I have a table reading of a play of mine tomorrow, (Margaret. The Maid. The Son.) and I’m very excited about what the director and actors are doing with the pages, so … Woo Hoo! It’s gonna be fun!
After the reading, however, we will be encouraging the audience to stick around and give critical feedback about the play. Notes to help further develop the play.
So it seems like a good time to remind myself and share some thoughts on how to take critical feedback.
First, and foremost, be receptive. This is usually pretty easy for the positives, but when it comes to issues, things people don’t like about your script, it’s easy to tense up mentally and physically. At times, in the past, I’ve felt my brain and body lock-up. Don’t do this. Or notice it, and relax. You might feel the strong urge to spit out words like “But …” And phrases like “The reason I did that was because … ” Do yourself a favor, shut up. At least if it’s a knee jerk reaction, instead of an answer to a specific question about why you did something on the page. Be receptive is another way of saying don’t be defensive.
Someone at a writers group I belong to once described his approach. He said, “you need to be really zen, and let all the comments flow over you.” Good advice.
One reason to do this is that the more time you’re talking, the less time you’re getting feedback. Remember, you’re there to get a big dose objectivity.
Being defensive is also very unsatisfying for the people giving feedback. They’ve taken valuable time to read your script — or in this case, come and hear it — and give you their valid feedback. And all well-intended feedback is valid. It’s their reaction to the script. Period. And if every time someone voices an opinion — you fire back a justification … well, in this context, it’s not polite, it’s no fun, and it’s unproductive. Worse yet, someone might decide it’s not worth it to offer their opinion about the protagonist’s husband that would’ve — oh my god — made the script a millions times better. And now — to quote Robert DeNiro’s character in Cop Land — “You blew it! … You blew it!”
So, don’t blow it. Listen. Take copious notes. Take it all in. Pay special attention to remarks that a number of people in the group agree with. There’s a very good chance that there’s real validity to this remark, whatever it is.
You don’t have to decide, right then and there, which notes you’re going to adopt or discard. Nobody is going to hold you down and make you write something you don’t want to. Look at your copious notes later and digest. Look for the nuggets that work for the script that you want to write. Look for the notes behind the notes.
You listen to this criticism of your script to make it better. To become a better writer. And if you listen, and you’re receptive, you will become a better writer — which will lead to great things.
So if you’re there tomorrow, bring it on, no filter please, and thanks for your help.
Charlie Lyons Writes 