Hello and welcome to the latest edition of Sick Congeaks. I'm Dave Cohen. I'm James Carey. I'm joining us as our producer Katie story And today we are going to be talking all about notes.
That's the notes you're given for your scripts Those fabulously helpful pieces of advice everybody's desperate to give you which is great because you're really excited to hear them Absolutely or the bane of your life depending which way you look at it. So James has quite a lot of experience of receiving notes giving notes as well and He's got some initial thoughts. He's gonna share with us about notes and we'll start really I guess by talking about You've written your first script you've sent it off to writers room or to somebody like James on myself for a script review So what would what advice is what's the first bit of our advice that you give to a new writer? Well it's worth bearing in mind a few things the one is to say that you are obviously very attached to your script and you have possibly taken a very long time to get to where it is and you have given birth to it as it were it may have taken you nine months and As a rule parents don't take negative comments about their children very kindly I don't know how you feel about that.
They've but um, they never talked to you again really no no, so in one sense It's worth bearing in mind that you are Sensitive when it comes to notes about your script so you sort of need to get used to that very quickly And I think the sooner you can get used to being given notes Mm-hmm the happier you will be as a professional writer as it were because I think it's very easy to react emotionally And I think I still do you know and I've been doing this for a while now and they've even doing it for even longer And how do you feel when you get that first email with the that you know contains that? That my first reaction to notes is always what the hell are they talking about? Yeah, how are they possibly saying what what can they mean? That is just ridiculous Yeah, and then I go off and femme for ten minutes and then I come back and I look at it again And I think yeah, I suppose I can see I can sort of see their point.
I go from thinking Oh god, I'm not I can't work on this show anymore Go from a huff and then I sort of realize actually well They're reacting to this to what I've written in a certain way and that's you know, they're making a show they've got their way of Doing it they know what you know, they've got a lot of other things that they're thinking about apart from the script So you kind of have to take it on board or something Yeah I think it partly but how you receive a notes also partly depends on what what your show is and what your so there's a difference I'm sure between notes on your original script for an original show that you can totally see Which you may not have actually captured in your script and then there is taking notes on a script for somebody else's show that you're writing And there's a sense in which it's not your show so get over it even faster than you normally have to do So the question of sort of being professional really The things we're nothing to bear in mind is the fact that the person giving you notes is almost certainly more experienced than you If they're in a position to give notes and they're obviously famous stories and anecdotes of people who are very in high positions of power having not ever made a show in their life Or done anything particularly useful, but again dwelling on these things tends not to yield anything positive or constructive. Yeah So can I tell my favorite story? Well the story no no no Okay, friend of mine who was with a very very successful producer who always read his scripts and for some reason I haven't had time to read the script and give notes So he was in the room with the producer as he was reading the script Comedy scripts and the producer was reading it and he read one page and didn't laugh and two pages and laugh and didn't say anything And my friend was getting more and more kind of worried about what he was thinking and finally after about ten minutes He said I see you're using a new typeface The only note he got on his script was that's a he ditched a real bowl of comfort I wondered if that was going to be a story where after reading it for 20 minutes They said that's possibly the funniest script I've ever read in my entire life The first reading the script was Jeffrey Perkins who famously didn't ever laugh out loud anything The only one the story at the end of the eight there's an apocryphal version I don't quite know what the original apocryphal version is where a film a film director or producer I think a film executive producer who doesn't really understand who Billy Wilder is who is the writer and director of things like Some Like It Hot you know it's one of the greatest one of the greatest for the most of all time where someone says oh so Billy What have you done and Billy Wilder says you first so you know occasionally a bit of me because I've been doing this for a while now and I've been doing it for sort of 15 years and I've written quite a few scripts part of me wants to sort of say to whoever's Producing the notes well, okay, what have you done again? Doesn't get you very far and if you're listening to the show and wanting to improve as a writer The odds are that the note giver is more experienced than you so you really want to be trying to respond to notes in as constructive Away as possible and the other thing to bear in mind is that the producer or the script editor or whoever's giving you notes Once the same thing is you in that you all want a funny show or even better a funny and successful show They're not trying to harm you.
