Screenwriting : Script Notes by Spencer Robinson

Totally agree Spencer Robinson! suggesting all writers to explore our script services, especially our Script Coverage from an Industry Reader: https://www.stage32.com/scriptservices/coverage/buy?id=23 where you get 3-5 pages of script notes in 72 hours or less!

Jaz Lagrimas Are you forcing an ad into this for coverage, which is not the same thing? Please don't do that.

I agree, Spencer - writing is re-writing and I am always open to notes that will make my scripts the best they can be. Thanks for the reality check

Steve Dini The hope is to get the best piece! It's what we all want!

Amen, Spencer!

Thank you! Appreciate the words of advice and mentorship!

Listen to Spencer Robinson on this. He’s the one who pushed me to shift my focus from chasing managers to approaching non‑writing producers first, and that single adjustment changed everything — my pitches have been landing ever since. And he’s honestly not trying to sell anything; he’s genuinely looking out for writers. Can’t advise enough to take note.

Jason Green Thank you! I go on these boards to just offer advice. I know that this industry can be tough, so I want to be there to help!

Hi Spencer, we recently received notes on a psychological crime thriller based on a true story and IP with comps in the vien of Mare of Easttown and in a neo-noir style reminiscent of TRUE DETECTIVE - from a trusted Stage 32 source that we paid - however, I worry as we recieved very little notes and most we some tech glitches, but nothing in the way of story notes or structure - so I worry about that and I'm wondering if I should get a second opinion? Or, am I just paranoid?

Thank you. I think most of us are aware that it is a collaboration, and notes can be both very helpful and challenging at times, to take in, particularly if there is no open dialogue and you cannot ask back questions. The terms of that collaboration, however, are not as clear as one may wish. It is very stressful to have to renegotiate what 'collaboration' means every time someone new comes on board, for instance. It would have helped if you would have clarified in more details what kind of 'collaboration' one can expect or is advisable to enter into - if there are options. I would have liked to know, how many re-writes can one be asked (as per contract) to do in Hollywood? Can you/should you actually negotiate these and the actual terms of the notes you will be given? In some regard you make 'collaboration' sound like the writer is there to serve everybody first, but not themselves and some failed blockbusters that had plenty re-writes (and probably tons of notes) prove that too many cooks can spoil a good movie. Understanding what collaboration you enter in - and the terms - is an important step for writers in particular. Like many writers I personally dread how limited some of the 'collaborations' can be and how often some are a take it or leave it type of deal. Then again, some of us have grown the courage to leave it. Maybe we can ALL learn to have better collaborations that would lead to better movies.

Monica L Matulich I haven’t read, and I don’t know who gave you their thoughts, but if you’re concerned that something was missed, there’s prob a reason. Maybe have another person read.

Thanks Spencer, you're probably right, so I'll do that. It's always good to hear your feelings reinforced.

I love this reminder. It always helps to sleep on notes before dismissing them. Every time a note pass feels daunting, I end up being grateful for it!

I totally agree, Spencer. Such an important reminder, and something I wish more writers heard early in their careers.

I've always found that the collaborations with writers that have led to projects being produced and well received share a common thread: the writer really took in what was being suggested, sat with it, and came back with thoughtful responses and implementation of the feedback. That doesn't mean accepting every note wholesale, as you said. The best writers push back when they have a genuine creative reason to, and that conversation is where the real work happens.

Also, the great value of having any third party read your work -- whether it's a studio executive, a producer, or just a friend -- is that if something is bumping them, it's likely to bump an audience too. It's very easy to get too close to your own script and lose sight of how it's actually reading. That outside eye is the whole point.

One other thing that doesn't get mentioned enough: a lot of writers, especially newer ones, are understandably eager to implement notes quickly and get a revised draft back to the producer or executive as fast as possible. That impulse makes sense, but unless there's a specific deadline, it can actually backfire. What you'll often get when notes are turned around too quickly is surface-level implementation rather than a demonstration that the writer has a real understanding of "the note behind the note" (meaning the deeper underlying issue the note is pointing to, which may require a more significant rethink than the surface fix suggests). And just as importantly, changes made in haste can inadvertently unravel something elsewhere in the script, creating new problems that weren't there before. Take your time. Make sure everything still aligns. A draft that arrives a little later but reflects genuine, deep engagement with the notes will always serve you better than a fast one that only skims the surface.

Spencer Robinson this is very sound advice. You have to take what notes are useful to you and that you can implement. As a reviewer I focus my notes on what is not clear to me and what I didn't understand because that is what writers really need to know. Notes where the person wants to change your story to their taste are not useful in my opinion.

