Hey SS, thought this could be an interesting conversation. As we all know, criticism is vital in growing as a screenwriter. I can’t even begin to thank everyone who has taken the time to read a script of mine and given some great advice.

My most recent script was posted on the amateur offerings page on ScriptShadow and I’ve gotten an overwhelming amount of notes, really valuable stuff. However, there are certain criticisms that while I understand where the reader is coming from are aspects that I personally love about my script.

I understand that taking on the role of a screenwriting solely, you are going to have to cut out or rework stuff you would rather not. Unless you are writing and directing your own film, sacrifices will have to be made.

I’m curious to know how many times you all had to cut something you thought really worked for the script. Also, at what point do you fight to keep it to maintain your own personal style despite negative reactions to avoid falling into complete cookie cutter-dom (I’m aware that is not even a word)?

I think the hard thing is that both possibilities are true, Kev: that the readers are seeing something you might not be seeing clearly, or that the readers are wrong. Ultimately you have to decide. If you've only recently finished the first draft, then put it down for a few months and come back with fresh eyes.

There are great readers. And there are not so great readers. And a lot of script people are saddled with preconceptions about what a film should be. I guess we all are to an extent.

For many years, people said the protag had to be likable. But most of the best TV shows that have come out in the last 2 decades have had more or less unlikable heroes. Sopranos, Breaking Bad, House of Cards, Mad Men to name some.

A lot of readers will tell you your hero has to be active, forgetting that reactive anti-heroes work well too.

And one last thing to consider: sometimes when your script isn't quite working, the reader will feel that and will try to identify the problem, but might just miss the mark. For example, let's say the reader just didn't care about your villainous hero, so she suggests you make him do something nice at the beginning. She might be on target in the problem,but off base in the solution. Maybe what you really need is just to make your hero more humorous...people like humorous anti-heroes and want  to journey with them, whether they save a bloody cat or not.

When you read through the various reader remarks, use that to identify the  problem...if there is one. Then consider all the possible solutions. Good luck!

Quoted from kev I’m curious to know how many times you all had to cut something you thought really worked for the script. Also, at what point do you fight to keep it to maintain your own personal style despite negative reactions to avoid falling into complete cookie cutter-dom (I’m aware that is not even a word)?

Good question, Kev,

It depends on who you’re writing for. If it’s something you want shown in a certain way and by cutting it will take that away,  by all means, leave it in.

Especially if that personal style is the voice and vibe of the story…

I write what I want to write but then allow others to help guide me on what they think might improve the story. Not the bones, mind you but the story. The bottom line for me is, I want it to entertain but I also want it to have my stamp on it.

Shawn…..><

Can't quite understand what mean by cutting something that really worked for the script. If it really worked why would you cut it?

I guess you're on about cutting something you liked but doesn't fit in too well with the plot. In which case it has to go. It's always hard to bin some part you've worked on. But it gets easier with time.

It has to be story first. But at the same time it's got to be an enjoyable read.

Some people like a certain style, usually their own. It's important to bear that in mind when you read reviews.

R

Once the morons get a hold of your script and actually make it into a film you will not recognise it. The fight is not yours anyway, aside from rewriting... but the clincher is, even after a rewrite, once it comes to filming day the director will hack your script to bits.

That's because what works in your head doesn't work when it comes time to film.


Look at all the bad films out there... they don't all come from bad scripts. They come from morons not following the blueprint properly. Personally I couldn't give a pHuck what anyone thinks unless they're paying me a shit load, then I'll write whatever they want. In a spec script though I write for myself. No way in a million years would I write for the people that believe I should be writing the way they do. If they knew what to do they'd be doing it.