They're not trying to stop you from writing funny things So you need to bear in mind that they want the same thing as you but also that they're possibly thinking about other things in your script And therefore if they do make mistakes or if their notes are occasionally inconsistent, then you probably need to cut them a little bit of slack I think I'd like to mention at this point as well. It is Unfortunately, it's not a very helpful thing to say but actually you could get two completely contradictory sets of notes You have to extremely experienced people and that's that situation happened to me recently a friend who's done a lot of Things for me and I think he's a very good writer and I Occasionally read his scripts and give him advice on them and this was a scriptly incentive BBC writers room and I read it and I said Oh, I really like your main character. I think that's really good I think I'm not too sure about this as the second character and Notes he got back from Lucy writers room where I really like the second character But I don't like the main one at all and it is and the thing is that we were probably both right in our different ways really And it's just it's kind of when you get contradictory advice You kind of have to a little bit be a little bit instinctive and think about well how am I how am I gut? Do I think this is going to work?
That's who who is who is advice is more kind of do I feel stronger that I can can work with on that? And what that what those two contradictory notes are sort of telling you possibly is that this show is slightly neither one thing or the other It may be that it's not clear from that script who side we should be on or anything like that So in one sense we need to embrace notes even when they are contradictory or confusing Otherwise, you're never going to improve now my um my theory on notes is is the best kind of note is that whenever I'm giving notes What I'm trying to do I hope is Articulate something that's the basically the awful truth that the writer has been suppressing all along So it's and so when I'm given when I'm given a note the best note is effectively something that I already know When they say this this scene is weak this character is I don't understand the quest of this character in my heart of hearts I'm just thinking yeah, yeah, you're quite honest. I found out you got me Yeah, you know, I thought I'd pay for that one But I obviously haven't and that I've effectively been called back, you know to go and do that bit again You know, there's a consistently weak bit or something that I sort of willfully been blind towards And so those are the kind of notes that are really genuinely helpful is where stuff where you just think other stuff you haven't spotted a Scene that's never quite works you submitted the script and when it's come back they said, oh, we thought about doing it this way and you go Oh, that's how I should have done it. Yeah, um those kinds of notes are pretty rare, but But in general notes which are basically putting their finger on why it's not quite as good as you thought it was They're the notes that you really can't act on and should embrace and should be enthusiastic about Because it doesn't help to be Comargently difficult obstructive all the stuff that comes very naturally to writers You know, you want to try and uh try and avoid that Yeah, um And then contrast that with the worst kind of notes which are notes that sort of don't really seem to mean anything they seem to be illogical The worst note is really one by giving someone who just has to justify their salary or position They don't clearly have any strong views on the script, but if they don't say anything then Then people will wonder why enough they've been paid 185,000 pounds a year by the BBC When actually by that stage you should realize that you just need to let people get on it having said that Sometimes they think they're doing the right thing and saying things are useful and maybe they are and maybe they haven't just been power vacuumed into a place I've seen the very significance perhaps the response to those sorts of notes is to do what they do to you which often You will get this from time.
You'll get a producer from back to you. So that was fantastic. That's really good I really like it well done. That's really absolutely right and then Okay, I just one thing and then half an hour later.
Yeah, the one thing is been like dismantling the whole thing Yeah, that whole kind of yeah. Yeah, I hear what you're saying now. That's a really good point I'm glad you you mentioned that point. I'm very good.
I will definitely address that point when I've walked out the room and realized what stupid No, it's a really good idea. I will give it time and actually you do really need to give it time You do really actually need to look at it very very closely and say that why has that person said that? I think they're wrong I know they're wrong because I'm a writer and I'm right about everything there But why what made them say that thing then what is the thing that's not working to make them make that suggestion? Yeah, so there is even even the worst kind of notes.
I would say you may well find that A key to something for yourself that will help you Solve one of the problems. So two things on that one is hopefully you'll have a decent producer or script editor who will shield you from terrible notes And I've been the beneficiary of that in the past where I've either had somebody keeping notes away from high up That are trying to address things and nothing to do with me or the script but a pure politics When I worked on a show called my hero and the producer, Jamie Rex, who You've worked with Dave a little bit on the knocking out. He did a heroic job of taking in Five sets of notes and turning them into a set of notes for me And I was really grateful that he did that so he was harmonised them and sort of Slightly processed them and he might even say that there was a disagreement about this or that scene or this or that character That moment was great And again going back to points to be made before you just therefore need to be really careful who you work with You want to work with people who are trying to help you do the best work that you can rather than someone who is sort of throwing you to the lines But I think the other thing I think you're right there There was to say that there is something in almost every note even bad ones or even stupid ones But actually sometimes the solution to those notes is not The thing itself but something earlier So it may be that scenes are not working and actually the only reason the scenes are not working is because it's it's come after another scene That actually looks like it works But it gives you the wrong expectation for the scene that follows or it may be that you know in one sense It's like diagnosing a physical ailment. Actually you would really saw a neck or the problem is actually the bottom of your back with a trap nerve or You know and actually medical around.
