Screenwriting : Currently deep in the rewrite phase... by Deborah Bete

Sometimes I dive in right away, and sometimes I let it simmer, Deborah Bete. It depends on the note and the deadline (if I have one).

It's so hard - some stories are so personal I find it hard to make massive changes but others I can rip to shreds. It's the hours you put in that you can't get back I find frustrates me the most! Liked your post - thank you!

Be true to yourself. I take 24 hours (even if just as a concept), considering the impact of the story and its elements on each character. Look for how it affects the soul of what needs to be told.

I treat my script like it’s an IP. So I look for those notes that will elevate my script and story to its full potential. Even though I care about to characters and story, I don’t get emotionally caught up in the script since the focus is on maintaining the quality of the story and making sure I’m writing in a way that pushes it forward.

Maurice Vaughan I totally get that. Some notes hit harder than others, and the deadline pressure can really shape the way I process them. Thank you for sharing, Maurice — it's always reassuring to know others navigate it intuitively too.

Lauren Hackney I totally hear you, — some stories are so personal they feel stitched to the skin, and edits can feel like tearing them apart.

That said, I’ve come to realize it’s rarely time lost. External notes, even the tough ones, often end up saving me time — they spotlight the weak points I can’t always see myself. Of course, not everything is to be kept (a note is just a perspective), but when it’s constructive, even painful feedback can be a gift.

Thanks again for your message — I really appreciated it.

Jay Gladwell Same here. Letting it simmer often brings clarity — or at least a calmer emotional state to deal with the note. Thanks Jay, I appreciate your take.

Abram Christian I treat my script like it’s an IP. So I look for those notes that will elevate my script and story to its full potential. Even though I care about to characters and story, I don’t get emotionally caught up in the script since the focus is on maintaining the quality of the story and making sure I’m writing in a way that pushes it forward.

You're welcome, Deborah Bete. And sometimes a note doesn't seem helpful at first, but it ends up helping.

Michelle Prostrollo “Look for how it affects the soul of what needs to be told.”

That’s such a beautiful and precise way to put it. I’ll keep that in mind next time I do a painful cut.

Personally, I also take 24 to 48 hours — just to sit with the notes, breathe, let the ego quiet down. Then I go line by line through the feedback, deciding what I consider, what I don’t, and only then do I get to work.

Thank you again for the reminder to stay true to the soul of the story. It really resonated.

Maurice Vaughan French saying "c'est pas faux"

Deborah Bete Hi Deborah, my thoughts about receiving notes is that I need to check carefully who I am given my story to? Is it someone who understands the ‘soul of the story’. If not then I’ll put it down to experience and not go there again. Some notegivers are not exactly humble with their opinions and I will discount feedback that says you need to rewrite it just as they have told you, or it won’t be a good screenplay. Logic is a poor storyteller!

There are others I’ve received notes from, who I think just don’t understand the story and its particular style and so I don’t listen to those either.

The ones I listen to get the style and the soul, but suggest making this or that scene better, or tell me something which means that an event hadn’t been seeded properly, and took them totally by surprise. Choose your notegivers carefully and make sure they are experienced in their craft.

I had my first set of notes not too long ago, I thought I would struggle with receiving them and that I might take them personally but I didn’t, I loved the whole process, it made me feel even more excited about my project than I did originally.

I let it simmer. I received some amazing constructive feedback from a competition analyst on a project last November. It was similar -- tightening dialogue and pacing without losing any of the overall themes or character driven points.

I read their feedback, took notes on it, compared those notes with earlier versions of the script, and am currently in editing and rewrites.

Overall, it depends on the project; sometimes I can dive in and make changes immediately, and sometimes I need to open the draft, stare at my beat board for a couple of hours and then walk away.

It takes a mature writer to appreciate and embrace notes. My typical initial reaction was anger, followed by openly mocking the reader for not getting it. Eventually I grew up. Notes are an integral part of the writing process, but they are sometimes hard to swallow. I believe it's best to ignore your initial reaction and just sit with them for a few days. You will find yourself, at the very least, asking some what ifs. Ultimately you will wind up with the best version of your story. Good luck, and remember the words of Ernest Hemingway: "It is not the writing, it is the rewriting".

Deborah Bete Notes are good things to review, accept or reject, but always save them. I like to have someone read my screenplay, especially if there is a lot of dialogue. I always ask what they think was being communicated. Sometimes they tell me stuff I never imagined was in the writing. Some good, some bad, some exciting.

