#process questions

[lifeinpoetry]

Which poem can defeat

the fear of dying a meaningless death

and how to write that poem staring into the barrel?

— Karthik Purushothaman, from “Process Questions,” published in The Margins

[accuratetrollingtkb]

IP Lawyer Puts Business Handle Before Legal Process, Trademark, Copyright, Business Rejection, New Delhi, India

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[theboardofdirectorslovesyou]

I had a few writing questions: What do you work on first, characters or plot? Which is more important to move the story along? What do you do if the story stalls, examine the characters or plot?

Great questions!  We love writing process questions, in part because it’s something we’ve worked really hard to develop over the years.  

For the first bit, I’d say—we often start with a combination of plot and given circumstances from the previous season, then take a look at the characters we’ve established (and any we might want to introduce) and figure out how those people fit into the story we’re telling.  From that point on, they are hopelessly intertwined—but I’m going to let the writers say more about that in a sec.

It is also worth noting that the plot (and characters) we end up with when the season gets released are always hugely different from what we start with.  Flexibility (and a willingness to challenge every single good idea that comes across your plate) are incredibly important, especially for a collective writing project.

I reached out to David Rheinstrom (Writer- Seasons 2-7) for more on the “Plot vs Character” discussion: 

So, in roleplaying games, there’s this critique you can make of a person running your game by saying they’ve put the game “on rails”: your character’s decisions don’t seem to change the way the game plays out.  It doesn’t matter if you free the Ghost Prince or not, or activate the Mossheart Stone, or whatever the hell character choices you wanted to make or not make – the churning heart of the plot does not respect your decisions.  You’re not actually influencing the story: you’re on a ride; you’re watching a cutscene; you, as a player character, have no agency.  And that’s no fun.

By a similar token, if a plot element ‘has to happen’ in a story, but none of the characters’ actions, beliefs, or personalities are responsible for that plot element taking place, then it’s time to reconsider how important that part of the plot actually is.  Character is paramount.  The plot is boring or frustrating if the characters had no stake in creating it.

Most of my scripts for OFC usually went through 4 or 5 revisions, but for me, that usually meant wholesale rewrites.  There’s a scene in Season 7 that takes place in a fancy restaurant, and I went through so many rewrites of that.  It initially didn’t take place in a restaurant, and I had introduced like five new (and unnecessary) characters, and I kept getting stuck, because I couldn’t answer the question, “why is this taking place?” in any way other than “because my assignment for this episode is to write this story”.  So I went back, talked with Jeffrey, Clayton, and the rest of the writer’s room a LOT, and rewrote that scene in a way that is much more informed by the personalities of Dr. Caligari and two of Season 7’s new characters.

The long and the short of it is that the writers hashed out the personalities of the characters beforehand, and those personalities supersede plot decisions.  So if I’m struggling with a scene, I use the established precedent of a character to inform how the plot should go.

[theboardofdirectorslovesyou]

Ohh, can we still send questions? I'd like to know, how do you plot out a season of the show? Do you have an end point in mind from the beginning, or do you write as you go and see where the plot takes you? And how long does it take to finalize a typical script?

Great questions!  We’re hard at work on a “Making of an episode” special feature right now, but this is a little more zoomed out, so I want to take a moment to answer it now.

We’ve had a pretty loose idea of where the show as a whole is going from basically Season One (remind us to tell you about the creation of the first version of Season One sometime…). 

For each season, the writers’ room (Jeffrey, Clayton, and usually some combination of Mark Soloff/Steph Spence/David Rheinstrom/Jim McDoniel) sit down right at the beginning of the process and hash out the arc of the season, through-lines for most of the major characters, etc.  We spend 3-4 meetings proposing ideas, arguing, blending, cajoling, and most importantly, eating and drinking together.  We come out of that with a full season of episode outlines: a list of major plot events, conflicts, resolutions, characters used, and important details for each episode.  Clayton assigns a writer to each episode, and we go away and write.  Then we get together every week and read an episode or three, give each other notes, re-arrange things, and think of ways we can change our scripts to fit with what other people are writing.  For you scriptwriters out there: one of the most useful things you can do for your writing is find someone to read it out loud to you.   

Once we’ve got finished drafts of everything, we sit down with the full cast for the season and read the entire thing from beginning to end—-looking for plot holes, listening to the characters in the actors voices, etc.  Then we go back, revise, and we’re ready to record!

So–to answer your questions directly, we plot out everything in advance, starting with a plot arc, and it takes us roughly 6-8 months to write a season–during which time, we’re pretty much working on all of the episodes simultaneously.    

[jennsypuff]

mrsngng replied to your post: February highlights from my Patreon! S...

Hey lovely!! Sorry this isn’t quite related, but in that second picture - the underlay lines are different colors, why is that? :D is there some fanciful and amazing trick I don’t know about??

Haha probably not. When I'm pretty far along on a sketch and i realize I don't like a particular element, I often start a new layer and redraw the element in a different color to differentiate it from the rest! Then, if I like it better, it gets squished down to the previous layer. So you can see from this that I didn't like the first arm I drew. :P