Hey, it’s Michael Jammin. Uh, I’m inside the Jeep. That’s where I am baby. So today we’re going to talk about notes. You just wrote a script and now you’re going to put it out into the real world and you want to get feedback, but you don’t really want feedback. You want people to tell you it’s perfect. You’re hired. That’s how I was when I was starting out. Now I have a lot of people I could turn to for notes. I got a manager, I got an agent, I got an entertainment lawyer. I pay everyone sucker. But, I would never turn to them for notes. They might look at a script and they’d say, I don’t know. There’s something about it that doesn’t quite feel right. But their job is not to know how to fix it. They have other areas of expertise.
It’s like, you know your heart is bothering you, it’s ticking weird. And you go to your general practitioner, and a GP says, you know what? You got to see a cardiologist. The cardiologist is going to tell you what’s wrong. So that’s the same thing. If you turn in your script to an industry person who isn’t a writer, they’re not going to know what to do. I would only trust notes from another writer, someone who does what I do. And then I would trust that person. I got a lot of people I can turn to for those kinds of notes.
That’s what I talk about in the course. You know, it’s a writing course. It’s teaching you how to address, how to be your own critic, how to know what’s good and what’s bad. What’s working? What’s not working, and how to diagnose it. If you’re a writer that’s on you, don’t expect someone else to know how to fix, your script. They’re going to steer you in the wrong direction. Speaking of steering in the wrong direction, I’m in the Jeep baby. Hope that helps.