I do let it simmer for a little bit. I found that if i dove in right away, I was too close to my own material and didn't take the notes as openly as i could or should!

First, I'm thrilled a stranger could find my script entertaining enough to read the whole thing -- especially those few times I paid only for a 1st ten review and the reviewer makes comments related to the entire script. 2ndly, some reviews make me really think about what I'm trying to say, on a level that alone in my room would be impossible. Every review, even the very few "immature" ones, has improved my scripts and even my novel writing. So grateful for those who take the reviewing process as seriously as we take our script writing. They are surely the unsung heroes of the movie industry.

I like to let a note simmer over night. Really consider if this note helps tell the story I am telling or if it is meant to tell someone else’s version of the story.

If you are unsure try it out and see what happens.

I had some good notes, he liked the overall story but some points on structure and beats. Problem is I never see--apart from the best action movies--these beats in movies that I watch?

The more screenplays you write the easier it is to be objective, rewrite, edit, polish. True that if you put it away for months or sometimes more you can look at it fresh ... and often think to yourself "What was I thinking to think that scene was so vital? Or that dialogue?? And you chop away like Edward Scissorhands. An accomplished produced screenwriter once told me the script is always being re-written after it's sold and even while they're shooting it. I will add, you can get notes that vary wildly even from accomplished producers, directors, writers, script doctors. But if an entity is paying you, make their changes with the politest counterpoints. Screenwriting is a craft more than an art. Sort of like someone hiring you to build a house. "Okay so you want the chimney where? The climax is in the attic or the basement?"

Great question! For me, it really depends on the type of notes. If the feedback resonates immediately — if I can feel in my gut that it strengthens the story — I’ll dive in right away, almost with relief. But if the notes challenge something closer to the core, I usually let them simmer. I step back for a few days, reread with fresh eyes, and try to separate my attachment from what truly serves the story.

Either way, I try to remind myself that notes aren’t an attack on me as a writer, but a tool to bring the script closer to its full potential. And like you said, the best ones don’t change the soul of the piece — they help reveal it more clearly.

I would agree with what's been said there it depends on what the notes were. Ultimately if it's your project then you need to stay true to the core values but be flexible where it's going to improve the script.

I'm currently letting mine simmer from yesterday. mainly because I don't fully understand the notes they gave! I am fully aware though that the person who gave me them and I have very different beliefs, so I think I need a second opinion to see if what they are seeing (or not seeing rather) is actually there. I know they were asking questions that they always get asked by founders so I know they're valid.

Orchid Bradley Love that, Orchid. Letting it simmer has helped me a lot too — time brings clarity. It’s amazing how a well-placed note can unlock something new without altering the core. I’m learning to listen while still honoring the story I want to tell.

That’s great to hear, @amy moffat — I love that it made you even more excited about your project. I try to stay open too, but always with a bit of perspective and time, so I can keep what resonates and still stay true to what I want to tell.

Thanks @geoff all — I completely agree. It’s crucial to choose note-givers who understand the soul and rhythm of the story, not just its structure. I try to step back, reflect, and only integrate what serves the story without betraying my own voice.

Michael Valente Absolutely. The initial sting can be real — but I’m learning to sit with the notes for a bit, let the emotion fade, and come back with clarity. That quote from Hemingway is gold. Rewriting really is the work.

Robert Franklin Godwin III Thanks. I also like asking what they felt was being communicated. It’s interesting to hear what lands and what surprises even me. Definitely keeping a balance between curiosity and discernment.

D A Stenard Yes — I’ve made the mistake of reacting too fast in the past. Letting it rest helps me see the notes as they are: just tools to sharpen the story, not personal attacks. I’m learning to breathe before rewriting.

Fran Tabor That’s such a generous mindset — and I admire how you’ve embraced every review as a chance to grow. I agree: even the smallest or “off” notes can spark reflection. The real gift is that outside perspective.

Dawn Sellers Totally agree — I do the same. A night’s sleep can change the way I receive a note completely. It helps me decide if the note serves the story or just someone else’s version of it.

Thanks David Nash — I’ve found that even when I disagree with a note, just hearing how someone engages with the structure or rhythm can help me question how clearly I’m communicating it. Still learning every time.

