The importance of feedback in script development

It is a fundamental truth about screen writing, that nobody sets out to write a bad script.

And yet, industry sources reliably inform me that 98% of the spec scripts in circulation in Hollywood are way below the minimum quality standards for scripts. Or, in other words, there is a 98% gap between what writer’s think is a good script and what professional readers think.

One of the main reasons for this gap is the fact that the vast majority of scripts submitted have NEVER had any professional feedback during the development process. The writer knows they have a great idea, they think they know how to write it… and yet, that great idea never really makes it onto the page.

In fact, I can’t tell you how many conversations I’ve had with writers, where I’ve said “I don’t understand why X happens in your script” … and they’ve replied “well, that’s because of Z, W and Y,” none of which made it onto the page.

In my own development as a screenwriter, one of the key changes for me, from enthusiastic writer to professional, was when I formed relationships with two script readers; one a professional script editor who was paid to give me notes and the other a screenwriter friend, who then went on to be “discovered” by the majors.

These two people had a profound effect on both my writing style, my approach to film and my understanding of structure, but mainly they taught me the difference between what I though I was writing and what had made it onto the page.

As a result of their influence I now NEVER submit either a pitch or a script to anyone in the industry until it’s been read by my mentors.

I don’t always agree with their notes… but, I at least go back and see where in my screenplay I failed to communicate clearly. As a result of this, I can in all honesty say, that I’ve had option offers on every single screenplay I’ve ever written. OK, I did once option a script for the price of a cup of coffee! LOL, but you get my point. (By the way, that producer still owes me that cup of coffee… but hell, it’s only been two years!)

For micro-budget film makers the situation is often worse, because indie film makers green-light their own projects. So, now you have an untested script going into production. It kind of goes without saying that if 98% of specs aren’t good enough, then 98% of the indie films that are put into production also aren’t good enough.

Now, when you’re micro-budget film making, it’s normal to think of your $1,000 budget as production money. I mean the amount is small enough as it is… however, what I’m suggesting is that between one third and one half of that $1,000 should go into professional script notes from a brilliant script reader.

And, I invite any of you to who already use a pro script reader to leave a referral in the comments section below… because there are obviously a lot of micro-budget film makers who have yet to find someone worth talking to.