Sometimes feedback completely changes the way we see our story or ourselves as a creator, and other times… it’s just not for us. So here’s my question(s):
#1 What’s the single most valuable piece of feedback you’ve ever gotten on a script?
#2 And for a twist—have you ever gotten a note you hated at first but later realized it completely saved your script? What changed your mind?"
For me, #1 - When Clayton Conroy said, “you are clearly destined to write science fiction in the animation space”. From that point on, I saw some of my work a little differently - it fit like a puzzle piece into a space that I would enjoy. It was like saying, "You didn't miss it - you're in the right place."
#2 - I’m actually still mulling it. My late in-laws had a thick Texas accent and quirky sayings that I used for the elderly parents in “Agents of C.O.W.”. Even though I used directly quoted sayings, the reader said, “Nobody talks like that.” Well...THEY did. So, do I stick to my guns or change their lingo for the sake of the audience?
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Hey, Leonardo Ramirez 2. The most valuable piece of feedback I've gotten on a script is "show, don't tell" in action lines. Instead of writing "He's scared," I'll write something like "His trembling hand reaches for the doorknob."
I've gotten notes I hated at first. What changed my mind was rereading the notes and realizing they would actually help/save my scripts.
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Rebecca James Aye-aye, Captain! Steady as she goes!
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Hey Maurice Vaughan - that's a good one and one that I'm sure a lot of us have received. You hinted at something that I think is important - taking a step back, not personalizing it and returning to it to see its value. Very nice.
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Yikes Rebecca James - I'm so sorry you went through that. That's frustrating. I'm glad you had the wisdom to move on from it.
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I take every piece of advice on board but the best advice I ever received - 'Be yourself, your voice is important' and 'Don't stop just because the first few submissions didn't land'. Love putting my stories on the page. I don't think I'll ever stop.
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What a great and encouraging note Lauren Hackney. I love that!
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I always take feedback seriously, but I realized this when I was writing my first screenplay that there were essentially two types of feedback and they can come from the same person. One is the person is distant from your story and gives you just the honest thought of what didn't work for them when they read it. Which is usually for me the one I need to follow or at least address. The other one is their opinion of how the story should be, this one could sometimes come in handy. But most of the time it's completely useless to me since it would take the story in a different direction. I almost always follow the first one and think of solutions for these types of feedback.
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I'm so sorry Rebecca James but genuinely happy for you that it found a home.
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That's a wise way of receiving feedback Vital Butinar. And you're right - if the latter type takes into a different direction than what you first intended it to be then it doesn't work. Either way, you don't personalize it but you do study to see what does work.
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Ask questions. Always ask "why" for everything you put in a scene. Know your characters andtheir history.
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Yeah exactly Leonardo Ramirez 2. That's how I try to look at it and at the same time like Ronika Merl said, I try to ask why. I remember the first feedback I got, the people giving me feedback were worried that I'd be offended. It surprised me that I wasn't because of the previously mentioned distinction and asking why. I've tried to stick with that all the way up to now. I also try to give my feedback to anyone the same way and if I do have an idea of how the story could work differently, I try explain that separately not to dump on their vision, to respect what they're doing.
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You've touched on something important there Vital Butinar. A few of the executives have had to deal with writers who get easily offended so there's a guard up sometimes. I can sense it when I'm talking to one and typically start the conversation by letting them know right off the bat that they can freely speak their heart and mind without any concern for offense. It's sometimes good to go in assuming the best of the executive. You're one of the few who do that.
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That's wonderful Pamela Green-Nanni - I'm very glad it helped. Like you, mine always have been extremely helpful. Some have turned the piece into something SO much better! Very nice to meet you!
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Leonardo Ramirez 2 I mean, it's simple. At least for me, why would I be offended if I'm getting feedback on something I asked for feedback. When I do get feedback I can either find a use for it and see the value of it or not.
But the only thing I don't like and that has pissed me off is, getting feedback on set while in production. I had someone say, well why didn't you do xyz and I told them, that they had their chance to go over the screenplay in pre-production (which they obviously didn't) and now we are no longer in the development mode and in an execution mode and we have to follow the plan we laid down. Because if you start second guessing yourself at that point, you're dumbed and will never get anything to fit together anymore. Small stuff yes, but bigger stuff doubtful.
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I think a lot of it deals with maturity and identity Vital Butinar. We've all been immature at one point or another about something so I don't fault the person. But it has to do with your identity being wrapped up in the success of a project. It's possible for something to mean too much to someone and when things go in a way not planned, we react badly. But we grow and that's a good thing.
Now, for your experience on set, I agree. Unless an actor is performing an ad-lib then stick to what everyone has approved. I can see where that would be tough.
