I got back my feature screenplay coverage this week and overall I am very happy with the comments and suggestions (I agree with about 95% of the suggestions). At the end, I received a "Consider" under the writer, but a 'Pass" on my screenplay, although there was a lot of positive comments. So I am bit confused as to how to proceed (after making the necessary changes and getting to my next draft.) Would it make sense to get coverage again from the same person once the revisions are made? Or is the "pass" an indication that my next draft goes to someone else? Also, the same person has pitch sessions available, and since they are directly looking for the type of script that I wrote (and even said that with revisions the script could be "Great"), do I even consider that after making revisions or is this bridge already burned?
Screenwriting : Stage 32 Script Coverage Received and now.... by Don Dobrez Jr
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I'd say depends how money you have to spend....I wouldn't do any drafting unless I have a production request or say, I have a million dollar idea that'd improve the script...just move on, present, pitch get your script out there...
Dudes with Nicholl wins and Blacklist scores 10/10 are still on a queue...check life stories around...
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It could also mean that the story simply isn't for them/ their company.
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Try to think of it like anything else that's highly subjective, such as food. If a restaurant knows they can't sell many cheese burgers, they're going to pass on anything that feels like a cheese burger. They're going to tell you that what you have ideally shouldn't be a patty within a bun and you should definitely do something about the cheese.
People who don't align with a script also tend to see more negative issues, just like your friends will tell you a movie's casting, lighting, sfx, cinematography sucked when they didn't enjoy it.
Industry members who see potential in a script know they can easily exploit what's there with a rewrite. It's one of the easiest mediums in the world to adjust.
A big part of building a career in screenwriting is seeing this for what it is and then going out there with a strong voice and searching for alignment by networking as much as possible, hopefully with solid craft skills, a professional attitude, and knowledge of how the business works.
The mistake a lot of aspiring writers make is they see all feedback as identifying objective flaws and focus on addressing those in the attempt to make the script more appealing. They'll then keep going back to the same places in the hope they've completed some kind of puzzle that unlocks a sale.
A good example of this is the evaluation and competition scene where people keep taking on Black List evaluation comments or competition coverage and then go back over and over with changes while performing the same or worse. Many just end up chasing their tail, unable to accept that what we do is inherently artistic.
This is all an ineffective way to break in and an ineffective way to learn the craft.
Anyway, here's something for you. If you join Script Revolution, you can have that consider rating for you as a writer added as an endorsement to your profile which may help you get a little extra mileage out of the coverage.
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@CJ Walley The longer I am at this, the more I agree with you. Sometimes negative feedback can be extremely helpful in identifying holes in the plot or weak characters etc. So I always consider it carefully.
But ... one comment that really made me see the danger in getting too caught up in other people's opinions was from a producer, who didn't think the script (set in Greece) was "Greek" enough. Specifically that it didn't show enough of what 'people' would expect to see in a Greek context. Thing is, that is a big part of the point. The story and vibe are about how people in Athens actually live, now. So, they're not playing bouzoukia and yelling 'OPA!' every five minutes.
They're into jazz (seriously, jazz is huge in Greece) or obscure techno and dub. If they're old, they like punk and The Pretenders. They go to off-beat art galleries and hang out in trendy cafés etc. We do all eat gyros [souvlakia], that much holds :D, but mostly cause we're poor.
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The thing is, if people are coming back and highlighting significant objective flaws in a script then that writer has to accept their craft isn't up to scratch in the first place. This is the huge problem I see constantly; thousands of writers thinking they can wing it on "talent' alone who refuse to master the fundamentals of the craft and instead apply snippets of it to their current script via feedback.
A chef telling something that they should have used tumeric in their curry may be basic objective advice that will bring improvements next time round but it's no substitute for understanding the principals of flavouring food with spices. The core problem needs addressing for that person to become a competent chef who can cook a variety of dishes.
When a writer's getting notes and exclaiming at how incredibly powerful they are in a rewrite they need to realise there's a major lacking in their skills that needs addressing by stopping and learning, either via classes and/or books.
I hear what you're saying with cultural ignorance. It happens with the American perception of England too. Apparently we all live in London, have posh accents, drive around in Minis, and go to church on a Sunday.
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@CJ Walley Sure, but I am a believer in editing, i.e. getting fresh eyes on writing. And sometimes you get bogged down in your own thing, which can make it hard to be objective. So I do value feedback from others, but have also learned to be discerning about it.