Yeah, I think these things manifest themselves in different ways You know expectation created by previous jokes set up to be clear that kind of thing Um, but on a number of occasions we found that we've had notes on a scene that doesn't work We think it works But then we discovered the reason they didn't think it did is because we set it up wrong So we've changed the set up And maybe had a note back going oh, it'll work really well now Um, you've changed the scene and it's now much better than we're secretly thinking we didn't change the scene at all But we did change the set up to the scene and you know, it's our you know, you know, it can be a sort of a childish Got one over on the teacher sort of thing which is pathetic but it kind of gets you to do the day sometimes There is a bit of a kind of siege mentality isn't there when you're a kind of thing that in the deep throws of working on scripts that are going to be made Is a sort of definite it's you're in a different place to when you're Work when you're discussing squints at the earlier stage. Yeah, you're trying to get commissions or something So yeah, and hopefully because if you're always being made that you have aren't most of these sort of big philosophical problems or You know, you have addressed previous notes say that by the time you're trying to execute the script You know, you're sort of slightly fukling over details really Um, a couple of other things really um, do ignore some of the notes If you're given a great page of notes, you are perfectly at liberty Um to ignore some of them. I mean think twice before ignoring any note completely I've been very lucky to work with a lot of people one of whom I ignored half of the notes this person gave and they're extremely easy to ignore because they were really really crazy or stupid or over the top Um, and they were very easy to ignore and then the other notes were really really helpful So that so the unhelpful notes were clearly obviously unhelpful, but even those unhelpful ones didn't make me think or hang on All these crazy suggestions coming because this scene is actually quite boring And they're sort of trying to work out a way of making it more interesting in which case I didn't need to look at that scene again But you are perfectly at liberty to Ignore the notes or ignore some of the notes But I think if you start ignoring all of the notes then you will become a good reputation for being very difficult to work with And there's a sense of which you can do that at the start So I had a meeting recently where someone sort of said I have a fundamental flaw I have a fundamental problem with this character at the center of your show And I'm so convinced that that character is a really good character. I've sort of said, oh, that's a shame I think they're really good And I guess this isn't going to go anywhere with you then and to which the answer was um, oh, okay And that was that so it was a note But I sort of rejected it because um I'm you know, I've thought about it and I'm happy with how it is and if it's not coming across If it's not connecting with this person, well, that's fine, but we're at the very early stage of it.
So yeah, that's fine Um, so doing all some of the notes, that's okay And I think the other thing says you can question notes You can do it politely. So sometimes you do have a note that's ridiculous But an answer to that isn't this is ridiculous note, but um, but to say I'm confused what you mean by this Is the problem this or is it that are you feeling that the scene is too long or is he feeling that the scene is losing its way? You know, and I think it's not unprofessional to do that. In fact, I would say it's professional to do that Would that be your take on it?
Well, what's thinking about this on the way here actually on And I sort of wondered how much and the balance between how much you question the notes you get Having recently been given some quite a lot of notes for for something which my first reaction was to totally question the notes But then my my next thought was well, it's over over time. I'm going to wear it earlier in this particular show I thought I'm kind of going to go with these notes for now And if they start to escalate then I may well start to do something but for the time being I will kind of do Everything I'm told. Yeah until it starts to seem like it's not I need to see and I think this is a reasonable point I think I need to see that how I respond to the notes is acknowledged in a certain way and I think that might be The early stages when you're working with someone if you if you respond as clearly as possible to all the notes Even if you don't necessarily agree with them And you do as is asked of you and then you that's respecting it Then that's fine if you carry on doing it and you're still getting the same kind of notes back I think then then I would start to I'd start to kind of maybe you know put my foot in a bit Well, it's not so I mean I think it's partly artistic differences That's one thing But I think it's particularly valid to question notes that you find contradictory So it may be that you're being asked to add a whole new storyline about X But there is another note that says this whole thing feels too long And you're thinking I really don't understand how I can fulfill both of these notes The person who's written these notes, let's assume they're not a moron And therefore they haven't expressed themselves as clearly as they could And therefore you're able to go I think you may be right about the extra storyline about this But we're already worried about length Did you have any thoughts on how I should be? Should I be cutting something