Filmmaking / Directing : The Director's Writer: Why Listening May Be the Most Important Skill in Screenwriting by Pete Rosen

20+-year WGA writer here. I've been hired by one director on multiple projects over several years.

A period piece about an extraordinary female pioneer, a contemporary remake of a classic novel, a sci-fi fantasy about grief. Different genres, tones, budgets, audiences.

He keeps hiring me, and I may not be more talented than other writers he's worked with (I think I am, of course. Ha).

But I learned early on that listening is a skill, not a personality trait.

Here's the thing about screenwriters:

We're a confident, talented, wildly creative bunch. Rightfully so. We've worked our asses off to master craft, structure, dialogue, character. We know what makes a scene kill.

But it's easy to forget that on an assignment, "best" may not be what we think works best. It’s what serves the director's or producer's vision best.

I ain’t sayin’ be a doormat. Be a translator.

The skill nobody teaches you:

When a director gives me a note, my ego’s first instinct is to defend my choice or explain why my version works.

Then I think before I speak.

And likely ask clarifying questions.

"What problem are you trying to solve?" Gets to the root issue under the note.

"What do you need this scene/character/moment to do that it's not?" Focuses on function, not opinion.

"Can you point to a moment in another movie that has the feeling you're going for?" Gives me a concrete reference point instead of abstract notes.

"What's the version of this you're afraid I'll write?" Ha. Sounds weird, but it clarifies what NOT to do.

And when a director or producer says, "I don't know what I want, I just know it's not there yet":

I just ask something like:

"What's the emotion you want the audience to feel here?" or "What should they understand about the character after this scene?" or maybe "Is this a pacing issue, a clarity issue, or tone issue, what?"

Often they don't have the answer yet either. But reasoning it through out loud usually helps us find it, and helps me soon nail it.

The thing is, the director doesn’t want to hear any speeches about craft, or defending my version for that matter unless it’s essential. They want their problem solved.

Some red flags that signal a writer isn't built for collaboration:

We explain why our version is better instead of asking what you're trying to achieve

Every note response starts with "But…"

We talk about "story integrity" when you're talking "production reality"

We disappear and come back with "awesome ideas" you never asked for

On my own projects, I do whatever the hell I want.

And I often have strong opinions, so I'll offer them once.

But 90% of the time, I offer precision, not preciousness.

Because directors and producers aren't hiring good writers to write our version of their movie. They're hiring us to help them realize theirs.

If you're a director or producer tired of writers who don't listen, or you're a writer who knows you need a pro to execute your vision, let's talk.

I've done assignments for A-list producers. Micro-budget indies. Ghostwritten for directors who needed a pro without the ego.

I rewrite 'til we get it right.

Studio craft. Indie reality. Zero bullshit.

P.S. Currently available for non-union work.

#Screenwriting #FilmProduction #ScriptConsultant #Collaboration #ScriptDoctor #IndieFilm