As long as you are happy, that's good. I have, at times, gotten e-mails from 'scriptwriters' of fan films who feel the final product has little to do with what they wrote, and wanted their names removed from it. If and when I write a review of those (I stopped writing reviews last spring, although I have now completed the indexing work on Star Trek Reviewed, except the Go!Animate stuff which changes continuously.), I will feel the need to ask the writers if I can quote them in the review in which they choose to separate themselves from the final product. That will give them at least a half-year from release to reconsider their angry, and see if they still think the editors 'ruined' their work. (Yes, that's the word they used).
I am aware of how hard that can be. I wrote a play about 15 or 20 years ago, not science fiction, called, "The First Amendment" based closely on the real events that took place at Yale in the 1974-1975 school year, concerning issues of speech and religion, and how that played out on the Yale University college campus. The two central characters were platonic friends from different parts of the political spectrum. He had a girlfriend who was important, but not central, to the story. I had two cold readings, and what I found out was that the audience didn't care that the female friend was good to her male buddy, and was looking out for his best interest, and was strait-forward and truthful. What was more, it was clear that he found her unacceptable as a girlfriend, because he was a social climber, so it was not her 'fault' they were not a couple. Nevertheless, the audience hated the platonic girl, and loved the girlfriend, who lied and schemed throughout the play, and was only interested in getting what she wanted from the guy, even if it made him miserable. The audience wanted, "The love story, not the dumb stuff." They loved the scheming girlfriend. Since then, Smallville has had a major platonic relationship (Clark/Chloe) as a central theme, so it's a less revolutionary idea. But my audience hated it. I realized that, to make it marketable, I would have to so change the play that I had no interest in writing it.
I did start a rewrite, I just couldn't get into it.
So, I just hope whatever happens in Exeter, in Potemkin, in Polaris, in whatever projects your work on, you are happy with the outcome. The most important critics are always the people involved in the production(s).
I am aware of how hard that can be. I wrote a play about 15 or 20 years ago, not science fiction, called, "The First Amendment" based closely on the real events that took place at Yale in the 1974-1975 school year, concerning issues of speech and religion, and how that played out on the Yale University college campus. The two central characters were platonic friends from different parts of the political spectrum. He had a girlfriend who was important, but not central, to the story. I had two cold readings, and what I found out was that the audience didn't care that the female friend was good to her male buddy, and was looking out for his best interest, and was strait-forward and truthful. What was more, it was clear that he found her unacceptable as a girlfriend, because he was a social climber, so it was not her 'fault' they were not a couple. Nevertheless, the audience hated the platonic girl, and loved the girlfriend, who lied and schemed throughout the play, and was only interested in getting what she wanted from the guy, even if it made him miserable. The audience wanted, "The love story, not the dumb stuff." They loved the scheming girlfriend. Since then, Smallville has had a major platonic relationship (Clark/Chloe) as a central theme, so it's a less revolutionary idea. But my audience hated it. I realized that, to make it marketable, I would have to so change the play that I had no interest in writing it.
I did start a rewrite, I just couldn't get into it.
So, I just hope whatever happens in Exeter, in Potemkin, in Polaris, in whatever projects your work on, you are happy with the outcome. The most important critics are always the people involved in the production(s).