Spencer Robinson, this really resonates, especially the part about learning to hear the note before deciding what to do with it. In the beginning of my career I struggled with that, mostly because the only scripts I could find were post‑production versions full of CUT TOs, camera directions, and all the things we don’t use when writing specs. I didn’t understand the difference yet, so even the notes felt confusing.

After writing, learning, and directing my own scripts, the formatting finally clicked. Now I always tell newer writers to read scripts in proper spec format, not director or production drafts, but honestly, those are the hardest to find. I still haven’t found a reliable place that consistently shares specs.

If you know any good sources for spec‑format scripts, I’d love to hear them.

Thank youuu.

Spencer Robinson This is such a real part of the process, and something a lot of writers underestimate early on.

I like the idea of “hearing the note behind the note.” Even when a suggestion doesn’t feel right, it’s usually pointing to something that isn’t landing the way it should.

The challenge is figuring out how to address that without losing the core of what you’re trying to say.

Curious have you found any patterns in notes that are often misunderstood by writers, but are actually pointing to deeper structural issues?

Exactly this! Film & TV are an inherently collaborative process. Listening to notes, working out which are the ones to action, and which notes are actually the result of perhaps a different problem than what is being highlighting, are all part of what makes a great writer!

I wholeheartedly agree with your take, Spencer. I've been on the giving and receiving end of notes calls with streamers, networks, and other financiers throughout my career, and I very quickly learned to adopt a simple mentality: "If one person tells me I'm drunk, I can keep partying. If three people tell me I'm drunk, it's time to lay down."

Learning how to kill your darlings in the pursuit of a greater, more cohesive story is essential. So is learning how to cut through the noise to implement the most actionable, yet transformative feedback possible. Consensus results help tremendously with these goals, as opposed to trying (and failing) to address every note at once. When you serve many masters, you serve no one, not even yourself.

I actually love getting notes, because it gives me a read on what an audience might think. One of my previous projects was under a completely different title and genre until I got some notes from two producers who helped me with development. The project shifted tone a bit, and took a slightly altered stance on things, but it gained a bit more traction as well (I got talent to sign an LOI as well.) If someone has concerns or comments I’m always happy to hear them, because art doesn’t exist in a bubble and different life experiences affect perception, or that’s my read on it. Long story short, I like getting notes and I look forward to getting representation so I can have more discussions and shape my career with a pro.

I’ve started to look at notes a little differently over time. Instead of immediately internalizing every piece of feedback, I treat notes as data points rather than directives. I’ll run them through a layer of analysis first—using tools like Google Gemini and ChatGPT to identify patterns, blind spots, and where multiple perspectives are actually pointing to the same underlying issue. From there, I build a targeted refinement plan rather than reacting note-by-note. Then I take it a step further through my own system, SIFT (Story Intelligence Framework & Toolkit), which I designed to stress-test structure, character dynamics, pacing, and thematic consistency. It helps me verify what’s actually improving the script versus what might dilute the voice. So it becomes less about “taking” or “rejecting” notes, and more about: translating feedback into actionable patterns, pressure-testing those patterns and executing with intention At the end of the day, I still believe the writer has to be the final filter- but having layered analysis keeps the process grounded, focused, and a lot less reactive.

I think we’re lucky to have someone helping us see our writing from a different perspective. It’s a healthy process that might lead us into new territory.

As Spencer mentions, it’s always a good idea to receive notes with an open mind. It’s important to truly listen to the person giving feedback and avoid becoming defensive. In most cases, it’s fairly easy to tell whether a note is helpful.

I agree with Matt—if I have any doubts about a note and more than one person shares the same feedback, it’s a sign that I need to take a closer look at the issue. Recently, I received incredibly valuable notes from a director, and I’m happy to say that my screenplay has improved significantly as a result.

Thank you Spencer Robinson. This really resonates. My first completed script got notes on the Blacklist that hit hard for about ten minutes, then drove me to make it better. It went on to place in the quarterfinals of a screenplay competition and I'm still polishing it, literally today. The notes that sting the most are usually pointing at something real. I've learned to sit with them before reacting. At the end of the day it's all about the story, if it makes it better that's what matters.

I think notes are kind of inevitable, so the goal isn’t to fight them, it’s to understand what’s actually being said underneath them. Not every note is good, but most of them point to something that isn’t landing the way it should.

I try not to react in the moment. It’s easy to get defensive, especially when you feel like someone misunderstood the intent, but that usually doesn’t lead anywhere productive. I’d rather sit with it, figure out what problem they’re trying to solve, and then decide if their solution actually fits the story.

Sometimes the note is right as-is. Sometimes the note is wrong, but the issue is real. And sometimes it’s just not useful but even then, I think there’s value in hearing it out and moving on without making it a conflict.

At the end of the day, I want to protect the core of what I’m trying to do, but still stay open enough to improve it. It’s a balance between collaboration and not losing the reason you wrote the thing in the first place.

