READ THE SCRIPT IMMEDIATELY .
YOU'VE FINISHED THE SCRIPT, NOW CALL THE WRITER IMMEDIATELY AND PRAISE THEM!
BEGIN YOUR PRAISE WITH A VAGUE COMPLIMENT, THEN FOLLOW IT UP WITH SOME SPECIFIC POSITIVE COMMENTS.
SET THE MEETING AND STICK TO IT
THE MEETING - START A VAGUE POSITIVE STATMENT
DO YOUR BEST TO TAKE A POSITIVE ATTITUDE TOWARD THE SCRIPT
GO THROUGH THE ENTIRE SCRIPT PAGE BY PAGE AND TELL THEM SPECIFICALLY ALL THE MOMENTS YOU LIKE!
BEING NICE PAYS OFF - AKA THE BENEFITS OF BEING POSITIVE
WHEN GIVING A SCRIPT CORRECTION BE AS SPECIFIC AS POSSIBLE
DON'T PUSSYFOOT ABOUT WHAT YOU DON'T LIKE.
CONVINCE THE WRITER THERE ACTUALLY IS A PROBLEM
SOMETIMES YOU WILL BE WRONG.
THE WRITER IS WRONG AND REFUSES TO SEE IT. WHAT DO I DO?
DON'T OFFER SOLUTIONS. CONVINCE THE WRITER THERE'S A PROBLEM AND THEN LET THEM COME UP WITH A SOLUTION.
DON'T "SPITBALL" IDEAS. (SEE RULE FIFTEEN)
THE WRITER SHOULD FEEL IT'S THEIR STORY...
BE SPECIFIC ABOUT THE PROBLEM AND VAGUE ABOUT GIVING A SOLUTION
WHAT IF YOU HAVE A GREAT SOLUTION?
THERE'S A PROBLEM AND YOU'VE DROPPED HINTS AND DESCRIBED YOUR GREAT IDEA VAGUELY, BUT THE WRITER CAN'T GRAB THE HINT?
SUBMIT YOUR IDEA AS A CLICHE THAT SHOULD BE AUTOMATICALLY DISMISSED
DANGER! HACK WRITER AHEAD
PREFERABLY HAVE ONLY ONE PERSON IN A ROOM, ONE EXCLUSIVE DEVELOPMENT EXEC FOR EVERY WRITER
15. DON'T OFFER SOLUTIONS. CONVINCE THE WRITER THERE'S A PROBLEM AND THEN LET THEM COME UP WITH A SOLUTION .
Telling a writer a solution is along the lines of telling them what to write. It's the exact same thing as a director giving an actor a "line reading". If you don't know what that is it's when a director performs a line of dialogue and then tells the actor to say it just that way . In in effect it is telling the writer that you are the creative engine, not them. You're relegating the writer to a role somewhere between a hack screenwriter and a glorified typist. And you have lifted yourself to become a screenwriter's Great Satan.
You're unintentionally implying that the writer may not be creative enough to come up with ideas themselves. Once you go down that path - both you and the writer - it is hard to return. The writer will appear to become lazy, when in reality they have lost hope and now they're along for the ride and can't wait until the job is over. Better to convince the writer something isn't working, where it's not working and then let the writer come up with an organic (to them) solution.
The key to this is properly explaining what is wrong and why. Again, a vague description of the problem will not work. Specificity and strength of argument is crucial.
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