that we've not talked about or In which case they might realize oh yes, no there was a whole bit of the thing I didn't think you needed that Oh, okay that wasn't in the notes That's really helpful to know that So I think you're able to have a grown up conversation You don't have to sit there and take it And then shake your head when you get contradictory notes from the same person You can especially if they're written notes You can actually just email back and don't question all of them If there's one particular bit where you just think I don't quite know how I'm going to fulfill both of those notes Yeah, it's interesting because I'm working with a producer on a radio idea at the moment And I've known him very well and we work together Last time it's a him, okay, we just want to work out here Yeah, but and I have no trouble at all Literally saying you know I go through his notes and I'll say Yeah, that's a good point that no I don't think you write about that And he's fine about that Yeah, and you know he or she or it Yeah, well I mean he doesn't really narrow it down much in the world of comedy No, no that's very basic It's very basic It's very basic Katie has pointed out in previous podcasts We went up to the actual number of women who've been on this show Absolutely, yeah, yeah, that's the kind of thing But to go back to what Sean Ed was saying They radio for a comedy commissioner Pointing made him she said I don't have to like everything But I can see how you know something might be good And I think that's part of the problem with the notes is because comedy such a subjective thing Yeah, the person who is working on this show with you is not necessarily This isn't necessarily the kind of show that they are totally you know They're completely on top of what what it's about and where it's coming from And so but it might actually they might bring they might be bringing something to your show An extra thing that's going to kind of lift it out of your little world that's going to make it very nice popular And you should show up to 200,000 people who watch it on channel 4 They might have this extra thing that actually might make it something that's a bit more You know, I'm sorry if I'm I'm kind of almost of context every time you come up with a sort of piece of advice But this is again is part of the problem with the notes thing and the example that I give is Mrs.
Brown's boys, which is a show that you know, I've never was a big fan of but I can see why it's popular But I was sort of imagining what would happen if I would been a BBC script editor and I had been given A script from Mrs. Brown's boys before the show had gone out and I would have said well, I don't like this and I don't like that And these are all the things that make the show massive hit that sort of old jokes that's 70s retro Character if I can use that word, but I mean, it's a very successful show And I would have been wrong, I would have been ignored and they would have been right to ignore me But I still think I'm right in my view of it Yeah, but the fact is 7 million eight million people disagree And you know, I'm not gonna have impressed my bosses in the script department Having rejected it, so you know fortunately in your situation, no one would ever know That's why when commissioners take credit for shows that they've been making it really Makes me cross because we don't know what you turned down so it's a bit of a selective crediting system So I think in one sense It is a complicated area and that's why it is very frustrating and why we need to think about it is because It is hard to know when to question when to just shut up when to just try and make sense of it There are a couple of things I would sort of say which is something that rookies particularly do Which is very annoying and you need to stop doing if you are doing it is that when you do get notes Don't give notes on the notes Because you know, I've given notes before For one or two things and I've had notes back saying oh right yeah, I didn't really You know, you told me to cut that bit, but I'm not gonna do that because I really know I like it and or whatever And I don't I don't need to tell me straight away that you ignore half of my notes That's fine. Just do you fix it and then show it to me again and don't particularly Say well, I only changed that bit because you told me to you know Don't sort of blame the note giver for for your scripts because it made me know in the first instance I mean when I was script anything for CBB's I was it was 20 we were making 20 episodes of it and I can't quite keep track of all the notes I've given to everybody all the time and so if I've contradicted myself once or twice over the course of that to someone You know, and then you put that out to me. Thanks You know, I'm not being paid a daily rate.
That's high enough to justify being given notes by new writers. Thanks So do think yourself into you know, use your writer skills to be empathetic towards the person who's giving you notes I just think it looks it looks really bad So um, those are some of the main points that I wanted to cover which I sort of stuck up on my blog on the sick and geek blog And it's also my book for writing the sitcom book another little gem though is um Sam bane has written a blog post obviously Sam bane from uh peep show and lots of other wonderful shows like Babylon and Rev and Lots of other things um the old guys was Sam and Jesse was known as well, which was a mainstream sitcom That's 70s. That's a show very long time ago. He was basically called NotiKets as a etiquette around notes, which I think is Really good, but it's partly to people who give notes as well.