You don’t take notes literally — you decode them.

On the call, don’t defend the script. Ask where they felt something break. Most notes are instincts, not solutions.

Afterward, translate every note into a story problem:

Fix the cause, not the suggestion. If they ask for exposition, find a way to express it through behavior, conflict, or visual action instead.

And strategically: don’t push back in real time. Let the rewrite answer the concern. That keeps it collaborative without losing your voice.

Bottom line — take what strengthens tension and clarity, ignore what doesn’t, and protect the core of the story.

I do a lot of book-to-screenplay adaptations as assignments, so notes are a daily thing. When I get a note that I - after I'm objective again - don't agree with, I've found that the best way to discuss (not argue) is to open with something like, "What if we do (x)? Doesn't it change (y)?" Or, "I thought about that, but it felt like it (diminished/changed) something else." Then you're engaged and invested, not passively receiving or being defensive.

BUT, if the producer/team insists on that note, you say "Yes, ma'am, will do," and then you write it so it reads like it was your best original idea ever. That's the job.

With specs, I ask myself two things: Does the note change the story I'm telling? And if it does, is that story better than the one I have? Those two questions sit at the bottom of writing and rewriting for me: Know the story you want to tell, and be ready to kill your darlings to get to it.

I once had a note on a true story script of a historical figure that featured his newsworthy death. One reader suggested that I "turn it into a whodunit." Those kinds of notes, you either get your money back, or put that person on the Never Again List, and move on.

While I read every word contained in a reader’s notes, especially the positive ones, I will rewrite my script if what is expressed by the reader makes sense and is reinforced enough in the notes to take note. Of my nine feature screenplays,, I’ve only rewritten portions of three of them. Again, if what the reader is saying makes sense within my story.

I agree with this 100%.

I just submitted my first 10 pages and got notes back—and honestly, I was excited. Not defensive, not frustrated—excited. Because for the first time, I could clearly see where my writing falls short, what’s actually working, and what simply isn’t landing the way I thought it was.

For me, script notes aren’t criticism—they’re direction. They show you the gap between intention and execution. And that gap is where the real work is.

I also realized something important: the value isn’t in blindly accepting every note, but in really understanding what’s behind it. Even when a note feels off, there’s usually a reason it came up. Something didn’t connect. And that’s worth paying attention to.

Notes force you to get out of your own head. Writing alone can create this illusion that everything is clear—until someone else reads it. That moment is humbling, but necessary.

So yeah, I see notes as part of the process, not an obstacle. They don’t weaken the vision—they sharpen it, if you know how to use them.

This is great, and something writers need to hear. Some writers get notes for validation, which isn't the purpose of notes -- especially when it's from people who have devoted their lives to screenwriting. Notes are such a valuable tool! BTW, Spencer Robinson is great at giving thought-provoking, constructive notes, and fwiw, he's an excellent musician.

The first thing I've learned is don't answer notes (if you're even given the opportunity to) immediately. Let them sit with you for at least two days before responding. Writers always have a knee-jerk reaction to defend their script like it's a child, and if someone says your child is ugly and needs plastic surgery, of course we're going to react defensively. But after a day or two, you'll get over that and start to wonder if your child's life could be better if they had plastic surgery. LOL

I also agree with Spencer Robinson about not taking all the advice you're given. We're constantly told to showcase our unique voice in our work, so why would you listen to someone else's voice about how you should change it? Occasionally, the writer's vision and the notes intersect at certain points, like a Venn diagram, and those are the notes you should keep. Those notes are GOLD.

Unfortunately there are a lot of 'experts' out there who want to tell you what to do, and most will fill X pages with notes for X dollars, whether they need that amount of pages to review your script or not, you will get that amount of pages because that's what you're paying for. And that sort of padding is what you need to beware of.

Well it's funny because I have a complicated relationship with notes that actually really surprised me once. But that's probably because I write my screenplays, then direct my own films and then even do the post-production.

Why complicated, because the further down the production process I get the more feedback that should have been given earlier gets me annoyed. So if I'm in post with a film and someone starts talking about something that would work better story wise which would be super simple to fix in the writing stage or even in pre-production, I get annoyed.

But at the same time I'm always willing to listen to any kind of constructive feedback.

What really surprised me was the first time I let people read my screenplay and got feedback, I was expecting to be destroyed with by the feedback, but instead I really loved it and quickly learned that there are two kinds of feedback. The useful kind, which is really the great and best kind of feedback I've gotten. Usually stuff that doesn't change my story but makes it better. Then there's the other kind which is rarely helpful and is usually the result of someone trying to change the story into something they'd want to do. So I've developed a kind of quick filter that helps me filter out which one it is.

