Feedback Form - Thoughts/suggestions/concerns for the moderators? Leave them below, specifying which night if necessary.
DEADLINE JUNKIES By-laws
ATTENDANCE – We ask writers to keep an 80% attendance rate. 4/5 meetings.
Poor attendance is grounds for removal from the rotation.
NOTES – We encourage all writers in attendance to give feedback on every script
as concisely as possible, without repeating previous notes. We ask members to
sandwich their notes with positive feedback before and after the constructive
feedback. Notes may be timed. Actors and non-members are welcome to give
notes, time permitting. Additional notes are encouraged via email. We ask that
writers receiving notes focus on listening and refrain from responding. And
remember, all notes are subjective.
CASTING – We ask writers to be involved with casting early in the week and
highlight the roles in each actor’s script for convenience. Actors offer their services
on a volunteer basis, so please combine small roles or have the narrator read them
to avoid casting an actor for a negligible part. Please be conscious about diverse
and accurate casting.
CONTENT – If your pages deal with sensitive/offensive material, we ask that you
email it to the actors ahead of time with a warning. Also include content warnings
when introducing the material to the writers. If you are not sure what may be
deemed as sensitive/offensive, ask your moderator. If you have a sensitivity note
after the read, you may flag the moderate to go first. Please only bring in rewrites
once. If you wish to rewrite again, you are welcome to switch with a writer from
another night. There will be four yearly full-reads (every three months), first come
first serve with the requirement of being a DJs member for at least a year.
FACEBOOK – We ask that you be respectful in communicating with fellow
members, even online. Facebook page posts must be directly related to
screenwriting/acting or Deadline Junkies. Members are welcome to facilitate script
exchanges with other members through the Facebook page.
SCHEDULE – Writers are responsible for reaching out to the moderator or other
writers directly to facilitate a switch if they aren’t available the night they are
scheduled to present.
MEMBER HOUSEKEEPING – There will be bi-annual surveys and bi-annual
town halls to address any suggestions/concerns members and actors have.
Additionally, there’s a year-round option to suggest things anonymously to the
ATTENDANCE – We ask writers to keep an 80% attendance rate. 4/5 meetings.
Poor attendance is grounds for removal from the rotation.
NOTES – We encourage all writers in attendance to give feedback on every script
as concisely as possible, without repeating previous notes. We ask members to
sandwich their notes with positive feedback before and after the constructive
feedback. Notes may be timed. Actors and non-members are welcome to give
notes, time permitting. Additional notes are encouraged via email. We ask that
writers receiving notes focus on listening and refrain from responding. And
remember, all notes are subjective.
CASTING – We ask writers to be involved with casting early in the week and
highlight the roles in each actor’s script for convenience. Actors offer their services
on a volunteer basis, so please combine small roles or have the narrator read them
to avoid casting an actor for a negligible part. Please be conscious about diverse
and accurate casting.
CONTENT – If your pages deal with sensitive/offensive material, we ask that you
email it to the actors ahead of time with a warning. Also include content warnings
when introducing the material to the writers. If you are not sure what may be
deemed as sensitive/offensive, ask your moderator. If you have a sensitivity note
after the read, you may flag the moderate to go first. Please only bring in rewrites
once. If you wish to rewrite again, you are welcome to switch with a writer from
another night. There will be four yearly full-reads (every three months), first come
first serve with the requirement of being a DJs member for at least a year.
FACEBOOK – We ask that you be respectful in communicating with fellow
members, even online. Facebook page posts must be directly related to
screenwriting/acting or Deadline Junkies. Members are welcome to facilitate script
exchanges with other members through the Facebook page.
SCHEDULE – Writers are responsible for reaching out to the moderator or other
writers directly to facilitate a switch if they aren’t available the night they are
scheduled to present.
MEMBER HOUSEKEEPING – There will be bi-annual surveys and bi-annual
town halls to address any suggestions/concerns members and actors have.
Additionally, there’s a year-round option to suggest things anonymously to the
Deadline Junkies – Notes on Notes
Being a strong story analyst and note giver/taker is an important part of
a writer’s toolkit. Here are tips to make the notes process productive.
Giving Notes
The Sandwich Method
When giving notes, sandwich criticisms between positives:
What worked / constructive criticism / end on a note of encouragement.
Figuring out what works, even in rough pages, helps YOU as a story analyst as much as it
helps the writer to hear. It could be as simple as applauding a big swing, even if that
swing is a miss. Sandwiching isn’t about false compliments or checking off procedure
boxes; it’s a good skill to learn for professional settings. Sandwiching keeps the vibe
encouraging, positive, and helps to build the trust needed for more critical feedback.
Don’t Repeat Notes
It’s frustrating when someone takes your note. But that’s why we use snaps and zoom
claps to signal we agree. If someone takes your note, pivot to a different point. It’s not
about proving you’re a smart writer who thought of the same idea. It’s about providing
the broadest range of feedback to the writer. Hearing more and different notes is way
more valuable than a fifth “This ALSO reminded ME of Booksmart...” take on a script.