So yeah, I'm at this stage because I do get a lot of scripts I do read a lot of scripts by new writers hop out sick from episodes So uh, james is gonna sort of read these out and I I'm kind of uh, I'm gonna listen to each bit of advice and Decide honestly if I actually do what's Sam bane writes I do So these are the ones for people who give notes. Um, the first is uh, don't rewrite the script and send it back to the writer Uh, is that uh, you know, yeah, I actually I mean, I think it's not unreasonable for me as someone was a bit more experienced to someone who's not quite experienced I don't rewrite it. I do make suggestions. I do say you might want to look at A way that might make this particular scene funnier if you do this or that.
I always say, you know, try this Or try something else, but it's not quite working at the moment. So I'll give myself half a second. Okay, I probably have been rewritten once or twice And I'm not minded for a variety of extraneous circumstances, but as a general rule, it's not something that you want to do Um, uh, don't forward the writer an uncentred email containing extensive negative notes from a third party not involved in any way in the process Um, Sam says this only happened in once, but that was enough of you. Yeah, it's very easy to do I have done that once I have Accidentally included somebody in the bottom of the email that's who is being talked about luckily.
Uh, I was being complimentary about them So I got away with it. Um, that's I realized as soon as I sent it. Yeah, absolutely. That was something to see thirdly Um, don't take the rip.
Um, all writers get it wrong, but it's our right to fail. Well, that's been humiliated in the process I think that's fairly good. I think I don't think I've had somebody literally mock me in my notes for the script I think it's quite unusual. I think although if you go, I think you used to find it in the Crutick columns of the British comedy guide people who were brave enough to put their script All right, it's for news, Japanese people who like to spend their time just picking holes Don't give too many notes at an early stage.
We don't need to know if some lines of jokes could be included draft one We just want to know if the story is any good again I only give myself half of it first, but partly because of going right back to what James said at the beginning You you've written that script. You've given it nine months work as far as you're concerned That's it's finished the finished draft that is going to get made. I have to kind of gently bring you down That may be true I mean also particularly if you're if you are reading a script for someone for a say for a figure it were Then you kind of have to give all your notes in one go. Yeah, um because they might not send you draft But I think in general I think We have we've probably all been in meetings where somebody very important has really fussed over a tiny detail of the scripts That's really only on the first or second draft and we all know you're not going to read through The act with the act until draft four and that you're only going to shoot draft nine Um, so that does happen sometimes Um, don't give notes based on how you would write the script.
Yeah, if you want to write there are plenty of blank pages still available That's great. Yeah, I think that's a really good note for note givers And when i'm giving notes, I'm trying to think How can I help this writer do the best version of the show that they want to do? Yeah, and if i'm trying to stop them from doing that I need to give them concrete reasons as to why I think they're heading in the wrong direction Rather than just giving them notes that pull it in my direction There was one exception and I actually quite recently I got a script which was I thought was considerably Better than any script that I ever received and it was about a week and a half before some competition rather And I did contact the writer say that I think this is really good. I do I think that there's just some things that need doing and I did Can't break that rule on the one occasion I did sort of have a few actual suggestions for it because it was I thought it was it was not very very good standard And but they just needed to be a little extra few extra things in there And even then though I felt I said, you know, these are my suggestions and I want to force these on you, you know um And in an article note try to avoid emotional inflammatory language Say there are problems not that something is sloppy say it could be funny and not that it's a schoolboy humor Um, I think that's gonna be these are sort of just pejorative terms I think they sort of fall into the category of don't humiliate the writer in the name I hope that I don't do that but I sometimes won't worry maybe sometimes that you can't never know that you know any criticism for a writer Hurts really and so if you just say that joke, well, I didn't think that joke was very funny That's that's that is a dagger to my heart.
Yeah. Um, I thought it was funny enough. I put in the script Yeah, you obviously need to tell me Well, no, I mean, I think it's all perfectly It is justifiable to say that joke doesn't do it for me You don't have to say but you don't have to say this is a poor joke What you can say is for me that joke doesn't land it doesn't it's not you could even say I felt I knew what that joke was going to be Or I felt that joke feels familiar. Yeah, um, you know, a lot Yeah, and that's and I think that is perfectly justified and professional to say that but you don't have to say You know come up unless you know the person well, anywhere run together.
Yeah, you can say You know, you probably could say something. I think you're probably better than that. Yeah, um, if you're confident that you know that there's a relationship there But in general, you're better than that. Yes, exactly.
Uh, so anyway, uh, put some possible dudes as well Please make suggestions and come up with ideas. I think that is a mixed bag Because sometimes you don't particularly want their suggestions or ideas Um, especially when they do seem very familiar or obvious to you You know, if you sort of if you've written something and they say oh, I didn't like that Have you thought about setting it in X and go? Yeah, of course I did that's the obvious thing to do and I didn't do that because it seemed so ludicrously obvious Um, so that is the pitfall of making suggestions, but it is helpful. I think to show someone's showing willing.