And that way I've learned to always be open to feedback, but the only time I might ignore someone is when we're in production and don't have time to play around with ideas because it would put us behind.

I've found that getting feedback really does help on collaborative projects like a film, but in the end it's up to me to either except some feedback and decide that I can use it or not. It doesn't matter what stage of production the project is in.

Anyway that's my take on feedback or script notes.

Spencer Robinson, this is great info, especially for me. I've written several screenplays, but have not sought representation or pitched yet. I'm newly retired and chasing my creative dreams! Understanding how this can influence my future experiences is really helpful.

I've been in the world of writing for 30 years and I got used to notes very early on in college when I was moving into research writing. The notes on 25 page pseudo science pieces could at times be brutal. If the ideology was not strongly put forward (in certain cases) the notes read more like backlash. I had two wonderful professors that would read the notes when I wasn't sure whether it was bias opinion or constructive criticism. And there was a fair amount of both. Then when I started working for other non profits and government agencies that was a serious wake up call. One thing rings true about these agencies and the public administration that deals with them...they do not read. The become indignant when they are expected to and my central function seemed to be to make these people appear as if they actually knew what they were talking about. When I started writing scripts I applied the same principles I had learned in my years of writing.

I took the same view with scriptwriting when it came to criticism and notes. If I find the changes to be beneficial and a pov I hadn't taken into consideration, I apply changes, my way. If a person just feels like being insulting, well, roll you eyes and roll it off your back. But take that professional criticism like a kind of cheat sheet to make what you have better. Trust me, most of the people who give you criticism here are really productive with their criticism and that''s helpful. I did have a couple horrible people who said inappropriate things like; "No one cares about the lives of women over 40" "There's nothing interesting about you or your work" and those are just bias, personal insults. Those kind of notes have nothing to do with you and everything to do with bad manners.

I get AI bot notes and I pretty much deal with iit the same way that you describe. But tbh, I just don't have the time, on a weekly episode schedule and other resposibilities. Sometimes, knowing it's not the best I could submit, I do it anyway because most of life has no time to wait for you or for perfection. However, I am also constantly (at this point, in my tiny bit of spare time like when I'm sleeping, playing back scripts I've written and catching mistakes) rewriting when I hear one of my scripts and something feels out of place. I try, due to my constraints, to learn to aim correctly to hit the target. Anyone who is performing on stage knows this. You can't stop. You can't go back. As writers, we have that luxury up to a point. That point could be production deadline or it could be death. In either case, the race is pitted against perfection. Often, what seems like it will be perfect really isn't; everything is subjective. That means all notes are subjective. I take them in stride means try to gain what I can from them. Sometimes, as in life, someone says something that you know is wrong but it still contains a valuable lesson. As writers, we are targeting all imperfect people in their living rooms or wherever they carry their phones. We must be less interested in some abstract concept of perfection than in what are people feeling right now and what makes them pulse? I wing it because I can overthink it and end up with nothing. I take the feedback of others seriously. They are people and they are outsiders to my story. Even the person who is now helping me read the story aloud for my podcast gives me feedback by how she says the lines. I find myself wanting at times to pull her back and say no it was supposed to come out differently. But I let her do it, mostly because it's recording and I don't like to stop my podcasts once they start, but also because I can learn something from how she reads them.

Ashley, I read all my script notes carefully and make adjustments to my script if necessary.

I have to be brutally honest,

I don't know how to write 3-5 pages of pitch decks. I know for a fact that you can't do it on a software, I also get flustered when I couldn't figure things out.

As far as notes and feedbacks, i would follow their notes and listen to the feedbacks so that I can edit and try again.

I have to be sometimes that my mind will come up with something inspiration and creativity that could absolutely work. Other than that, I'm still distracted with multiple objects though.

The note behind the note is one of the most useful skills a writer can develop. When a producer says "I don't believe this character would do that," they're rarely wrong about the feeling, even if their proposed fix is off. Nine times out of ten the real issue is two scenes earlier where you didn't plant enough setup, not the moment they're actually pointing at. Learning to translate notes into the underlying problem is what separates writers who survive the development process from those who burn out fighting every page. And to your point about not reacting in real time, I've made it a rule to never agree or disagree on the call itself. "Let me sit with that" has saved me from both bad rewrites and unnecessary battles more times than I can count.

I at first took all the notes and tried to "fix" my script. Now I realize, accept the notes, change as needed with all those notes but if there are a couple that I may not agree with, maybe don't change those until they read with their other notes, if that makes sense. But in general, take the notes with fresh eyes to the project.

I've just received 130 pages of coverage from a producer. Simply put, it was incisive and spot-on. Thus, I am diligently working to process this powerful critique into revision, intended end product to be so much improved. The essence of film is collaboration. One element of this is input from the trained eye and mind of others

Any notes that come from the actor's bodyguard should be taken seriously...

