4 Types of Feedback That Will Actually Help a Writer

Okay, so your friend has just finished a script and they feel great about it.

Time to take the plunge and show it to people, they say.

It's vulnerable to share part of your creative self, we know, but your friend clearly understands it's an incredibly valuable part of the writing process. Revision is the place to catch all the errors that could result in a weaker feature or short (or whatever they're making).

Everyone has an opinion, and not all of them are worth a writer's time. But the right kind of feedback can transform a script from "almost there" to "let's make this tomorrow."

So let's say you agree to read your friend's script. Some of it is great, but some of it doesn't work. How can you give helpful feedback?

After years as a script reader and a writer myself, I know it can be hard to figure out what exactly isn't working and how to articulate it. If you're someone who wants to give good, useful feedback, here are four areas to focus on.

When Harry Met SallyCredit: Columbia Pictures

Feedback on Clarity of Plot Points

Unfortunately, sometimes what makes perfect sense in a writer's head doesn't translate to the page, especially if the world is very elaborate or its rules are unfamiliar (like in a fantasy or supernatural story).

This feedback highlights moments where readers become confused about what's actually happening or why it matters. "Wait, how did they get from the warehouse to the penthouse?" or, "I'm not clear on what the stakes are if they fail" are the kinds of responses that reveal plot holes a writer might have missed.

As a reader, be willing to stop and say, "This doesn't make sense to me." If you can tell the writer what's unclear and what could fix it, that's an even better note.

Feedback on Character Motivation

This feedback can vary from reader to reader, but it's always valuable. An actor, for instance, might believe they understand why a character behaves the way they do, because finding that is part of their process for a part.

But if you comment that you don't get a character, it could be a sign for the writer to add a little more on the page.

As a reader, try to articulate why a character's actions don't track with what we've learned about them in the story. Point out spots to make it clearer what a character wants and why they would put themselves in certain situations.

Feedback on Pacing

Pacing problems are killer. There's nothing worse than a script that's a slog, because you, as a reader, might not even want to finish it.

Sometimes it's hard to diagnose these issues because they could be rooted in a myriad of writing problems. Often, the note will be broad, like, "Pages 10 to 40 move really slowly." But that slow pacing could be tied to poor dialogue, a lack of character motivation or agency, no conflict and tension, or a failure to move toward a clear plot/structural beat.

Writers, if you get that broad note, you can reread the script with fresh eyes and try to find where the issue truly lies.

But if you're a reader who wants to give valuable pacing feedback, be more specific. "The dinner conversation on page 47 could lose these specific lines," or "The climax feels rushed, and we could use this beat to process what happened."

Good readers are tracking the rhythm of a story and can pinpoint where it's out of sync.

Feedback on Structure and Arcs

This is big-picture feedback about whether a story holds together as a complete journey. Does the protagonist change? Do the subplots serve the main story? Is the resolution earned by what came before?

The readers who excel at structural feedback can see the forest for the trees. They'll tell a writer when an arc feels incomplete or when they've missed a chance for a plant and payoff.

This feedback often requires multiple reads to fully develop, so it does require more time as a reader. But it can be hugely helpful to a writer.

Remember, as a writer, you're not looking for cheerleaders. You're looking for tough critics who can identify specific problems and help you understand why they're happening. And if you're reading scripts for a friend or colleague, you want to give focused feedback that can strengthen a draft—be polite, but don't gloss over issues that really need work.

The goal should be to make a script better, not come away feeling great about work that could always be improved.