Oct/093
Surviving Story Meetings
In my last post I discussed the importance of being flexible and cheerful when getting story notes. I want to talk a little more about the importance of attitude. I’m not saying agree with everything; I’m saying listen intently and respectfully. The people you’re working with need to feel like they are being heard, that you are considering their opinion. Then if you don’t agree, give a reasoned explanation of your position. Don’t be angry or condescending. If their ideas are the stupidest thing you’ve ever heard, don’t let on that’s what you think. Take best part of what they are pitching and build on it, even if it’s the smallest crumb of their idea. “I like your idea X. What if we took your X and then added Y?” If you need to, give the exec credit for one of your ideas. What do you care, if they let you write what you want. Another great technique is the recap. “What you’re saying is our main character is unlikeable?” Keep recapping until they say yes. In this way they feel heard and are now able to listen to your idea.
Some executives give you written notes before the meeting. This is ideal as you have time to digest them and craft a response. However, often writers hear the notes for the first time in the room. Resist the urge to counter everything. Spend more time listening and taking notes than talking. If you feel like you need time to process everything before you respond, ask for another meeting. Finally, to make sure that everyone is on the same page someone should write a memo stating what was agreed on. This prevents any miscommunications. Also, it is helpful to have as a reference when you turn in a new draft. You’d be surprised how often executives can’t remember what they asked the writer to do. If the exec or your producer doesn’t write the end of meeting memo, you should. Yes, you’re doing their job for them, but it’s to make your life easier. And they’ll love you for being so organized.
Managing your relationship with the execs and producers is important if you want to stay on the project. Writers are always the first to go when there are creative differences. If you don’t agree with the director and the studio’s vision, you’re gone. Again, it’s up to you. You must decide what story points are worth fighting for to the point of walking away. Often writers are proved right. The producer hires another writer. They go through a round of drafts and then end up hiring the original writer to write what he was pitching. This constant treadmill of notes and drafts can be exhausting. It is helpful for writers’ sanity if they are working on specs as well. Here they have complete control over their story, until they sell it and the whole process starts again.