Coverage Ink recently sent out an email blast that blames writers for things their readers get wrong or are stupid: "... discuss the notes -- especially the ones that seem stupid or flat-out wrong. Because even if the reader missed the something, and the note wasn't on the money, there may be a "note within the note" -- in other words, the reader may not have nailed the problem, but they're planting a flag here because something bumped them out of the read."

This is flat out ridiculous. This post has the same kind of energy. The "note within a note" is a big dodge that means the reader failed, not the writer. It's like staying, "I'm saying this but I mean this. Now's the time to spin up your psychic powers to figure out what I really mean." Why not just cut to the chase, There's an issue with X because . . .

I've been fortunate enough to have received a different set of notes that are consistent with each other so I listen to then any way.

For me, it comes down to understanding the intention behind the note rather than just the note itself.

If multiple people are pointing out the same issue, there’s usually something worth paying attention to — even if the suggested fix doesn’t feel right. At the same time, I think it’s important to protect the core voice and theme of the story.

I try to see notes as a way to clarify what I’m trying to say, not replace it. The challenge is finding that balance between being open to feedback and staying true to the story’s identity.

Eat the meat, spit out the bones. The most transformational notes aren’t the ones that feel right in the room. They’re the ones that reveal their value through the friction of trying to apply them.

I like to think that I'm always open to notes that are thoughtful, well-reasoned, show an understanding of the script's core concepts and structure, and represent a legitimate improvement in the material. I find I'm less tolerant of notes from people who don't really understand what they've read, haven't read it at all, or are basing their input on notes from a reader who didn't understand it, I had a lot of meetings like that back in the day, I try to be politic in those instances, but I'm not always successful. I always imagine my eyes are rolling., even if they're not, and I suspect people pick-up on that.

Completely agree.

Good notes come from understanding the intent of the story, not just reacting to it. When someone actually engages with the material, even tough feedback helps move the script forward.

It’s the surface-level notes that usually create more confusion than improvement.

I've submitted lots of scripts for feedback on the now former Coverfly, Stage32 and ISA, each submission and feedback has been good in its own way.

I had at least 3-4 back-and-forth submissions on Coverfly with the same executive when I wrote a spec script for Seinfeld.

The executive's feedback was fantastic every time. The first two drafts were about the foursome navigating a COVID-like NYC, during the current smartphone era. When I submitted the first time, they said the era I wrote the show in didn't match its original world, when you write for an existing show you have to write for the period it's set. From the existing draft they suggested using George's existing story as the main one, I wrote another whole draft and submitted.

They suggested some more pointers to make it stronger again; I implemented them and they ended up giving it a solid rating and advised me to use it a comedy sample piece. Since the show no longer runs, they said it's highly unlikely it will get produced.

I've more recently written a dystopian thriller based on suppression of press freedom and gotten feedback from two executives here and one from ISA. I still haven't put them into the script but want to.

For me, when receiving script notes the constructive criticism is always welcomed. Sometimes there may be aspects the reader mentions and they wonder why I didn't explore it more, for example: an idea / character in the story being similar by comparison to one in another movie or TV show.

That's when I'm like, "no, I did answer that in the script", but it also maybe wasn't clear enough.

Really interesting breakdown — especially how consistent feedback shaped the script over multiple drafts.

What stood out to me is the point about clarity. Sometimes we think something is already in the script, but if the reader misses it, it means the execution can be stronger.

I also like how you adapted based on the world of Seinfeld — that awareness of tone and setting is something I’m trying to focus on more in my own writing as well.

Great insight on how constructive notes can actually refine the work over time.

I've saved and catalogued the notes I have received. While some were frustrating, many were good, and overall it's a gauge to see how the world responds to your work. I occasionally go back to peruse set of notes.

What if there's a note that is, 100%, counterintuitive to the plot - it adds zero value? Also, has anyone been in a situation like this but they've been told the project would be scrapped if said implementation didn't occur?

That’s a great approach.

Looking back at notes over time really helps you see patterns — not just in the script, but in how different readers respond to the same material. Even the frustrating notes can be useful when they point to something that isn’t landing clearly.

It turns feedback into more of a long-term tool rather than just a one-time reaction.

Emilia-Maria

Screenwriter posted in a discussion Script Notes

What if there's a note that is, 100%, counterintuitive to the plot - it adds zero value? Also, has anyone been in a situation like this but they've been told the project would be scrapped if said implementation didn't occur?

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Hi Spencer, this is a grounded and very real take on notes — especially the part about learning to hear them before reacting. That alone separates professionals from amateurs.

If I may add a layer from the script development side, I’ve found that the real skill isn’t just taking or rejecting notes — it’s diagnosing what the note is actually pointing to.

