Scribbler's Guide to Constructive Feedback

Growing up as a terrible student constantly critiqued, criticized and crushed by my teachers (and my mother), I had no idea I'd spend decades seeking the same abuse from studio executives and showrunners. The comment I dread the most is:

“We have a lot of work to do.” 

After 20+ years of scribbling movies, TV shows, and Video Games, I've gained insight re how the way you give feedback can be as important as the feedback you give.

So here's the scenario every creative lead faces: smart, passionate people generating story content that lacks fundamental narrative structure. These folks didn't come up through the TV trenches or game design workshops - they leveled up into storytelling roles from marketing, social media publishing, tech writing, or brand messaging. You want to guide them without shattering their enthusiasm.

Sandwich Criticism Betwixt Praise

Even if a piece has issues, find what's working first.

Try saying:

— "I'm loving this concept - it's got a killer hook."

— "This moment hits me in the feels - I think we can go even deeper."

— "You nailed the tone of this thing."

Once you've shown them you appreciate what's working, you can transition into the stuff that needs adjustment without making them feel like they're being disrespected or totally suck.

Opportunities, Not Mistakes

Writers without formal training often sense something's off but can't identify what's missing. It's like that feeling when you know a guitar riff but can't quite play it.

Instead of: "This scene isn't working because it lacks conflict."

Try:

— "I think there's an awesome opportunity here to add even more tension - what if we clarified the stakes?"

— "How can we push this moment to be even more engaging for the audience?"

— "Would you be open to exploring a version where this character has a tougher choice to make?"

This keeps the vibe like you're jamming collaboratively rather than critiquing their solo.

Questions vs. Dictating Fixes

Playing D&D taught me that the best DMs don't tell you what to do - they create scenarios that make you think. Same applies here.

Try these:

— "How do you see this character changing from the beginning to the end?"

— "What's the core conflict in this scene?"

— "Is this moment hitting with the impact you want, or do you think we could go even harder?"

When they diagnose the issue themselves, they don't feel like they're being schooled - they feel like they're leveling up.

Rewriting is Awesome!

Many internal writers think first draft should be final draft. They haven't experienced the six-version gauntlet of a TV script that gets tossed out entirely the night before production due to the showrunner seeing a movie the day before and wanting to copy it. That’s what the money is for. Right?

Help set expectations by saying:

— "On Hannibal, we'd go through at least six or seven drafts before locking anything and then Bryan would chuck it and we’d crank out a new version. Every script gets notes at every stage. I’ve come to think of the process as going to the gym. Every exercise is a chance to get stronger."

— "Wow! This is in great shape! Let’s keep going and blow them away!"

Frame revisions as a natural step, not a failure state.

Redirect Instead of Overhaul

If something has fundamental issues, a direct teardown can make even the best scribblers feel like they should’ve gone to law school. Instead of saying "This entire act needs to be rebuilt," reframe it as building on what they've done.

Try:

— "I see what you're going for here. You’ve inspired me. What if we approached it from this angle?"

— "I think we can preserve a ton of the awesome work you’ve done, but I may have been wrong about the structure, can we tweak it to amp up the pace?"

— "Your core concept is amazing, but I wonder if we should shift how we’re getting there."

This helps them feel like they're building on their work rather than watching it get Death Starred.

Show, Don't Just Tell

Sometimes explaining an issue won't get through as effectively as demonstrating it. It's like the difference between reading game mechanics w/o context versus watching a playthrough.

For instance:

— "A scene like this in a thriller might have an underlying power dynamic. Did you see Breaking Bad? You know when Walter and Gus are in the same room but neither is saying what they really mean."

— "I love how Pixar builds emotional payoffs, they always set them up early - what if we could do something similar?"

This helps them see what's missing instead of just hearing about it.

Execution, Not Just Ideas

Many non-professional writers assume ideas alone are enough. But, execution is everything. If they pitch a major change, make them consider its impact.

If someone suggests a major structural shift, ask:

— "If we move that reveal earlier, what could we use later to keep the momentum going?"

— "That could be cool. But if we cut that, is there another way to get the info to the audience?"

— "That could be rad. Hmmm. Would you be open to seeing how it affects the pacing in a full read?"

This forces them to engage with story mechanics rather than just emotionally reacting to their gut instincts.

Level ‘Em Up

Most internal writers want to improve - maybe they just lack the experience or haven't been taught the tools to analyze and refine their own work. The key to giving effective notes is to make them feel like they're being elevated, not torn down.

By leading with strengths, revealing a personal challenge, asking the right questions, and framing revisions as natural and potentially fun parts of the iterative process, you can guide your internal teams toward better storytelling — while keeping them engaged and psyched to continue the creative journey.

The best scribblers aren't just great at putting words on the page - they're great at helping others improve, elevate, and survive the forever war of crafting commercial art.