How to Take Script Notes Without Losing Your Voice

Getting script notes and applying them to rewrites is something every screenwriter goes through, whether they are writing feature spec scripts (scripts written under speculation that they’ll be sold and produced), writing feature assignments (screenplays you are hired to write for a producer, studio, network, or streamer), or TV pilots on spec. It’s a natural part of the collaboration process, but can certainly seem intimidating at times. 

As a screenwriter, you need to learn how to accept and apply notes and feedback while still protecting what makes your writing uniquely yours - your voice. In the end, it’s a collaborative medium, and while it may be difficult to take someone else's notes and apply them to something you’ve already worked hard on, it’s just part of the process. If you can learn to embrace the process of taking notes on your scripts, screenwriting is going to be even more fulfilling to you. 

Let’s break down what script notes are, are not, and how you can apply them without losing your unique and original voice. 

New screenwriters sometimes use the terms feedback and notes interchangeably, but they are actually very different in the screenwriting and Film/TV industry.

When you finish a draft and want to get an outside perspective on it, you can go to peers, mentors, teachers, instructors, friends, or family members for feedback. You can even go to industry networking contacts you may have made along the way for feedback, as long as you’re not directly pitching the script to them at this stage. 

They’ll take a look at your script and give you constructive criticism and feedback based on their own subjective opinions, and for those who may have some industry experience, they may offer some industry perspective insights as well. 

But at this stage, feedback is optional. You’re not required to address every single piece of feedback or suggestion, and you shouldn’t feel forced to change, add, or cut anything you’re not comfortable with. 

But you should also consider every piece of feedback you get. Feedback can be a very helpful tool, especially for newcomers writing their first few screenplays. 

Notes are a whole different beast. When you are writing under a professional contract, you will get script notes from producers, development executives, and other higher-ups every time you hand in a contracted outline or script draft. Some of those notes will be non-negotiable script change requests. They will address the direct wants and needs of those tasked with producing your script. 

Notes aren’t feedback. You’ll be expected to address and apply them, or offer sound reasons not to. 

It’s important to note that when you get notes from agents and managers, you have to look at those notes a little differently than you would when getting notes from those who have hired you for an assignment. 

It’s always good to take notes from your representation seriously, with full consideration of each and every point they are trying to make. Agents and managers have great insight into what their industry contacts like and prefer. They can offer you a vital perspective that gets your latest draft ready for the big leagues. But, remember…

Agents and managers work for you. If you feel like you’re losing your voice applying their notes, and you’re not wanting or willing to make the concessions they may be asking for, you have the power to say no. You also have the power to find different representation that better matches your goals and desires.  

But you have to remember, they can also part ways with you as a client if you’re not ready and willing to collaborate. It’s all about finding that even ground.   

Notes are part of the business. The sooner screenwriters accept that with a smile, the faster they’ll have more fun and showcase themselves as great collaborators, which is the most desirable trait that Hollywood looks for in a screenwriter. 

When transitioning from newcomer to paid professional, some writers initially mistake every note requesting changes for an attack on their writing and creativity.

• Don’t fight the notes. 
• Don’t get defensive. 
• Don’t take it personally. 

The key to addressing notes without losing your voice is to understand that the final draft will need to be a hybrid of your voice and theirs, and your vision and theirs. It’s a collaboration. 

‘The note behind the note’ is a common phrase in Hollywood. One of the best skills that writers can develop is the ability to interpret what the note is actually trying to accomplish. 

Sometimes notes come in a very vague fashion. It can be frustrating for screenwriters. This happens because the note shared is usually just part of the conversation. 

Examples include:

1. “We need the opening to move faster.”
2. “The lead character needs to be more likable.”
3. “The second act loses momentum.”
4. “The ending needs to feel bigger.” 

These notes may sound simple on the surface. They may also sound vague, causing confusion for the writer trying to interpret them. But there are usually deeper motivations underneath them. 

