Some folks may be giving story notes for the first time. Here are basic guidelines on feedback and group etiquette that should help to make meetings friendly and productive.
CONCEPT
Is the concept clear? Simple? Strong? Inventive? Has it been done
before? Is there anything fresh and original about it?
If the central concept is not distinctive, does that matter? After all, some very good films have been "low concept": The Big Chill, Lone Star and Broadcast News, for instance.
STORY
Is the story clear or confusing? Do events occur logically as the
result of previous circumstances, or do things happen "out of left
field"? Does it rely too much on coincidence? Does it keep moving,
or are there "dead spots" where little actually happens?
Is there conflict? Is there risk? (Remember that risk can be emotional as well as physical!) Does the level of tension rise and fall in a natural and dramatic way, or does it "plateau"?
CHARACTER
Do characters behave realistically, or do they do things only because
the writer needs a certain event to happen? Is character behavior
consistent -- are characters "true to themselves"? Do they have
internal conflicts? Do they have believable goals? Do the main characters
have flaws, back-stories, and unique strengths?
Are characters' dilemmas internalized, resulting in passive, inactive characters, or are they externalized, i.e. reflected in the characters' actions?
DIALOGUE
Is the dialogue appropriate to the character? Do the characters
have individual ways of speaking, or is it impossible to tell one
character's dialogue from another's? Does each line count, or is
there dialogue that serves no purpose?
SCENE STRUCTURE
Does each scene have a purpose? Do the scenes "get to the point,"
achieving their goals quickly, or do they meander?
FORMAT
With screenplays as with high school homework, neatness counts.
Check the screenplay to see if it conforms to the required format.
Are the margins correct? Is the font Courier 12? Are the pages numbered
correctly? Are there too many typos?
AND, MOST IMPORTANT OF ALL....
Be Constructive
It's not enough just to say that you didn't like a script. You need
to explain why you didn't like it, and suggest solutions for its
problems. For instance, saying "This script sucked, and you're a
lousy writer," isn't constructive. But saying "This script had great
action, but it needed more believable, three-dimensional characters,"
IS constructive...especially if you go on to suggest ways to make
the characters more real. The purpose of offering criticism in a
writing group is not to score points in some kind of sadistic game
- leave that to the studios and development companies. In writing
group, we give criticism in order to help the writer make his or
her project better. Period.
Be Concise
Remember, brevity is the soul of wit. Everyone gets a chance to
speak, but if you are the only person talking for ten minutes or
more, then you have started to lecture...and no one else is listening,
including the writer. Be concise, especially if you have a lot of
notes on the script (for instance, if your notes run to three pages
or more). Choose the most important, most fundamental points, and
discuss only those. Leave the less important comments for the writer
to read in your typewritten notes. Not only does this mean that
the group will pay closer attention to the comments you do make;
it also leaves time for everyone in the group to build on your ideas,
and perhaps come up with some new suggestions for the writer.
NEVER discuss individual typos, individual grammatical errors, or format problems in the group. You can mention that there are typo or format problems, but save specific notes for your written comments. There's nothing more boring or useless then a thirty-minute debate on "two brads or three."
Be Polite
No matter how passionate you are about your opinion, or how much
you dislike the script, always keep your feedback friendly and polite.
Remember, the feedback is for the writer's benefit. Your goal is
NOT to display your own wit or erudition -- it's to be as helpful
as possible to your fellow writer. Be sure to mention what you liked
(if anything) as well as what you disliked.
Be Reliable
If you take someone's script, you have agreed to read it. The writer
has spent three dollars making that copy for you; you owe it to
the writer to provide your feedback.
If your own script has been read by the group, and you've gotten feedback, then you owe it to the group to stick around and provide feedback of your own for the work of the other members. If you disappear after you get notes on your script, you will not be allowed to rejoin the group - you've stolen the time of the other members. As a corollary to the above:
Attendance Is Critical. Faithful attendance at meetings is a sign of your respect for your fellow writers, as well as a measure of your dedication to your craft. If you find yourself missing a lot of meetings because other things keep "getting in the way," it's time to evaluate whether you really belong in a writing group.
Respect Confidentiality ALL SUBMISSIONS IN THE WRITING GROUP ARE TO BE TREATED AS CONFIDENTIAL. THAT MEANS YOU CAN NOT SHOW THE SCRIPT TO NON-MEMBERS OF THE GROUP WITHOUT THE WRITER'S EXPLICIT PERMISSION, AND YOU SHOULDN'T EVEN DISCUSS ANOTHER MEMBER'S PROJECT OUTSIDE THE GROUP EXCEPT IN THE MOST GENERAL TERMS. A MEMBER WHO VIOLATES THE RULE OF CONFIDENTIALITY MAY BE IMMEDIATELY EJECTED FROM THE GROUP.
Two Corollaries to the Confidentiality Rule:
- NO STEALING. It shouldn't even have to be listed,
but it is. A writing group can't work without TRUST among all
the writers in the group. With a strong trusting relationship,
you can feel safe in exposing "raw" work (i.e., before it's time
for copyright and guild registration). Without a trusting relationship,
if you have to polish and register your script before you even
show it to your group, then you're not getting what writing groups
are best at: analysis and help on your script at an early stage,
where it can be most valuable.
- DON'T HIJACK THE MEETING. You may think your take on the writer's premise is much better than the way the writer actually developed it. It's fine to include your ruminations on where the script could have gone in your written notes, and even to mention it in your oral presentation. But don't expect the whole group to switch over and spend the rest of the meeting discussing your take on the script instead of discussing the script that was actually written. When that happens, the writer is being robbed, not of his/her material per se, but of the feedback and notes for which the script was submitted in the first place. (Note, however, that it's perfectly OK for other members to briefly "endorse" a particularly good idea or note. One of the ways a writer knows a note is worthy is if it comes from several writers, and especially if they all came up with it independently.)
Don't Be Defensive
If you are the writer who is being critiqued, you must remember
not to be defensive. You may not agree with what you hear, but you
must remember that by submitting your script, you've asked the group
to make those comments. To argue against them, to become hostile,
to comment on the comments, or to take offense against honest, respectful
criticism is self-defeating.
Don't Censor
Do not "censor" other group members. Do not tell them their comments
are foolish, or that they are too disorganized. If you have a problem
with another member, be honest, but don't be hostile or aggressive.
Only take it to the group secretary if you can't resolve it between
yourselves.
Be Kind To Your Meeting Space
Most writing groups (at least those bigger than 3-4 members) end
up meeting at a restaurant, coffee house, or other public accommodation
where the space is supposed to produce income for the owners. If
you can afford to do so, plan to consume something they're selling
during the meetings, even if you don't particularly want any, if
only to ensure that your beleaguered moderator won't have to be
constantly searching for new venues for the group.
Finally...
Never make personal comments about the writer. Focus your feedback
on the script itself. When in doubt, keep your own counsel.
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