Sometimes I wonder if the script coverage is worth it? For the past year, I have sent a few scripts for that service, all of which got PASS. That's not the problem though, because I do appreciate the criticism and the feedback
.Anyway, that constant PASS got me thinking about what the pro readers and expects really want.? I sent the same short story for multiple coverages and every time I rewrite and upgrade the script. And yet I got completely opposite feedback. So how come the same story will receive the following:
"The writer has an extremely clear vision for the story and how they want the film shot. The writer does a wonderful job of communicating the story visually. So much so that it’s actually surprising that the Henchman talk on page 7. The writer does a masterful job of setting up the plot of the film. The description of the funeral does an excellent job of communicating that Sam may be physically there but mentally he’s somewhere else. "
And at the same time, it receives that:
"With a clear tone and style, "Wrath" unfortunately does not quite hit the mark in terms of execution, and struggles with both story and plot, as the reader struggles to learn more about Sam and his intent(s). The story is hard to parse out due to some unconventional writing of the action sequences, and what the writer is trying to say with this piece doesn't seem to be clear."
SO guys can anyone explain to me how come the same story will get two completely different feedbacks.?
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Surgeons are paid to cut. Script coverage readers are paid to find something wrong. Even if there isn't any need to cut. Even if there isn't anything wrong.
One producer told me that he turned down the Ben Affleck script because his "expert readers/script doctors" said that no one wanted to hear about a janitor/mathematician...
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Script feedback is subjective. A lot of popular, successful movies were given negative feedback or rejected. Don't get discouraged, Svetlin Mitrev.
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And in the end-follow your gut. My husband and I like different kinds of movies. He likes action adventure shoot 'em ups where I like thoughtful well written dramas. I write what I like. Recently received a stellar review from a prestigious contest and advanced only to receive a biting review further up the chain. From the 2nd set of comments I deduced that the guy just didn't get the "chick flick" whereas the script totally touched the first reviewer's heart. However I always review my scripts with all the comments received and find tidbits of veracity to make my scripts better.
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Everyone gets rejected/passed.
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As everyone seems to be stating above, SUBJECTIVE. You can send it to one person who will love it but pass because its not what is currently on their radar. Send it to another (without changes even) and you get entirely different feedback.....and a pass, again. Very discouraging. I had more success pitching directly to someone. I was in the room, I chose the person carefully ahead of time, and I practiced the hell out of my pitch and the barrage of possible questions that might follow. That did work for me and I got someone interested in looking over the script WITHOUT me paying for it. I did pay for the pitch though. Back then it was super cheap, like $20 a pop. Not sure what it is now. But one thing I will say, connections are going to be helpful! Make them and don't lose them.
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It's usually best to obtain multiple opinions, maybe a couple paid coverage opinions, maybe feedback from a couple fellow writers (but leave your mother out of it). Then check and see what the commonalities are, what all the feedback givers say in common and give that the most weight in considering what to change.
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You need to do a lot of vetting and homework before you even send a script out for services. You could be sending a horror script to a reader who specializes in rom coms and vice versa. It's all a numbers game. Sometimes you hit the jackpot, sometimes you don't. To harken on Maurices post, don't get discouraged.
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If you think there's value in it, it's worth the price. I've found, however, feedback from trusted people who want to see you succeed and are not paid has been the best coverage.
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I wrote a Scifi feature script a while back and sent it to two separate readers for notes, both of whom had extensive studio coverage experience. Big name studios.
The first loved it, and cited specific passages for why she thought so highly of it.
The second hated it, and cited the exact same passages for why he didn't like it.
There is no Hollywood standard. Sometimes a reader gets flipped off in traffic going to work, and carries that anger over to her coverage.
Read scripts by pros. Get a feel of the HOW and the WHY they wrote to make you feel the way you did while reading it.
Pretty soon, you'll develop a gut feeling about your script that doesn't always necessitate a need for outside notes.
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One of the things to listen for, if you do it several times, is any trends in what they suggest. One person suggested a change in pilot script I submitted. I thought about it and wasn't terribly taken by it so held off using it. When the second person suggested the same thing I made the changes. Consider what they say carefully.
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You also have to read between the lines a little. For example: "... how they want the film shot" is code for "too many directorial interventions." So keep the visuals, but cut back on shot direction, for example.
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It depends. What are you doing to supplement the information? Are you taking classes to improve your craft as well? Are you doing table reads? What about filming sample scenes? Most importantly - are you having multiple people read your screenplay?
If you need help decoding your feedback, I would highly recommend Anna Henry's webinar on the note behind the note: https://www.stage32.com/webinars/How-to-Handle-Notes-on-Your-Script-Type...
If you're relying on the notes alone to help you improve, then it can feel a bit like you tossing your money into a void and your script reader's notes falling on deaf ears. That is to say - coverage doesn't make you a better writer or your script any better, and it's not even there to teach you how to get better. Your reader does not have the time to teach, only to analyze. Coverage is ONLY there to help give you a sense of how someone else is interpreting what you've written and whether or not it works (and ideally a little direction towards the next steps).
That perspective is invaluable, which is why so many of us in the industry learn to give notes - so we can offer up notes in exchange for receiving them. Getting well-thought-out and clearly articulated notes, especially if they are encouraging, is truly game-changing. If you can barter for them, great! If not, you have to get that perspective to keep up your momentum.
That being said, I co-host an event with Lit Kilpatrick every other week through Stage 32's Writer's Room called The Coverage Report where we do just that. We read a script and give coverage notes on it. Partly to get better at providing those notes, but partly to continue to analyze without judging, to offer guidance without hand-holding.
So much great info, Kay. Thanks for the webinar suggestion. I'll look out for The Coverage Report in the Writers' Room.