• Note #1 may be more about the opening pace being too slow-burning for audiences. 
• Note #2 may be more about marketability, wanting a hero that audiences will like more.
• Note #3 may suggest that the first act was written very well, but the second act isn’t as consistent and needs to match the first's energy and pacing. It could also mean that they want more twists and turns to keep audiences engaged. 
• Note #4 may just be saying that there needs to be more action, more suspense, more scares, more drama, or whatever the genre calls for. 

If you understand the actual problem being addressed, you can more easily find solutions that also preserve your tone and voice. 

When you get notes that you don’t fully understand, or are too vague to easily apply, don’t be afraid to ask questions. Avoid getting defensive, but don’t be afraid to pick their brains a bit more to see if you can find that note behind the note. 

Most notes point out a problem. It’s your job as a screenwriter to address that problem and find solutions. 

With that said, you don’t want to keep going back to your bosses asking for solutions. It’s great to find the note behind the note by asking them follow-up questions, but do your best to avoid becoming a screenwriter whose hand needs to be held. 

Solve the note your way. That is how you will best retain your voice. Trust in yourself. Remain confident. If they don’t like your solutions, be ready with additional options and variances. But always ensure that your solutions are addressing their notes. Be vigilant about checking each box in front of each note, knowing that you have done due diligence in addressing each note. 

Finding solutions yourself is part of the challenge. Embrace that challenge and have fun with it. Don’t let deadlines and other pressures bring you down. Look at each note and explore all the options at your disposal; they are often endless. 

Not every note carries equal weight worth fighting for. And not every hill is worth dying on. 

Sometimes protecting your voice means carefully pushing back on a note you feel fundamentally changes the script. But you want to avoid wasting unnecessary energy fighting small battles that don’t actually matter. 

Ask yourself:

• Does this note truly damage the core of your screenplay?
• Or is it simply challenging my comfort zone?
• Will fighting this note improve the script?
• Or am I protecting my ego more than the story?

Compromise almost always improves the script. You’ll find that collaboration can often lead to discoveries you wouldn’t have discovered on your own. In turn, sometimes the alternatives or variances you suggest can do the same for them. 

Be flexible. Be collaborative. You want them and their notes to feel heard while still protecting the screenplay’s DNA you all signed up for. 

Don’t panic when you get a long list of notes that you’re expected to apply and solve. Panic and overcompensating can lead to even more damage to the script. 

Instead, learn to slow down and process notes objectively. Reject emotional responses like anger, frustration, and defensiveness. Notes can and will sting at times. But emotions can cloud your judgment and make your job much more difficult. Remember, they want you to succeed. They need you to succeed. 

Follow these easy steps to process and apply notes easily:

• Step away from the notes briefly. 
• Take a breath, go for a walk, go work out, go for a drive, etc. 
• Let the emotions settle. 
• Tell yourself that this is their project, but they also entrusted you to write it. Then revisit the notes strategically. 
• Put the notes into a bullet point list. 
• List the bigger and higher-priority notes first, with the more minor requested changes below. 
• Look for patterns in the notes. 
• Find clarity and confidence in your plan of approach. 
• Visualize each solution you find with each note. 
• Track the ripple effects each application of a solution will have on the script as a whole and communicate and address those as well. 
• And then just keep writing in your voice as you address each note. 

Follow this process, and you’ll find that addressing notes isn’t as difficult as it seems once you get rid of the emotion and accept the challenge. And if you do it with confidence and an open, collaborative approach, you’ll have no problem retaining your voice. 

Here’s the key thing to remember: they chose your script for a reason. They aren’t writing extensive notes to challenge you, belittle you, or attempt to write the script themselves, using you as the muscle. They’re trying to make the best movie possible. And your script(s) showed them the talent and voice they need. 

Be confident, be collaborative, and you’ll find that retaining your voice while applying their notes won’t be that difficult.