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My first manager asked me a question about a character's motivation in one of my scripts. I gave him a long, thoughtful, comprehensive answer. "It's in your head, not on the page," was the response. Changed everything and made my rewrites that much easier.
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Maybe this question is unrelated to the topic, and I apologize in advance.
When my screenplay is finished, would it be very expensive to have it analyzed by a specialist in the crime, mystery, thriller, revenge, justice, and deep family bonds genre?
Also, how risky is it to send the entire screenplay?
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That's a good one Richard "RB" Botto! And something to keep in the back of ones head.
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That's perfect Richard "RB" Botto and one that I need to remind myself of especially in those slugline descriptions!
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It's seems like such simple advice Leonardo Ramirez 2 Vital Butinar, but it's amazing how often I read scripts now and think the same thing. Probably one of the most common notes I give when providing feedback.
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I am currently writing a screenplay in the crime, mystery, thriller, revenge, justice, and deep family bonds genre — crafted in a Hollywood style and aimed at the U.S. market. I understand that professional analysis from a U.S.-based genre specialist can be quite expensive, especially considering the USD/TRY exchange rate.
Because of this, I’m looking for ways to receive high-quality feedback while keeping costs reasonable. I’m open to options such as first 10 pages analysis, scene-by-scene feedback, or partial coverage — as long as the feedback comes from someone with a strong understanding of Hollywood storytelling and the expectations of American audiences.
My priority is to work safely and professionally — I register all my work and only share the complete script once trust and proper agreements are in place. If you believe you can provide meaningful, market-ready insights for this type of project, I would be happy to discuss the details.
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We've been doing this for 14 years, Ugur Kayikci. Just email Geoff at Success@stage32.com and he'll get you where you need to be. Cheers.
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Hi Ugur Kayikci - what I always do first is to register it with the US Copyright office here: https://www.copyright.gov/. I only share it after I've registered it. Some will say that registering it with the WGA will do but that's simply not the case as the supreme court ruled that only by registering it with the US Copyright office can a lawsuit be brought.
Having said that, stealing someone's script is a rare thing. And most producers or execs worry more about being sued that they're unlikely to steal your script. As far as cost goes, Stage 32 has some wonderful script coverage services that have helped me tremendously. You can check it out here: https://www.stage32.com/scriptservices/coverage
Hope this helps.
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Hi Richard and Leonardo,
Thank you both for sharing such valuable information and guidance. The resources and advice you provided are truly helpful for me.
Best regards,
Uğur Kayıkcı
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You are very welcome Ugur Kayikci. We're in this together and forever learning so it's an honor to encourage you on. Have a great weekend.
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Most welcome, Ugur Kayikci. As Leonardo Ramirez 2 said, we're all in this together.
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My main goal is to complete the screenplays for my two-book series: The Farmer’s Son: Shadow of Justice and The Farmer’s Son 2: Welcome Back, Old Friend Jack.
I have also planned the third book in the series, and I will be writing its screenplay as well.
The third film will be high-paced and action-driven. In the second film, Brian Weston will be 28–30 years old, while in the third film he will be 43.
I would love for Jason Statham to play Brian Weston in the third film.
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I approach this project from an emotional, intriguing, and commercial perspective, carefully calculating every step and applying a strategic plan.
I will keep firing until I hit my target — I won’t stop until I get there.
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Having Jason Statham in your movie would be super cool Ugur Kayikci. Nice casting!
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I received a note about never starting a screenplay with a montage. I really didn't like it at first. But then I realized that I could simply write all of the scenes separately while keeping them short and it still works. It just reads better and montages are more for the middle.
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That’s interesting and good to know Anthony A Miller. Thanks for sharing!
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Leonardo, I got a great piece of advice early on (late 2019) from Holly Jurbergs.
She offered to read "Really Old School" and give me notes on it...and I came away with several messages:
1. At first, "ROS" had so many characters that it was a very difficult read. (I ended up cutting only two out; since then, I've tried to keep a tighter rein on cast size for later scripts of mine.) Trimming action lines and even dialog also helped make "ROS" less daunting to read.
2. I stopped using addresses for slug lines that mention houses; instead, I use family names or character names.
3. No more stating range of years for characters' vehicles...now I specify the make, model, and year of what this or that character would drive. (Anything to help define a character.)
4. I've learned to stop using passive verbs; now I shoot for active ones.
Thanks, Holly! (And thanks, Leonardo, for posing the questions!)
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Hey Jim Boston - that's the kind of coverage that really shows the reader cares. It's pretty thorough. So glad she was able to help.
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I'm so DOGGONE glad Holly was able to help, too!
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Haha - that's awesome Jim Boston.