Because most notes are not solutions, they’re symptoms.

In practice, I tend to filter notes through three lenses:

1. The Note Behind the Note

When someone says “this scene feels slow” or “I’m not connecting with the character,” the surface note is rarely the real issue.

It could be:

– a lack of clear intention

– missing stakes

– or delayed narrative movement

The job is to translate the note into a story problem, not take it at face value.

2. Pattern Recognition

One note can be subjective.

Three similar notes from different people usually indicate a structural issue.

That’s where ego has to step aside and craft takes over.

3. Preserve the Spine, Adjust the Expression

Strong scripts have a dramatic spine — theme, character drive, and narrative engine.

Good note-taking isn’t about protecting every scene; it’s about protecting the core intent while being flexible in execution.

Interestingly, even “bad notes” are often valuable — not because they’re correct, but because they reveal where the communication between the script and the reader is breaking down.

And that, in itself, is actionable.

I completely agree that pushing back in real time rarely leads anywhere productive. The strongest writers I’ve worked with tend to do something different: they absorb, decode, and respond with clarity — often coming back not with arguments, but with stronger pages.

At the end of the day, notes are less about control and more about alignment — between vision, execution, and audience perception.

Appreciate you opening up this conversation. It’s one of the most misunderstood (and most defining) parts of the craft.

Really strong breakdown — especially the idea that notes are often symptoms rather than solutions.

The “note behind the note” is something I’ve been trying to understand more, because reacting at the surface level rarely solves the real issue.

Also agree on pattern recognition — when multiple readers respond similarly, it usually points to something structural rather than subjective.

Appreciate you sharing this perspective.

For me, it’s not only about listening to feedback, but also about knowing how to filter it. Notes reveal how a scene is perceived from the outside, but the final decision always belongs to the writer. The key is to understand what triggered the reaction, and then decide how to use it.

Well said.

I think the balance between listening and filtering is where the real craft comes in. Notes show how the story is landing, but not every suggestion needs to be applied directly.

Understanding what triggered the reaction is key — once that’s clear, you can address the issue without losing the core intent of the scene.

Ultimately, it’s about improving communication with the audience, not just following every note.

I've had both - notes that appear to be generic and those that seem to have the scripts best interest in mind but for me, the guiding question is always what is best for the screenplay, do the notes serve the overall vision of the script? I can articulate my vision for the screenplays and am willing to consider tweaks. I have an English background so I say defend it like a dissertation and if it works to better serve the screenplay, than okay.

Here's a note behind a note, Volkan Durakcay. Your post might carry more weight if it weren't AI generated.

". . . the surface note is rarely the real issue." Exactly. The reader has no clue. It's a guess. Why trust anything so ill-advised. Especially when it's a non-issue.

Thanks Spencer Robinson this is very useful. I have a script which has made it to the finals of writing competitions losing out by 1 point twice. These two opportunities would have given me funding to produce the films. It was a frustrating time because one gave feedback that was unclear and I just kept wonder what made me keep losing with this script that everyone kept telling me was really good.

I took some weird advice which was to do dual dialogue when sending it to competitions overseas, due to the dual nature of the dialogue being in a language the readers might not understand. They convinced me that this is what they did and they have had no issues. I followed the advice, but that dual dialogue became one of the key issues I got notes on, because it made the script feel confusing for the reader. I've since scrapped that.

There were some other notes I got that I initially disagreed with regarding structure and that the action took too long to get started. After careful thought, while I still don't think the action starts late. I did end up agreeing that the structure could be rearranged and tightened, so I am working on that rewrite now, and I believe the restructuring will fix both highlighted problems.

That’s a great way to frame it.

I like the idea of defending the script with clarity rather than just reacting to notes. Being able to articulate the vision helps separate what truly strengthens the screenplay from what might take it off course.

At the same time, it also forces you to question your own choices — if something can’t be clearly defended, it might need rethinking.

Strong balance between conviction and flexibility.

I think there’s value in both perspectives.

Not every note is accurate, but even when a note feels off, it can sometimes point to a reaction worth understanding. The challenge is figuring out whether it’s a real issue in the script or just a subjective response.

Filtering that difference is part of the process.

That’s a really valuable breakdown of the process.

It’s interesting how something that seems like a creative solution (like the dual dialogue) can actually create confusion for the reader. It really shows how clarity often matters more than cleverness on the page.

Also relate to your point about structure — even when we don’t fully agree with a note, taking a step back and reassessing can reveal where the pacing or flow might be affecting the read.

Sounds like you’re approaching the rewrite in a very focused way. Hope the new draft lands even stronger.

This hit at the right time.

Still figuring this out, but the idea that a note can be wrong and still point to a real problem… that’s a big one.