Be Constructive with Critical Feedback
The purpose of the group is to build each other up, not tear each other down. It’s not
helpful to harp on what doesn’t work, what mistakes were made, or blind spots. What
DOES help is encouragement, ideas, pitches, and a focus on what you think could help
this project take the next step forward. Critical feedback is at the root of why notes are
helpful, but remember, the goal is to help each other grow, not highlight where and
how we fall short.
Consider Giving One Big Note
We all generate tons of ideas. But sometimes, less is more. Because of the time
constraints, some writers focus on fewer, larger notes instead of specific scene work. A
“Big picture” note can sometimes be more helpful than specific scene to scene details.
Participate!
We’ve all been there: it’s late, you’re tired, and you just don’t have any notes. But DJs is
as much about learning to form strong notes quickly as it is about generating pages.
Challenge yourself to always find something to contribute - whether or not you liked or
connected with the script. If you think Writers Rooms are filled with people not
generating pitches and ideas at the drop of a hat – think again. If all your notes were
taken, a simple “My notes were taken but this is working great,” is better than nothing.
Receiving Notes
It’s Not a Discussion
It’s personal and vulnerable having your work critiqued. But receiving notes is a time to
listen, not a back and forth. Resist the urge to defend or explain your work or
intentions beyond simple clarifications. The moderators make time at the end for the
writer to ask clarification questions, but larger discussions should be saved for after DJs.
Remember: Notes are Subjective
As with any creative group, you’re going to hear opinions you don’t agree with. And
that’s ok! Remember that feedback is subjective and even notes that don’t click with
your vision can be useful. Listening for the “note behind the note,” can help you figure
out what part of your vision didn’t translate to the audience, even if you don’t like the
other person’s idea of what to do. If you aren’t getting the feedback that you want, that
can be instructive about how to change your approach, even if you don’t take the ideas
of what to do instead. At the end of the day, this is YOUR work, and you don’t have to
take anyone’s suggestions.
Deadline Junkies – Notes on Notes
Being a strong story analyst and note giver/taker is an important part of
a writer’s toolkit. Here are tips to make the notes process productive.
Giving Notes
The Sandwich Method
When giving notes, sandwich criticisms between positives:
What worked / constructive criticism / end on a note of encouragement.
Figuring out what works, even in rough pages, helps YOU as a story analyst as much as it
helps the writer to hear. It could be as simple as applauding a big swing, even if that
swing is a miss. Sandwiching isn’t about false compliments or checking off procedure
boxes; it’s a good skill to learn for professional settings. Sandwiching keeps the vibe
encouraging, positive, and helps to build the trust needed for more critical feedback.
Don’t Repeat Notes
It’s frustrating when someone takes your note. But that’s why we use snaps and zoom
claps to signal we agree. If someone takes your note, pivot to a different point. It’s not
about proving you’re a smart writer who thought of the same idea. It’s about providing
the broadest range of feedback to the writer. Hearing more and different notes is way
more valuable than a fifth “This ALSO reminded ME of Booksmart...” take on a script.
Be Constructive with Critical Feedback
The purpose of the group is to build each other up, not tear each other down. It’s not
helpful to harp on what doesn’t work, what mistakes were made, or blind spots. What
DOES help is encouragement, ideas, pitches, and a focus on what you think could help
this project take the next step forward. Critical feedback is at the root of why notes are
helpful, but remember, the goal is to help each other grow, not highlight where and
how we fall short.
Consider Giving One Big Note
We all generate tons of ideas. But sometimes, less is more. Because of the time
constraints, some writers focus on fewer, larger notes instead of specific scene work. A
“Big picture” note can sometimes be more helpful than specific scene to scene details.
Participate!
We’ve all been there: it’s late, you’re tired, and you just don’t have any notes. But DJs is
as much about learning to form strong notes quickly as it is about generating pages.
Challenge yourself to always find something to contribute - whether or not you liked or
connected with the script. If you think Writers Rooms are filled with people not
generating pitches and ideas at the drop of a hat – think again. If all your notes were
taken, a simple “My notes were taken but this is working great,” is better than nothing.
Receiving Notes
It’s Not a Discussion
It’s personal and vulnerable having your work critiqued. But receiving notes is a time to
listen, not a back and forth. Resist the urge to defend or explain your work or
intentions beyond simple clarifications. The moderators make time at the end for the
writer to ask clarification questions, but larger discussions should be saved for after DJs.
Remember: Notes are Subjective
As with any creative group, you’re going to hear opinions you don’t agree with. And
that’s ok! Remember that feedback is subjective and even notes that don’t click with
your vision can be useful. Listening for the “note behind the note,” can help you figure
out what part of your vision didn’t translate to the audience, even if you don’t like the
other person’s idea of what to do. If you aren’t getting the feedback that you want, that
can be instructive about how to change your approach, even if you don’t take the ideas
of what to do instead. At the end of the day, this is YOUR work, and you don’t have to
take anyone’s suggestions.