Getting feedback for a new script or play can make you feel as if you're in one of those dreams where you are inexplicably butt naked in a crowd of people. You feel vulnerable, nervous, and slightly under dressed. But how you handle yourself in the hot seat can determine how much your script will benefit.
A common misconception writers have before a reading is that they don't need to prepare. After all, you already did the work, now you just show up with a pen and notebook, right? Well, yes, but afterwards you might catch yourself thinking, "why didn't I TAPE this?" or "why couldn't I let that comment go?" or even "I should have served coffee and snacks so more people would show up." My own head can get in such a flutter, it's a wonder I remember the pen and notebook! So I decided to make a checklist for myself and others to make sure the the next feedback session will feel less bare and more there. It's a collation of tips picked up from my own experiences, as well as various instructors and writing groups such as Lisa Soland's All Original Playwrights Workshop, Playwrights6, ReWrights, The Brick Playhouse's In-Between Stage, and Michael Hollinger.
1. Prior to your reading, write down questions you have about the script.
These questions would be very specific to your work, but might run along the lines of, "Are my characters well-defined?" "Is the main plot clear?" "Was there enough conflict?" "Did you understand what character X wanted?" I suggest asking these AFTER you hear feedback, because the comments may answer your questions. If you do it before you might hinder the spontaneity of the people giving feedback. You just want them to listen, without thinking about what to look for.
2. Bring a pen, notebook (or laptop) AND tape recorder.
Tape the reading AND the feedback. You can listen later to what lines got laughs, fell flat, or just didn't sound right, and you'll have a record of what each person actually said. Take notes, too. Tape recorders fail, or stop mid-sentence for tape changes. Ideally have someone else operate the thing, so you can concentrate on comments. If you are a fast typist, consider using a laptap to take notes.
I don't recommend feedback forms at a reading. I recently saw a staged reading where these were handed out because there wasn't time for verbal feedback post-show. There was a general grumble from the people in the lobby filling them out, including me. Feedback forms work best if you are handing someone a script to read privately, or for submissions. If you want written feedback, suggest people email you after for any other thoughts that come to mind.
3. Don't just invite friends.
Also invite other writers and people in theatre circles. Just inviting your favorite peeps may limit useful feedback, as they tend to fault on the overly nice side. Invite non-theatre types, too, so you'll have some real "audience" reactions.
4. Come from a place of gratitude and accept feedback GRACEFULLY.
Feedback is intended to HELP you with your script, and is NOT a personal attack (it may FEEL that way at times). You have to keep your insecurities in check. When you are getting feedback, keep in mind that someone has taken the time to attend your reading (that means they actually left their homes and had to find parking!). They may have already invested a couple hours reading your script and writing notes. Acknowledging this is the first step to having a really good feedback experience.
This point cannot be over emphasized, especially for those of us who live in Los Angeles, the only place in the world where any given person has at least five screenwriter friends! It isn't easy to get someone to read your script in this town (they are already inundated), let alone come to your reading. So if they offer, AND follow through, that is a freaking MIRACLE. You should light a candle and send them a thousand blessings!
But we are all human, and hearing criticism can be difficult, especially if it's negative. That's why the next thing to remember is:
5. Don't defend your script!
You are the God or Goddess of this creation, so there's no need to feel threatened. Ever. If you go there, you only telegraph your insecurity, and you may make a fatal impression on someone in a position to help you, now or in the future. On more than one occasion I have been asked to read and give feedback on scripts where the writers became so acidly defensive or shut down that I vowed never to give them feedback again. What if I had been a producer, or director? Or what if I later became a literary manager of a major theatre company? Those writers made an impression on me that had nothing to do with their writing. How you take criticism says something about how well you work with others, and fair or not, first impressions are hard to shake.
6. Most people don't know HOW to give feedback.
Even your dearest friends will come across as know-it-all, full of themselves, or bluntly honest. They are human, too. The onus is on YOU to control your reactions. If you remember numbers 4 & 5, you can cut though the crap to see if there is anything to what they're saying. And whatever you do, don't immediately dismiss negative criticism! You might learn something important about your script. For example, a man at the Brick "In-Between-Stage" readings in Philadelphia used to stand up and ask, "Why did this tree have to die?" If you could get past his acerbic tone and desire to look clever, this translated into, "why did you WRITE this play?" or "what is it you're trying to SAY?" Nine times out of ten if he asked a writer this, their theme was unclear.
You'll encounter people who walk on eggshells in fear of saying too much. Or people who flat out tell you what you should write, like pushy directors who give actors "line readings." Most dangerous are the gushy flatters. They will sound like your mother, and tell you it was wonderful, amazing, and you are the best writer ever, and won't back up one thing they say. Personally, I prefer people faulting to the other extreme, because at least I might get something useful from it!
The ideal person will always start with something positive, saying what they liked and why. They usually give simple notes, such as, "You might want to look at character X. I wasn't clear on what he wanted." Or, "That first scene felt long to me. Consider how you can shorten it, to make your inciting incident happen sooner." Or, "This exchange confused me - you might want to look at the wording, or if you even need it." These folks gently nudge, without telling you how or what to write. They offer honest reactions without being too harsh, snobby or wussy. We all aspire to be like them (and usually fall short). Believe it or not, you WILL get these astute and insightful folks at your reading. They are awesome at giving feedback!
7. Listen, don't talk.
Listen and write down every comment, however inane it may seem. Resist the urge to comment or explain, for that serves your ego, not your script (see #5). Let the focus be your script, and how people REACT to it. There is value in these reactions even if you don't agree with them. Ultimately the measure of such a note is whether it is reiterated by someone else. In that case you need to seriously consider it.
8. Consider having a moderator.
A moderator is kind of like the brides maid or best man at your wedding. On the "big day" they've got your back while you deal with your jitters. Workshops or writing labs always have a moderator, and for good reason. They can distribute scripts, introduce the writer, actors, stage directions reader, and director (if any), and even lay down feedback guidelines.* Most importantly, they make sure you don't TALK. A moderator at one of my readings gently stopped me from responding to a note and going into "defense" mode. A moderator can also serve as the host, man the tape recorder, and make sure there's coffee!
9. Be open, then trust your gut.
Last week I had jury duty, and a repeated admonition to the jurors from the judge was to reserve judgement (presume innocence), until the trial is over and we get into the deliberation room. During the trial jurors are hearing the evidence and processing it, but should not come to any decision until deliberation time.
I think this applies to readings, too. During the reading, be like a JUROR during a trial. Once you get all the feedback, and the reading is over, then you deliberate over what each person said. At that point, your gut will tell you what "testimony" is of value and what isn't, and you can then rewrite your play with a clear idea of what needs to be fixed.
Most of the above points are things we already know or take for granted, but having them in list form can be helpful when you are getting ready for a reading, or even for one-on-one feedback over coffee. I hope reading these will help you as much as it has helped me to write them!
* For example: "Please be as constructive as you can, and remember that you are not writing this play. Also please save any questions for the writer until after. The purpose of this reading is to hear from YOU."
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