Screenwriting : Different notes by Toua Her

A good note would be something that helps my script, Toua Her. A bad note would be something that has nothing to do with my script or a note that would ruin the script (like "add monsters and lasers" to an indie Drama).

When I get notes, even if they aren't "good", they serve a purpose.

They make me stop to wonder, "Why did this reader think that?"

I'm the writer. Ultimately, it's up to me. If a note doesn't align with my work then I put it aside.

Take what serves your script and leave the rest.

Notes that are incisive, honest and supportive are to be trusted even if the result is a Pass. Feedback from those who have developed projects are the best, and should be heeded.

While it momentarily feels good to a writer, blowing sunshine up their butt is far more harmful.

A Pass is a gift that alerts that their work might be, for example, unremarkable, flat, contrived, very poorly written and with a lack of emotional content. Writers should be grateful for honest notes. It's a springboard to a better story.

Post your script to find out whether the feedback is universal.

I have learned through trial and error to "eat the fish and throw the bones away." In other words as screenwriters we are very protective over our work, because of the labor and the level of psychological and spiritual intimacy required and is used, the physical toll that it takes on your body, the loneliness, the isolation, the frustration, the bigness of doing something so great as being a Storyteller, that by the time we submit our work or pitch we believe that we are ready and usually extremely exhausted. It makes us bias and sometimes narrow minded, because we cannot see beyond how we personally feel. But if we can get beyond our feelings and look at our notes from a different perspective, we will see that its positive and something great is transpiring. Regardless to the notes whether we agree or not, it just simply means there is more work to be done, but we are definitely closer to our destination and headed in the right direction. think of the notes as building blocks and steps that push you closer to your destination. Think of the magnitude of what you are doing and the greatness of who you are and that you are now pitching your stories to Hollywood.

Very well said, Mone't!

For me, good notes break things down. They show what’s off and provides examples. Bad notes just say “this isn’t working” without telling me why or how to improve.

Toua Her When I get conflicting notes, I usually bring in a third perspective. I try to pitch each project to at least three people — if two of them say the same thing, it usually makes the issue clearer. I actually learned that from RB, and it’s helped me filter feedback without losing momentum or second-guessing every note.

Conflicting notes are one of the most frustrating yet valuable parts of the revision process. Here's how to evaluate which feedback serves your script:

Look for patterns, not individual opinions: If multiple readers flag similar issues—even if they suggest different solutions—you've likely identified a real problem worth addressing. One person's concern might be taste; three people noticing the same weakness is data.

Evaluate against your story's intent: Good notes help you achieve your vision more efficiently and effectively. Bad notes try to turn your script into something fundamentally different. Ask yourself: does this note clarify what I'm trying to say, or redirect toward what they wish I'd written?

Test notes against gut reaction: Your immediate response often reveals truth. Defensiveness can signal an accurate critique you don't want to hear. Confusion might mean the note misunderstands your intent. Excitement suggests the note unlocked something you sensed but couldn't articulate.

Remember: you choose the solution: Even when a note correctly identifies a problem, the suggested fix might not work. Take the diagnostic seriously while keeping creative control over the remedy.

The ultimate test: Does implementing this note make your script more of what it's trying to be? Good notes strengthen your story's DNA. Bad notes impose foreign elements that feel grafted on.

Conflicting feedback doesn't mean someone's wrong—it means your script affects different readers differently, which is normal. Your job is finding the through-line that serves your story best while remaining open to perspectives that challenge comfortable assumptions.

Trust your instincts, but verify them against patterns in the feedback.

it was just confusing how one reader did more of a critique on the grammar and another focused on the story and story telling. I’m not sure if one reader emphasizes one thing more than another.

I generally go with my gut feel. Remember, you can't please all the people all the time...

I can absolutely relate on this one @toua I have one particular script where it ranked highly and was given an 8/10 but then I paid for coverage to amplify the script and I got a 'Pass'. Two very conflicting results for the same script.

I am so used to writing in Australian spelling and grammar that I too was marked down for that.

It's also difficult when your script finds the producer who wants to take it on, that changes will be made in the development process anyway... so this begs the question: How much do you change? Which changes do you decide on? Which direction do you go?