Easy to get defensive. Harder to actually listen and then decide what to keep.

Appreciate you sharing this.

Well said.

That’s probably one of the hardest parts — separating the reaction from the actual problem. A note can be off in its suggestion, but still highlight something that isn’t fully landing on the page.

Getting past the initial defensiveness and then deciding what to keep is where the real growth happens.

Appreciate you putting it so clearly.

Spencer, this is a really useful breakdown. Question on vertical drama specifically: when a writer hands you a vertical sample (let's say 10 episodes of a free-window pilot, around 15-20 pages), how do you note it differently than you'd note a TV pilot? My instinct from working in both is that vertical needs more ruthless beat-clock-level notes (is the spike landing in the right window? does each button create the next episode?) and less of the act-structure / midpoint-reversal kind of work. Curious if that maps to how you actually approach it as a manager.

— Logan

15 yrs TV (Gossip Girl, Quantico, God Friended Me)

storyhack.io

That’s an interesting distinction.

It does feel like vertical storytelling demands a much tighter rhythm — where each beat has to immediately hook and carry momentum into the next episode. The pacing becomes almost more mechanical in terms of engagement, compared to traditional pilots where there’s more room for gradual development.

Curious how others balance character depth with that kind of rapid structure.

Such an important reminder.

One of the most valuable lessons in writing is learning that a note may not be correct in its proposed solution, yet still reveal a real issue in how the material is landing.

I’ve found that the most productive approach is separating the symptom behind the note from the note itself—understanding what caused the reader’s reaction before deciding how to address it.

That shift turns feedback from something defensive into something diagnostic, and it often leads to stronger rewrites without compromising the core vision.

Excellent breakdown of the collaborative reality of the process.

Really well put.

That distinction between the note and the underlying reaction is such a key shift. Once you start looking at feedback diagnostically, it becomes less about agreeing or disagreeing, and more about understanding what’s not fully landing on the page.

It definitely changes the rewrite process from defensive to intentional.

I love getting feedback on my script & I've paid for it four times. Inspirint & helpful!

Logan Slakter I would try to look at each ep, and make sure they hold up, then look at the whole thing to make sure it flows.

That makes a lot of sense.

Making sure each episode works on its own while still contributing to the overall flow feels especially important for vertical formats. It’s almost like balancing mini-arcs within a larger narrative.

Really helpful way to look at it.

My experience as a writer being very limited at this point, I am not in a position to comment on the writing notes. BUT, as an experienced actor, I have found notes of any kind to be useful. I find I learn from each one - even the dumb ones. Those have always taught be something, stupid though they might be i.e. that note does not help at all; my body won't do that; the direction enhances neither the scene nor my performance; the note will destroy my scene partner's hard work; the Director's from another planet; time for a drink!!! However the good notes? A huge help always.

That’s a great perspective.

I think that mindset translates really well to writing too — even when a note feels off, it still reveals how something is being perceived from the outside.

And yes, sometimes the “bad” notes are just as useful in showing what doesn’t serve the scene.

The actor’s point of view on notes is really valuable here.

Since I only started screenwriting two years ago, I look forward to feedback. I have had at least one response in which the producer didn't seem to understand the concept. It's up to me to evaluate those notes. As they say in the 12-Step programs, "Keep what is worth keeping and leave the rest."

That’s a great way to approach it.

Not every note will fully align, but there’s usually something valuable in how the material is being received. Being able to filter feedback without losing the core vision is definitely part of the process.

“Keep what works and leave the rest” really sums it up well.

Spencer,

That's exactly the test I've been running on my own work (does each ep hold up + does the whole thing flow). The harder piece for me crossing over from TV is the second test, because in TV "flow" usually means narrative momentum across the season. In vertical it seems to mean something more like conversion momentum. Does the first paywall episode earn the unlock, do the post-paywall episodes validate the spend? Curious if you've seen vertical samples where a writer nailed individual episodes but the season-flow read off because the conversion shape was wrong.

Sachin,

Agreed on the mechanical pacing observation. The way I've been solving the character-depth-vs-rapid-structure tension is by front-loading the contradictions in a character before the action starts running, rather than building them through arc. Vertical doesn't have time to evolve a character across episodes the way a 10-episode TV season does, but it does have time to reveal a character whose contradictions were already there in episode 1. Less arc, more excavation. Episode buttons become the moments where a previously-hidden facet hits the surface.

Curious where you've landed on it.

Am I the only one noticing this?

When I receive notes, especially in a one-on-one, I don’t react immediately. I listen and take notes.

Then I step back and try to understand what’s behind them, whether they actually serve the story, or if they’re more a personal reaction.

For me, feedback is about perception. It shows how the work is being received, and where something might not be landing as intended.

