Taking notes

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  • #16
    Re: Taking notes

    Understandable, but at least that's where DDP comes in handy. While I personally would only be open to actual story advice from a very select few here, if nothing else just about anyone around here can at least help someone when it comes to technical issues such as formatting and the likes. If someone has limited reader resources I would recommend getting technical feedback from DDP-ers, and story feedback from average Joe friends who enjoy the genre they've written and whom they know will be blatantly honest. Because if nothing else they're their target audience.

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    • #17
      Re: Taking notes

      That's why I don't believe in paid readers, because in most cases they're just people who couldn't make it as a writer themselves so they became a reader and thus try to act like an expert, and get paid for it no less. Sorry but I would find it difficult to take writing advice from someone who could never sell a script themselves.
      Fair enough but you are essentially already doing that with your list. Which among you inner circle has "sold a script themselves?"

      1. close friends who just love fun movies
      2. aspiring writer friends who's own work I personally believed in
      3. a manager from a solid company
      4. an agent trainee from UTA
      5. a (now retired) executive producer of some classic 80s/90s flicks
      6. an independent film producer
      One could make the argument that numbers 3, 4, 5, and maybe 6 have had actual development experience and therefore you can trust them but have they specifically sold any scripts as is your baseline of acceptance? What really makes them different from a professional reader? I'm not talking about the Triggerstreet types but about the qualified readers for production companies, agencys and the like who may choose to subliment their income by providing their services to the wide world. We, and be we I mean the aforementioned pro readers, are after all in the development business every time we report on a script. I'm not knocking your circle because the bottom line is if you trust someone let them read (I do it all the time) but I'd rather have a "professional stranger" added to that list who knows story, knows character and knows the market. If I only had one to choose, I'd go with the reader I trust.

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      • #18
        Re: Taking notes

        Originally posted by odriftwood View Post
        but have they specifically sold any scripts as is your baseline of acceptance? What really makes them different from a professional reader?
        Yes.

        And I guess I just can't help but think about the fact that I can't have any way of knowing if a reader is someone who's opinion I could, and should, respect. I mean for all I know they could be the genius who got first read of scripts like Furry Vengeance and thought "This is great!" and passed it on to the agent and/or producer they work for, while trashing the next Oscar winner. I'm pretty cynical of what's currently being churned out in the industry right now and while yes, the ultimate blame lies with studio executives and top producers greenlighting the garbage, it all started with some guy or girl sitting in a cubicle making $10/hr labeling it as viable and then going home and taking $100 (or more) each from poor aspiring writer schmucks because they've deemed themselves "a professional". Sure, I guess in a way they are some low-level professional, but they're not someone who's creative opinion I would respect at all if that was the case, and since there's no way of ever knowing someone like that has had a hand in (good, bad, or otherwise), I'd rather not waste my time, nor money. I'd rather look to people I know closely, and/or people who have a resume that I (and others) respect. But again, that's just me.

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        • #19
          Re: Taking notes

          When you get good notes you know it. Same as when you get bad notes. And most of the time it's not the note itself, but the note behind the note. As you improve as a writer you learn to know which notes to take and which to ignore.

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          • #20
            Re: Taking notes

            I'm pretty cynical of what's currently being churned out in the industry right now and while yes, the ultimate blame lies with studio executives and top producers greenlighting the garbage, it all started with some guy or girl sitting in a cubicle making $10/hr labeling it as viable and then going home and taking $100 (or more) each from poor aspiring writer schmucks because they've deemed themselves "a professional".
            Yes and no. There are many times when I've read coverage, passed it big time and it still went on. Case in point the three drafts of DUKES OF HAZZARD I read. Each one met with an resounding pass but because of the brand and attachments it went forward.Almost didn't matter what I said. On some level readers can be the first line of defense but they are often a line of offense that is ignored. My point is the fault lies not with the readers but the ones with the power to greenlight. You should consider yourself very lucky to have that trusted circle. Hang on tight

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            • #21
              Re: Taking notes

              Well at least you TRIED to stop the vomit from flying out of the beast's mouth and into our faces. :/

              Thanks, I plan to. Most are really great people who I'd be friends with whether we were doing mutual professional favors for each other or not. Good people are hard to find in this town, and thankfully the person I'm working with on my current script is genuinely "good people".

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