Deciding Between Writing Ideas + How to Edit & Get Feedback

Welcome to the next installment of “Ask the Coach.” As a writing coach, I answer questions from writers about making the work of writing happen, tackling craft, business, and personal questions along the way. (Have a question you’d like answered? Check the details at the end of the article about how to submit one.)

Today I’m addressing questions from two readers that have come in recently.

Here’s our first question, about choosing a project. Although this writer is asking about shorter non-fiction works, the same principles can apply to choosing a screenplay concept.

“I have four different topics that intrigue me. All could be short non-fiction books. How do I commit to one? It seems like each day a different one appeals more. I start on one, then wonder if another would be easier or more fun.”

We can answer this question by reflecting on what kind of writer you are, and the kinds of challenges you face. Some writers work most productively when working on multiple projects at once. And, at a professional level, it is a skill you will most likely need to master, though at that stage of your career, external deadlines, professional expectations, and contracts will also motivate you. Earlier, if it’s “just you and you” setting the deadlines, it can be more difficult to skip from project to project (I call this “project hopping”). Some writers even find it deeply discouraging to work this way, too, because they don’t see or feel the success of finishing. Therefore, it’s often useful to pick one concept to see through to “done” before moving on to the next one. (Hint: be clear about what “done” means specifically — published? drafted? etc.)

[How Can I Keep Up My Confidence In Myself as a Writer?]

One clue in your note is your comment about wondering if one of the other ideas might be “easier or more fun.” It’s tricky, because our sense of joy, aliveness, and fun can be so important when choosing something to work on. And, when doing the actual work, if the fun is less palpable, the “grass is greener” feeling about anything else can kick in so quickly. As much as I want writing to always be fun and joyful, sometimes it isn’t. Sometimes the fun comes at the end of a writing day, even if the day’s writing feels harder to do. So choosing what’s fun and easy, especially in that exact moment, may be keeping you from seeing some of the harder work through to the fun and easy on the other side of finished.

Here’s what I suggest: Use your inner knowing to pick the project you want to work on first. Which idea draws you in the most? Feels most exciting? Would feel most thrilling to see out in the world first? (Notice the emphasis on “first” — the other ideas will still get their turns.) Then commit to enjoying the hard work of digging in and finishing it. You can even hold in mind which one “gets” to come next. You can even keep a side notebook as a place to jot down notes for the other projects when they pipe up, so you’ll be ready for them.

Another approach is to use “decision criteria,” which involves listing out criteria related to what’s most important to you right now and is in alignment with your long-term goals as a writer, and using those to make the choice. For example, which project best fits your voice and brand? Or will position you well for your next career steps?

Ideally, use these two approaches together to help make a decision on what to work on.

(For more on this subject, check out my free guidebook, “How to Choose Your Next Book (Or Screenplay!)” on my website.)

Here’s our second question for today, about what to do after finishing a script and getting feedback:

“What do you do after you have finished writing your script — how to edit, get feedback, etc.?

First, congrats on finishing your script! That’s a huge first step. Now the deeper work begins. Begin by setting your script aside for at least a few days, and ideally work on a different story or writing project to keep your writing muscles toned, even if you’re doing more of a “cool down” kind of writing — like brainstorming a new idea, for example.

Then, read through your draft and make notes. I like to either print a draft and mark it up on paper, or export it as a PDF and mark it up on a tablet with a stylus. (This keeps me from getting lost in wordsmithing instead of getting an overview of the whole script.) You can also make a very short reverse-outline of the script as you read through it, noting the main story beats and their locations and page numbers. As you read, make notes about what’s working and what’s not. You will most likely end up with a list of bigger issues to tackle that can involve things like deleting and/or replacing entire scenes, restructuring the story, or changing characters, and a collection of smaller changes to make, like cleaning up time stamps in your slug lines, making sure you’re using the same character names throughout, etc.

[How Much Do I Need to Develop My Script Before I Start Writing?]

From there, tackle the big stuff first. Tempting as it may be, don’t waste time fixing minor issues in scenes you may delete or substantively revise later on. As you stitch your script back together after the big changes, you’ll correct smaller items as you go.

Then, let it breathe again, then read and repeat.

Once you have a draft you feel good about, then look for feedback.

You might begin with fellow screenwriters initially. There are some supportive communities of screenwriters online, where you can get to know other writers and exchange feedback with each other. Screenwriting classes often foster such relationships as well. These can be affordable ways to get feedback on your draft as you’re getting started.

Beyond that, there are some screenplay notes services, listing boards where you can receive member feedback (e.g. Blacklist, Coverfly), and contests with optional notes services you might also consider (e.g. Page Awards), though fees can add up so be judicious about your spending.

After you receive notes on your script, review them with a discerning eye. There will be notes that resonate with you — take those and integrate the changes. There will be notes you flat-out disagree with that don’t fit what you’re intending to accomplish with the story — those you can typically ignore.

However, with those notes — and any others that make you uncomfortable — examine them thoughtfully. What’s the “note beneath the note”? The note giver may be making a specific recommendation about something to change that flat out doesn’t work, but they may be also hitting on something that’s not working. Address the issue in a way that’s in alignment with your vision of the story, not theirs.

When it comes to choosing projects to work on to finishing and getting feedback on your scripts, trust your inner knowing about what resonates and what doesn’t. You are the final creator of your work, so strengthening your ability to self-direct will serve you best, ultimately.

Thank you both for your questions and happy writing!

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Submit your question to be answered anonymously via my online form here or email directly to askthecoach@calledtowrite.com. Look for answers to selected questions in my monthly “Ask the Coach” column on the third Thursday of the month. And reach out to me on Twitter to share your thoughts: @JennaAvery.