Second post, and this one isn’t exclusively about editing either. Still, it’s just as important as editing.
I promise the next one will be.
And honestly, that’s one of the biggest career lessons I’ve learned: some of the most important skills in post aren’t strictly about editing. They’re human. Communication. Emotional steadiness. Helping someone find clarity without making them feel wrong for not having it yet.
Because sometimes the toughest notes aren’t the harsh ones. They’re the vague ones.
You know the type: “It’s not working.” “Can we make it different?” “It needs more energy.” No clear direction, no target, just a feeling.
That can be frustrating. We put intention, taste, and thought into every choice, and then we get feedback that doesn’t even describe what’s wrong.
But over time I’ve started to see those moments as an opportunity. Not to avoid questions. We absolutely need to ask questions. I mean: when a client can’t articulate the note, our craft becomes something else too. Translation.
Editing is a silent craft. If we’re doing it well, nobody is thinking about the technique, they’re feeling the result. So when someone says “I don’t know why, I just want it different,” sometimes they’re reacting to tone, rhythm, intention, or even their own uncertainty about what the scene should be.
What helps me is shifting from “defending the cut” to “offering options.”
Instead of asking “What do you want me to do?” I try asking for the goal: “What do you want the audience to feel here?”
Then I try to clarify what “different” means in plain terms. Different how: faster, cleaner, funnier, darker, more emotional?
If they still can’t name it, I’ll propose two directions on purpose. One that stays close to the current intent, and one that takes a bolder swing.
And I’ll always name what changed, so it’s easier to react to. “This version leans into tension earlier.” “This one softens the character.” “This one gives the joke more room.”
Finally, I try to invite a reaction, not approval. “Which direction feels closer to what you meant?”
You become the person who can move the project forward even when the feedback is messy.
Sometimes the best cut is not the one you “win.” It’s the one you lead people toward.
Curious how you handle it: what’s your go-to move when the notes are confusing or too general?
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I've gotten confusing/general notes on scripts I wrote or ghostwrote, Zeque Brizuela. I'll ask the producer, director, etc. what they mean or offer options like you do. And sometimes I'll need to explain why something works or won't work, and that takes really knowing the characters and story.
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Maurice Vaughan Yes, absolutely. Same “translation” concept applies. When the notes are vague, going back to character motivations and the intended effect on the audience usually brings the conversation back to something concrete. And you’re right, sometimes the job is also explaining why something works or won’t work within the story’s logic.
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Coming at it from the director's view point, at the same time I'm still a writer and also an editor, I know what you mean. I've had notes on screenplay and I also get notes for edits etc. But I've noticed something universal, the feedback is usually comprised from two different parts. One part is the actually feedback that something is not clear enough, they didn't get it or whatever. This is actually the important one because it helps you write a better screenplay or make a better cut of something. The second part is usually their opinion of how "it should be", which is plainly put just their idea on how something would be done. I actually understand where it comes from, everyone wants to have a good idea and have their idea be the best. But once you can differentiate between the two, it's much easier to get good feedback or notes that are actually useful. At the same time this also helps you give feedback because you know that you're either telling them what you'd want to do or what doesn't work.
Interesting how that works, I've been told that on set when we're in production when someone walks up to me and starts explaining their big idea of a shot or something, they say I either engage them within the first few seconds if it's something I could use or they say a filter goes up and I just start zoning them out and focusing on something else. Which is true from my side, I ether know quickly if it's something that's useful or not and if not, everything from then on is a waist of time.
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Zeque Brizuela I’ve found that when notes are vague or feel more like “a feeling” than direction, it’s less about defending your work and more about translating intent. I like your approach of offering options and naming the changes, that clarity goes a long way in guiding the conversation.
For me, my go to move is similar: I ask questions to understand the emotional or narrative goal behind the feedback. If that doesn’t clarify, I try presenting two very different directions, each with a clear explanation of what’s shifted. I’ve noticed this often surfaces what they were really responding to, whether it’s pacing, tone, or character energy.