Intention, Intention, Intention

Oftentimes writing can feel like a game of darts. The scribe sets a target in front of them, and with as much skill as they can muster, they throw everything they’ve got in that direction. Every outline, every page, every revision, is like a creative missile that hopefully lands in the place they intended. Fortunately, the more the author practices, the closer they eventually get to landing on target.

Now let’s say the writer decides to seek out help. (Bear with me while we keep the metaphor rolling for a minute.) Perhaps the target is hanging on a wall that feels far away and the writer wants some advice on how to better play the game. An eager beta reader volunteers to assist. But when the scribe holds up their next dart and lets it fly, the reader decides to nudge their arm in a different direction, sending the sharp projectile elsewhere. If it’s a small nudge, the piece may land a foot or two off base, leaving the client only slightly disgruntled. But if the nudge is big enough, the metal barb will fly into the shadows, either to be lost forever or strike someone unintentionally in the head.

This is the danger that comes from giving poor feedback on an author’s work-in-progress. It detracts from the creative process, rather than helping. But here’s some good news: if you’re tasked with critiquing a draft and want to contribute the best feedback possible, the way to avoid a misdirect is simple. When everyone is clear on the story’s intended end result—including the reader—it sets the project up for a higher chance of success.

Related: Giving Notes? Here’s 5 Tactics for Smooth Communication with the Writer

One of the best ways for a reader to dial in to the project’s end goal is having a thoughtful, honest conversation with the scribe and asking them some questions before the analytical work begins. The most important items to discuss may vary from project to project, writer to writer, and that’s OK. The point is to lay the foundation for a meaningful collaboration as early on as possible.

So the next time someone hands you a draft to review, show them you care by getting curious and raising any of the following questions…

• What are some recent titles to compare this story against? What is it about these comps that the writer is striving to emulate?

Chances are you will already be aware of the project’s genre and setting upfront. Let’s say you know that the script in front of you is for a fantasy TV series about several supernatural beings living together, set in modern day. But are they going for something more in the vein of What We Do in the Shadows, or Ghosts? Both comps are comedies, but the tone is different. Getting a clearer sense of the author’s exact reference point will allow you to offer stronger notes on how to punch up the jokes.

• Who is the intended audience?

This is another way to pin down the project’s intended tone. Perhaps a scribe hopes to write a summer beach flick for a young female audience. But exactly how young is young? Is the story meant to be more family-friendly, accessible to girls under 13? Or by using the word “young,” does the author actually mean young adult? Having real clarity on the target audience helps when making suggestions on what type of content should be cut (or heightened) in the text.

Of course, it’s possible that after hearing all the details of the writer’s artistic intentions, a reader may discover that what’s actually on the page doesn’t match up with those goals. Thankfully, it’s not the end of the world. It is, however, a worthy note to share with the author—tactfully.

• If a script is written on spec, what do they hope to do with it next?

It’s also important to understand that not every project is written for the same purpose. One scribe may hope to use their piece as a calling card in the industry: a sample of their capabilities, without regards to budget or company mandates whatsoever. In that case, the sky’s the limit with where the story can go. Another wordsmith may be entirely focused on getting the project greenlit for production, so tailoring your feedback to keep the scope of the piece contained will make the script more palatable to potential buyers. Alternatively, a screenwriter may be gathering resources to produce the material themselves in the indie space. In this instance, having a discussion about any connections or assets they already have in their immediate community can shine a light on how to best sculpt the narrative.

• If the material is picked up by a producer, does the production pipeline come with any logistical constraints?

Related: Reckless Creatives Podcast - EP 13 - Taking Feedback: When to Cry, When to Cheer, and When to Scream, "This meeting's over!"

Identifying any budgetary concerns, location commitments, actor limitations, and director mandates is key. This will help the analyst to usher the content more squarely in the direction it needs to go, saving precious time and money for countless others down the line.

• Why is the writer coming to you for help? What do they hope to get out of your notes?

This is typically the most important question of the bunch. Learning what motivates the author, what issues they face, and what solutions they seek can focus your attention in a way that will mean the most to them. It shows the other person that you truly wish to make your time together worthwhile.

To be fair, writers and their beta readers often lead busy lives, and sometimes finding the time to have this kind of conversation feels more like a luxury than a necessity. For example, if a writers’ group only meets for one hour a week, answering these questions could take up most of the hour—leaving little to no breathing space for actually giving feedback on the draft itself. So when time is tight, what do you do?

There’s a few workarounds I’ve seen play out in my own experience. Sometimes a screenwriter will put the onus on themselves and take ten minutes to type out their comps, intentions, and creative struggles in an email, to include alongside the draft before clicking the “Send” button. Or the author will include notes within the document itself (either as endnotes or footnotes), giving the reader a glimpse into the specific issues they hope the analyst will help them unravel. Or at the very least, when sitting down with their peers, a writer will be given 5 to 10 minutes at the start of the meeting to share this information verbally. The point is to have some kind of precursor to set the stage for better note-giving.

Remember that errant dart we talked about earlier? The one that nearly caused a head injury? Make it a priority to learn more about a scribe’s end target, and they won’t have to leave the encounter racking their brains for why they feel so discombobulated. Instead, you will have proven yourself to be both skilled and supportive—qualities that everyone wants in a colleague.