I usually let the notes sit for a bit, then I go back to them and organize them, structure, dialogue, arcs, to see what can genuinely improve the story.

And sometimes, it’s just not the right note or not the right reader. You can’t please everyone. I think it’s important to listen, but also to stay aligned with the sensibility of the work you’re trying to create.

Deborah Bete I more or less approach feedback in this same way. Very good take.

I'd be happy to get notes. I'd be happy to even get someone to read one of my scripts. Thanks for sharing.

Really love this! Something I always preach with writers I work with is that every note should be taken with a grain of salt. What's most important is that a writer consider the notes that resonate. Find the things that feel true to the story, and run with them.

That being said, some notes are going to propose an alternative point of view on the story. I always like to offer the note of "Have you thought of it this way?" I rarely give a note without offering a solution as well.

That’s a really sharp way to frame it.

“Less arc, more excavation” makes a lot of sense for vertical — especially with the time constraint. I’ve been leaning toward something similar, where the character’s core tension is already present early on, and the episodes are more about revealing layers rather than building from scratch.

I like your point about buttons being the moments where hidden facets surface — that feels like a strong way to balance depth with pacing.

Still figuring out how far that can go without losing emotional progression, but this perspective definitely helps.

Totally get that.

Even getting someone to read your script is a big step early on. The key is finding the right kind of feedback — something that actually helps you improve, not just general comments.

Keep going, it gets easier as you connect with more people in the community.

That’s a really helpful way to frame it.

I like the idea of notes as “Have you thought of it this way?” — it keeps the core vision intact while opening up new possibilities. It feels more collaborative than prescriptive.

And I agree, the key is recognizing which notes actually resonate with the story, rather than trying to apply everything blindly.

Great insight from the production side.

This is a really grounded approach.

Letting notes sit before reacting makes a big difference — it helps separate the emotional reaction from the actual value. I also like your point about organizing feedback into structure, dialogue, and arcs. That makes it much easier to see what’s actually improving the story.

And yes, not every note is the right note — but it still shows how the material is being perceived.

Great perspective.

That's a lot of that's a.

Exactly. I was noticing the same thing — a lot of comments here sound unusually polished and repetitive. glad I’m not the only one

I'm always happy to receive feedback on my work and sometimes I even think that you shouldn't take your script too seriously, because the director or producer will still make a lot of changes.

How do I leave the conversation? I'm getting multiple emails daily. Please let me know. Thanks.

I get that — especially in production, scripts do evolve a lot.

At the same time, I feel taking the script seriously at the writing stage is what gives it a strong foundation in the first place. If the core is solid, the changes later usually make it better, not weaker.

Finding that balance between attachment and flexibility is probably the real skill.

You can unsubscribe from the discussion emails using the “unsubscribe from Lounge discussion notifications” link at the bottom of the email.

That should stop the daily notifications.

Sachin Yadav I don't understand what you were trying to say in response to my comment? If anything? (was it a copy and paste mistake?

Hi Emilia,

Thanks for pointing that out — I see how my response may not have come across clearly.

What I meant was that sometimes even a note that doesn’t directly fit the plot can still point to a gap in how the idea is being communicated. I wasn’t suggesting to follow it blindly, but more to look at what triggered that reaction.

Apologies if it felt unclear — appreciate you asking.

Hi Emilia,

That was actually meant for a different comment about email notifications — looks like I replied in the wrong thread by mistake.

Apologies for the confusion!

This is such an important point — especially the idea of hearing the note before reacting to it.

I’ve found that even when a note feels off on the surface, it’s often pointing to something underneath that isn’t landing yet. The key is figuring out what that “signal” is without immediately trying to defend the execution.

Taking a step back after the conversation has helped me separate what serves the story from what doesn’t — without turning the process into resistance.

Really well said.

That idea of separating the surface note from the underlying issue is something I’m starting to appreciate more. Sometimes the note itself may not be right, but the reaction behind it usually points to something worth looking at.

Taking that step back definitely makes the process more about improving the work than defending it.

Monica L Matulich The settings menu in the top right. I DM'ed you with a walkthrough if you can't get it. Cheers.

Эмилия Мария, ты тоже заметила что -нибудь странное в этом ответе, или это только мне так показалось? я уже начала думать, что я единственная, кто это заметил в десятках тем.

This horse has been beaten to death, resuscitated, and beaten to death again. R.I.P.

I am okay with the opinions of professionals, as long as it doesn’t ruin the whole idea.

Hey, I think there might’ve been a mix-up earlier — one of my replies ended up in the wrong thread by mistake, which may have caused some confusion.

Appreciate you pointing it out though.

I agree — it’s a balance.

Good notes should strengthen the idea, not take it away. I think the challenge is protecting the core of the story while still being open enough to improve how it’s expressed.