I don't have those answers but I have been in your shoes more than once and it's confusing and hard. I agree with Pat - go with your gut!

I got script notes that was two pages on the first twenty pages of my pilot. The reviewer in the very first line mixed up the characters, and proceeded to write off of the mix up. It wasn't with Stage 32. How should I feel about that? I reached out to the company and have not gotten a response. I think they are embarrassed and hope I go away. But how can I trust anything that was written in the notes? Thanks for any advice given.

For me a good note improves on what I was going for, and a bad note doesn't. There's also a secret third category; inappropriate notes, which are a mix of the two lol (as in, they're technically good [or even just "not bad"] notes but not right for the story in particular; these ones are rather unfortunate because the reviewer often goes into great, passionate detail with them). These ones I'd put a pin in because they might be useful later.

I naturally have to be very pragmatic with the advice I've gotten; I've had several critiques that normally would fall under "if 2+ people say the same thing, you should listen to them." But they often missed the point in almost exactly the same way and another reviewer understood the same point perfectly lol so it's a kind of delicate balance between accepting that the whole thing is crazy subjective and finding what's objectively useful and ignoring the rest.

You did the right thing reaching out to the company, K B. Hope you hear back! My advice is reread the notes and see if there's anything you can use. And maybe reach out to the company again.

All competitions, reputable coverage and notes firms have a section on Craft.

If the grammar is really awful then it deserves knocks. I mean, c'mon. It's writing. Many writers discount proper use of English and avoid Active Voice and cinematic writing. Competition and other readers will automatically toss a script with truly bad usage.

If one set of notes bangs basic usage, for example, improper verb-subject agreement, then it's an issue only if the other reader doesn't mention it. Maybe because they don't know. Then that feedback is suspect.

It really depends on the competence of the person you hire. Also, ideally, you'll be working with a qualified freelance screenplay analyst with whom you'll be communicating from the start, so they understand your level of experience at screenwriting and executing notes. My advice would be to only work with one (qualified) screenplay analyst at a time. And there's a difference between "coverage", and true script analysis designed to help writers improve their scripts. Personally, I would not seek an evaluation that seeks to emulate "coverage" and tells you whether your script is a "recommend", "pass", or "consider", since, outside of a real-world context (i.e., a film production company considering the material for option or purchase, or seeking to hire screenwriters for OWAs), this kind of verdict really has no meaning. A good way to test the quality of a script is to submit it to a few of the most reputable/respected screenwriting competitions. If you want "notes" to improve the quality of your script, I'd go to a reputable, experienced freelance story analyst (professional script reader, who has worked for major film companies), where he or she doesn't give you "coverage" or ratings, nor use a certain template, but rather tells you what you actually need to know to improve your script, and can also advise you on script marketing. Talking with a screenwriter should, in my view, be part of the process in doing script analysis. Good story analysts know the whole history of movies going back to silent pictures, know the craft of screenwriting, understand how writers think (they are usually-- not always-- successful writers in their own right), and are a combination of a technician with an analytical mind, a teacher, a psychologist, and a well-rounded human being of depth. Also, this goes without saying, but I would not seek notes from one's aspiring screenwriter peers, nor from AI. Last, your personal goal for getting notes is relevant.

A good analyst also knows grammar and adds missteps to their notes, not coverage.

It's noteworthy that comp readers are mostly unpaid volunteers. Like anything, there are good and bad comp readers. As far as reputable comps, they can be counted on one hand with a few fingers left over.

When the notes are good you just feel it. If there's that "aha" moment where everything suddenly makes so much sense and you tell yourself "damn, how didn't I think about it myself?!" - that's when you know they're good.

You have to remember not to take anything personally. Keep in mind that the some people just don't get it and just because someone has produced a film that doesn't mean they are automatically qualified.

