THE FIVE PILLARS OF FEEDBACK
 
 
WHY
Every time I write something, I make the same mistake. “I’ve been a writer for a long time,” I think, “and finally, I know enough to write the final draft first.” I get to work, and produce my masterpiece. As a formality, I give it to a reader for feedback, expecting them to tell me it’s perfect. Instead, I receive an analysis of my work, pinpointing its weaknesses, and suggesting ways to improve it, all of which are suddenly obvious. “Of course!” I think. “Now, why didn’t I see all that?” 

The simple answer is that a reader of your work has a big advantage over you. It’s not that they’re smarter than you, or a better writer, it’s simply that they’re not you. No matter how objective we like to think we are about our work, we’re too invested to see it clearly. We need help.
 
WHO
Some people turn to their friends for feedback. Here’s a basic rule: if you want honest feedback on your work from your friends, you must be prepared to change one of two things – your work, or your friends. 

Exchanging feedback with a fellow writer may be a better option, and if you can form a mutually beneficial partnership with one, go for it. Writing groups can be better still, and some aspiring writers are surprised by how supportive they can be – but you’re all in the same boat, and what would be the point of trashing another writer’s work? 

Best of all, though, is getting feedback from an industry professional, whose only agenda is to help you do the best work you can. Why? Mainly because you’ll be paying them, and it’s in their interest to give you good value and useful feedback.
 
HOW
Don’t take feedback personally. If that seems like a surprising thing to say about your writing, which may feel like the most personal thing you’ve ever done, remember: it’s your work that’s being assessed, not you as a person. A good reader will be trying to help you move your work forward, and the process is a collaboration, not a lecture.

So, be positive. Treat every note you get as an opportunity to improve what you’re writing. If a reader highlights a weakness, don’t think of it as an error you need to correct; see it as a challenge: determine to not only fix what’s wrong, but to make it even better. I call this approach, “I’ll see you, and raise you,” and it can be exhilarating to see just how far you can take a reader’s note, and use it as the catalyst for transformation.
 
WHAT KIND
In general, there are two types of feedback: written, or in-person. You may find yourself in a position where the choice isn’t up to you; if, for example, a producer wants written "coverage" of your script in the form of a report that adheres to an industry template. But if you have a choice, think about what’s most useful to you. Written feedback gives you a formal assessment of your work by a reader, and the strengths and weaknesses of the draft you submitted to them. It provides a useful document that you can refer to when you’re writing your next draft. It can also be shown to other people (e.g., a producer, as mentioned).

Verbal feedback in person provides a more relaxed forum in which you can discuss your work and ideas with a script editor or consultant. It can be a very useful development tool, allowing you to think things through as you talk, and get a sense of where you should be going with your next draft. Cleary, both formats have their advantages, and if you have the choice, imagine what would help you most. You may find that you want to follow up a written assessment with a subsequent in-person conversation (with the reader who wrote the report, or a differ editor) or vice-versa.
 
WHEN
The best moment to get feedback is before you write anything. But in the absence of a time machine, get feedback when you’ve made your work as good as you can. The exception might be if you’re developing something with someone who’s monitoring your progress, but in general, wait until you’ve written what you think is your best draft. The reader’s job is to help you write a better one.

FOR DETAILS OF EUROSCRIPT'S FEEDBACK SERVICES CLICK HERE

As inspiration for the 4-evening workshop that starts on Thursday 7pm.

Only TWO places remaining!

Some of the most memorable films are set in just one or two locations. The self-imposed contained setting forces the writer to rely on character development to build tension and, as such, are excellent case studies in minimalism.

Here are eight of the best contained screenplays ever written that only take place in one (or a few) settings.

Some like EXAM produced for $600K remained true to their indie origins, some like PHONE BOOTH were studio films, others like BURIED, originally designed to be filmed on a micro-budget transcended their humble origins when a star became attached.

Regardless of their pathway these scripts all became successful films and are worth a read!

MARGIN CALL - On the eve of the 2008 financial meltdown a few hedge fund traders discover what is about to happen and have 24 hours to save themselves from the impending collapse.

PHONE BOOTH - A publicist finds himself trapped inside a phone booth, held captive by a sniper.

Funnily enough, Hitchcock originally wanted to make the movie in the late 60s but felt he couldn't do the concept justice from a technical standpoint.

THE INVITATION- A man accepts an invitation to a strange dinner party organised by his ex-wife which soon takes a turn for the worst.

BURIED - A truck driver in Iraq wakes up to discover he's been buried alive inside a coffin with only a lighter and a phone. ,

LOCKE - Set in a car over one night it tells the story of a construction engineer who must make the biggest decision of his life.

PANIC ROOM - A divorced woman and her diabetic daughter take refuge in their house's safe room when three criminals break in.

HARD CANDY - A teenager locks up a photographer inside his own house to force him to confess he abducts underage girls.

EXAM - Eight candidates for a desirable yet mysterious job are locked together in an exam room and given a final test.

All these scripts are a good reminder that personal conflict, emotion, flawed protagonists can be gripping no matter how limited the scope and setting of your script.

Give your protagonist a strong, universal goal and you have all the ingredients you need to write to write a compelling screenplay.

If you are interested in exploring your own idea and characters for a contained movie "Write the Contained Feature Film" starts on Thursday and there are only TWO PLACES left. Just like in the movies the more contained the workshop the better the experience in the Zoom world and, as such, places are limited!


4 x Thursday evening sessions:
February 25, March 4, 11, 18
7pm-9pm

Online workshop


Standard price: £198
Concession: £180
​