I get it, when someone doesn’t understand what you are saying it’s REALLY frustrating and annoying.
But it’s still your fault.
This is just as true with screenplays and movies as it is with real life interaction with people.
If I am writing one thing but the reader is reading it in a different way, they might as well be reading something else. I mention this as we are going through the rounds with some of the writers in 50 Kisses. A couple of the writers have resisted the development notes offered, suggesting it’s perfectly clear what’s written on the page. Obviously it’s my fault and my reading teams fault for reading it wrong.
The job of a screenwriter is to carefully and expertly navigate a path through the world they have imagined – and that path is that story. One that has been crafted by an immense amount of research, development, writing, rewriting, testing, redraft and so on… Nothing is unintentional, even if it appears on first read / viewing to be that way.
To the viewer, of course the story should look like it isn’t on any predefined course at all, that it could change direction any moment, that anything could happen right now… how is it going to end? The story should be an unfolding and compelling mystery that is a joy to experience.
And when you get to the end, the writer and filmmaker should be skulking in the shadows, eavesdropping and enjoying how the master illusion that they created actually ‘did the trick’. And if it didn’t work, they should be even more interested to find out why it failed, so they can improve on their next story, their next ‘illusion’.
And illusion is the right word because great stories are like real magic.
That’s why I am perplexed when some writers resist notes. When I offer feedback on a virgin read, it’s not that I want to make them wrong. It’s not that I am right. I am just relaying the experience that I had. I thought ‘this’ but you tell me it’s ‘that’. Of course, it’s me, I am wrong.
We often forget that EVERY member of the audience is 100% entitled to their experience and opinion. They are right EVERY time. I am not saying dumb down stories, I am simply saying that a great story is a sophisticated work, filled with nuance and created with a deep understanding of craft and plenty hard work – and audiences see that and appreciate it.
Remember, as the story teller, you are failing if the reader or viewer ever strays from that masterfully predefined course that you have crafted for them.
Onwards and upwards!