Consider the source? There are a lot of fake or inexperienced analysts that are scams. But there are many of us that have extensive training, education, and experience. For me, I've been a script analyst for one of the biggest talent/lit agencies for years - and also a newer, exciting company too. Hope that helps -- and feel free to message me with any other questions. Toua Her

Great topic...I have experienced conflicting notes as well. As a result, I pulled a character out of a script based on one opinion, only to end up putting her back in following reflection on a contrasting note....seems these waypoints are where our voice needs to carry the day. Re-examining what it is that you are trying to say may help you determine which direction you want to lean into. How does the note affect your initial vision of that particular character, scene, beat, etc. ? Does the reviewer appreciate the consequences of such a suggestion? Would changing that disturb a greater goal, theme? Does it throw off the story or character arc? Good luck with it and keep writing

I wanna make the script better but it’s hard to know when different readers are pulling me different directions

Have you considered contacting the firms to seek clarification. I'm certain that paid notes did not concentrate solely on craft, but a good place to start is to fix the writing. That does not change story.

You know your script. Parse the meaning of the criticism. Choose a suggested direction to see how it flies. There's lots of advice here but nothing else that can gleaned. We get it, you're torn. Be proactive and move ahead. This is what being a writer means.

You can always post the script here and swap reads or ask for reads to see what rises to the surface.

Maurice Vaughan thanks for the advice. Sorry Toua Her to kinda hijack your thread. You just touched on something a lot of us writers have issues with. I have never seen that before regarding my notes. Maurice Vaughan the notes were great. I am deficient with my Final Draft technical skills, but I knew that. However, the characters are clearly defined by their names. Anyway, I am moving past this after today. I just needed to see if anyone else has had this issue as well. I will keep after the company though. They should be aware of this. At least get the characters correct when offering notes that were paid for. And something like this might affect young writers in the business negatively? Again, thanks for the listen. Toua Her, I hope that you find the middle ground with between the two notes. I agree, go with your gut. (also, I don't change my script based on notes unless it was something I'd already thought about when writing it; then and only then will I consider incorporating it, if it fits the narrative).

thanks everyone for the feedback! As a writer, we all want to write a great story, not just for ourselves, but others as well.

You're welcome, K B.

You're welcome, Toua Her.

Hi Toua, my advice would be to:

1. Seek more feedback from other readers if you can. The more responses you get, the more certain patterns will emerge. Notes that recur are the ones you should probably pay attention to.

2. Trust your gut! take a day or two away, then come back and read them again. Which ones align with the story you want to tell? Which ones feel like creative provocations vs. roadblocks to your vision?

3. Ask for clarification. Most producers would welcome a conversation and the chance to explain themselves further. You could tell them you're conflicted over certain elements, and discuss ways in which everyone gets what they want. So long as it stays open and non-confrontational, it can be a great way of getting the most out of these relationships - and the script.

Good luck, it's an unenviable position. But you can come out the other side with a better script.

Screenwriters should always follow the (somewhat apocryphal) doctor's oath when it comes to revising their scripts: "First, do no harm." Story analysts need to remember that too. In some rare cases-- when a screenplay analyst receives a near-perfect script-- he or she must have the wisdom to say, as my mother might have, "Don't potchke with it". Sometimes ,the risks of "fixing" something, especially for an emerging writer, are greater than the risks of the imperfection. Also, if a script analyst gives you notes and you bring the rewrite back to them, don't change anything that they didn't bring up in their notes on the previous draft. If they didn't mention it before, it wasn't a problem. Also, once you get pro notes that require a rewrite, don't immediately start revising. Take the time to think and carefully work out solutions. Rewriting for a producer on assignment, though, is very different from rewriting on spec for yourself. With rare exception, you do have to do what the producers ask; you are working for them, and on a deadline. You can sometimes find a different way to address their concerns (i.e., finding "the note behind the note"). For example, it might take just a small tweak by the screenwriter to thoroughly address their note, when they believed it would require a massive plot change. Producers don't always have time to think through how making the change(s) they requested will affect the rest of the script. It's common for a screenwriter to find that making a seemingly small positive change that a producer requested can cause massive collateral damage. In those situations, your job is to make the change with a scalpel instead of a hatchet, and fix any collateral damage before delivering the revision to the producers. But if the change they requested causes so much damage that it will literally ruin the script, and you've tested all this out, it's okay to tell the producer this-- by patiently explaining everything you tried to address their note, the other problems it created, and why it won't be possible to fix all the damage it would create. If you're lucky, they will listen to you.