Yeah, um, I don't know How do you do on that? Yeah, I pretty good on that. I think but again, I always give the caveat. I say, you know, you might want to think about doing this I mean, but the thing is I do tend to get The people who've thought the first obvious thought and so I'm kind of slightly going ahead of them You know, maybe you might want to think about going beyond that obvious thought and look at it this way So hopefully hopefully I'm not kind of basically rewriting it for them.
And then here's a really good one. I think Where Sam suggested that when you're giving notes When you're sort of coming up with suggestions ideas, maybe do include relevant anecdotes in your life the more embarrassing the better Um, they may not get into the script, but they make you more human And therefore we'll accept your note taking those off note making this up. Um, what I love in that is I remember again when I was relatively experienced and I was writing my hero, Jamie Rex the producer He was very kindly collating notes so that they weren't contradicting themselves. The other thing he would do where when we were in a room together We were trying to fix the script.
He would always be the first to make a suggestion That was that he would he would sometimes bail out on halfway through realizing it wasn't a very good one But he would intentionally humiliate himself in order to give other people permission to pitch and fail Yeah, and I think that was a really really important thing that he did which is what I really appreciated it that he wasn't ashamed or unprepared to Comedy is a comedy is a risky business. You're making yourself emotionally vulnerable and he constantly did that and I really I really respected that and appreciated it Um, you know without doing the caveat thing which is a great mission of not this I mean how about this and not this but you know, this is I mean you're the writer, you know, you know, you know, so If you've not seen the not this sketch, I urge you to watch it immediately. Yes, I watched it recently on your Yes, I post a link to it on my blog and it is a very common very common thing Oh, it's the early I see you at Sam's also written here. Give your notes on their notes Um, which is what I said specifically not to do but what I think he's meaning by that is talk about the notes You can I have once given a note to give a notes on their notes Um, Andrew Clifford was giving me notes on a kitchen.
I was writing at the time And my note back to him was genuinely these are easily the best notes. I think I've ever had These are just brilliant. Thank you very nice. You know, and I wasn't you know, hopefully that didn't sound ingratiating into creepy Um, but they really really were and Andrew Clifford if you're listening you are an excellent note giver And I hope you get lots of lovely work.
You can work with me any time you like Um, so in one sense, um, those are the those don't pitfalls. Have you missed out any other screen howlers? Pretty that's pretty good. I mean, I do think it is a very very difficult area and um, even you know, that there's the um Not that phrase from William Goldman that uh, that a great screenwriter, you know, nobody knows anything Yeah, of course William Goldman is one of the greatest screenwriters.
Yeah, the man who said nobody knows anything actually knows a hell of a lot more than most of us So, uh, if you get notes on your scripts and you go, no, nobody knows anything You think that's you're being clever by quoting William Goldman. Well, actually, uh, some people do actually know enough really I think so It is worth taking that advice before you rejected that hand hand Giving notes is a tough business, especially if you're, you know, relatively new to it or that you've not been doing it for very long I mean, Katie, you've been reading scripts and giving notes on things a little bit How was all this from your perspective that we're sort of I mean, it's all pretty terrifying to give Someone who spent ages on something two pages of like, oh, I'm not sure this works or that works Yeah, it sounds like it sounds like giving good real common sense. I think yeah Also, I did a script editing for TV calls recently and they started off by saying just say something positive at the top Because the real people who've given you their script just started off as an imposter Yeah, and I think a lot of the human thing to keep in mind. Yeah Yeah, yeah, he's a human.
We feel obliged to point out But anyway, so um that's comments on notes Um anything else I think we're done I think there's a I think those notes are very good very good notes There's more to be read on notes in my book writing next sitcom which is very good Is it available? Yeah, as anything other than the legal just in just a minute now And then um you can get that via my website Sitcomgief.com.com Is there stuff on notes in your book? Not in the current one, but I have got a new book coming out soon called Why to watch you don't know and up there will be some notes about notes in there So I think you did very well there James I just like to say a bit of feedback. Yeah, shut up.
I'm not taking this from you. What have you done? Um, so if you like the podcast you listen to tell your friends like us on facebook you have already listened if you got to this point Yes, listen again. Don't your friends go to facebook Like us at facebook and adora is on iTunes as well.
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