ask me to give feedback on a novel they had written. I’m not a novelist nor have I ever written one. I’m always happy to give feedback but I made sure they knew that my thoughts would be coming from the place of a casual reader only and that they should take my feedback with a grain of salt because of that. I also didn’t pretend to speak to formatting, structure, and editorial approach. This is something that often arises in marketing. If you are a client or brand manager, please take the time to educate yourself on script formatting if you’re unfamiliar. Not only will you sound more intelligent when delivering feedback but the writer, who I promise knows it better than you, will appreciate that you know what you’re talking about. It will also help you to visualize the script if you understand how to read it.
And I will reiterate another crucial element: give concise, well-thought out, clear feedback and if you are able, suggest how to address it. “I don’t think this works” and “No” are not acceptable notes if you don’t immediately have a reason and a potential fix following them.
At the end of the day, whether you’re the feedbacker or feedbackee, the goal is the same: to make the script as good as it can possibly be. If everyone can come through the notes process excited about the script, all the better. In my opinion, if you approach the process using my suggestions, that will be the case.
