I've been getting notes for 35 years ... on articles, on books, on scripts.
Long ago, I discovered the best approach for me was to imagine I was discussing someone else's project and just listen dispassionate.
Some notes are great, some are stupid, most are useful. Sometimes while getting the note I'll realize the person giving the note has not read the material (more common on the movie business than the book and magazine business.)
Some I accept, some I reject, some I have to accept or decide they aren't worth fighting over. Sometimes the notes are reasonable but they don't resonate with me.
I do my best not to be emotional about the process. It's just words on a page, and sometimes it's better to change those words.
Great piece Cole. People who don’t create work and put themselves on the line have NO IDEA what receiving a “note” is like. I’ve become very suspicious of the whole system of notes and feedback in workshop, etc. But you do a nice job breaking down how, in a professional setting, there’s often no choice but to respond and take it in.
Thanks for the note, Sam. I hope anything in here helps. Or just validates. Notes are a very complicated experience for everyone involved, but knowing how to give and receive them is vital to a strong career in the arts, I think.
I've been getting notes for 35 years ... on articles, on books, on scripts.
Long ago, I discovered the best approach for me was to imagine I was discussing someone else's project and just listen dispassionate.
Some notes are great, some are stupid, most are useful. Sometimes while getting the note I'll realize the person giving the note has not read the material (more common on the movie business than the book and magazine business.)
Some I accept, some I reject, some I have to accept or decide they aren't worth fighting over. Sometimes the notes are reasonable but they don't resonate with me.
I do my best not to be emotional about the process. It's just words on a page, and sometimes it's better to change those words.
Great piece Cole. People who don’t create work and put themselves on the line have NO IDEA what receiving a “note” is like. I’ve become very suspicious of the whole system of notes and feedback in workshop, etc. But you do a nice job breaking down how, in a professional setting, there’s often no choice but to respond and take it in.
Thanks for the note, Sam. I hope anything in here helps. Or just validates. Notes are a very complicated experience for everyone involved, but knowing how to give and receive them is vital to a strong career in the arts, I think.
In any case, most artists and entire modern artistic production, both serve technique using various forms of existing technology.