So true Paul Norman Rich — and I love the Edward Scissorhands metaphor. I’m learning that the real craft is knowing what to cut, what to defend, and when to just let the thing rest. Structure is one thing, but tone and soul... that’s where it gets personal.

You said it beautifully Asia Almerico — it’s about recognizing which notes reveal the story more clearly, not rewrite it into someone else’s version. That’s exactly how I try to approach it too, with perspective and a bit of distance.

Yes, absolutely Sai Kelly — letting it simmer helps me get out of the emotional fog and see what’s actually useful. And I also try to remember that every note reflects the giver’s background too, so filtering becomes part of the craft.

Barring a deadline, I let it marinate for a few days. That helps take the emotion out of the notes. It's also amazing what you can see on your own after putting it away for a bit.

I generally look through the notes and highlight the ones I believe can add value. There have been several times I've made changes only for another exec/reader suggest something that was in an earlier draft. It can be a fine balancing act but I generally graduate to anything that during a online/face to face meeting is suggested and immediately creates a vision in my mind of possibility. If I have to spend too much time trying to get my head around a change, I tend to avoid making it, especially if my voice begins to disappear.

Deborah Bete this is such a relatable and beautifully put reflection. I really appreciate how you described the process, not threatening the soul of the story, but helping sharpen the rhythm. That’s the sweet spot of great feedback.

For me, it definitely depends on the notes and where I’m at emotionally. Sometimes I need to let it simmer so I don’t react defensively, especially if it’s a project that’s close to the heart. Other times, if the notes spark something exciting, I dive in with fresh momentum.

The rewrite phase can be uncomfortable, but it’s also where so much magic happens.

While hearing or reading review notes, I instantly tap into what I want to change, or what needs to be changed, and then can't wait to get started. Sometimes there are suggestions that don't fit with the story message I want to tell. When that happens, I let the comments simmer. If after a few days, it still doesn't 'feel right', I let it go.

Producers get notes on projects they send out too - and then have to turn around and communicate them to the writer and decide how to guide them. These are scripts that I believe are pretty much "done" - except after a while I can't see the forest for the trees. I tend to divide notes into categories. Notes that seem like the concept isn't clear probably necessitate a look at the pitch bible or how I am positioning the project as I am putting it out there. Notes about storylines and relationships can usually be addressed by revising pivotal scenes. It's a mistake to look at how we can change the least important moments and keep the crucial ones intact - it's almost always the other way round. A really strong scene has big repercussions in the overall script, so one change can have rolling consequences. I try my best not to unravel entire storylines that are very tight. Notes I disagree with we will usually "put a pin in" - I take note of them but we don't do them yet. If we get the same or similar note more than once, we must deal with it. Two opposing notes on the same moment must be addressed - it means we need to make a hard decision and steer into one thing or another instead of vacillating. I try to look at minutia notes carefully to see if they have bigger significance than meets the eye - logic notes in particular are the tip of the sword. Sometimes I get a note that I sort of agree with but have no idea how to address because the reader has a point but the suggestions are no good. I try to specifically ask future readers about those to see what useful advice I might get. If we're going to make a change, it will need to be very carefully planned out.

One more piece of advice: If you can change something in your script and it has no effect on anything further on, that is a very big red flag. Everything should tie to everything else - you shouldn't be able to alter a line of dialogue much less an entire scene without combing thorugh how that changes other things. If you find that you are able to make multiple stand-alone changes, you have big structural problems, character problems, and/or lots of excess "fat" in the script (things that should be cut). I recently had a small note on a scene that ended up changing not only the scene, but dialogue further on, and a crucial part of the pitch. You would think that a small note causing a crater in a script would be alarming, but it's the opposite - it means the script (and pitch) are very tight.

I always let the notes stew since my whole approach to any advice I get is to take it with a grain of salt. I always listen to the advice that makes me go “damn, you’re right” or “wow, why didn’t I think of/notice that?” and ignore most everything else, usually on the basis that it doesn’t help what I’m going for even if it is sound advice.

It’ll probably be different once I’m seriously working with somebody, but right now that’s how I do things.

For me, it's essential to let the notes simmer. My initial reaction is often emotional, so I need to step away for a day or two to let the ego settle.

I approach feedback as a diagnostic, not a prescription. A reader is brilliant at telling you where they felt a problem—a moment of boredom, a point of confusion—but it's the writer's job to figure out the why and invent the creative solution.

Nobody likes to hear that their baby is ugly. It's a normal reaction.