(no subject)
Feb. 24th, 2012 01:10 pmCourtesy of ponygirl2000 - Found these two lovely quotes from Mo Ryan's essay on Downton Abbey.
Dear television writers of the world, we care about your characters. Do not mess them up for the sake of storytelling expedience. Do not give incident pride of place over people.
We want the plots to make sense -- we want them to be exciting, moving or merely competent -- but our primary goal is to be more interested in your characters and their dilemmas every week. Even if we don't like them at times, we want to be compelled to watch what they do and what happens to them. The function of the plot should be to serve up opportunities to see what they're going through and how they respond to challenges.
So here's the deal: Don't take the trust we've placed in you for granted and mess with the characters because it makes your job easier. Go ahead and screw up characters because of an artistic vision you have. OK, don't do that, but we respect that you might have a creative vision that we might not ultimately agree with. If you change your characters and their relationships based on an artistic concept you really believe in, that's one thing. To mess them up because you just need to generate stories and you need certain things to happen in the plot? Do not do this. Please do not do this.
You will get a certain number of freebies on this front, if you're doing many, many other things right. But if you continually come up with storytelling contrivances that make your characters less interesting, smart or believable, and if you frequently introduce incidents and coincidences that mainly exist to fill out the hour, and if those developments detract from our understanding of your characters, you are playing a dangerous game. Over time, your audience will begin the process of detaching from the characters and their world. Even if we have some lingering affection for the show, we'll begin the process of drifting away from it (see also: My thoughts on the current season of "Supernatural").
So, TV writers, come up with cool plots. You should absolutely expend a lot of blood, sweat and tears on the mechanics of each episode and the structure of the season. But we shouldn't have the mechanics shoved in our face and have the characters suffer as a result. We shouldn't hear and see that creaking machinery, and those mechanical objects shouldn't fall on the characters' heads regularly. Whatever you do or don't do, please don't betray your characters just to make that week's story work. Your cast and your audience deserve better than that.
I actually think this applies to all writers of serialized fiction, including comic books, books, and films. Characters FIRST, Plot and Theme - SECOND.
What this means is simply this - if the plot and theme do not organically come from your characters, you are doing something wrong. If your story is Theme first, Characters second - you've written allegory, which is nice, but works better in short story form. Serialized allegories and satires fall apart.
They don't work. [See Glee for an example of why.]
The key here is building stories that spin from the character outwards into the world, instead of the world imposing stories upon its characters," Ryan McGee wrote in an essay on the AV Club site.
Exactly. That's it in a nutshell.
This applies to so many tv shows, films, books and graphic novels...that the list of the one's that don't do this and/or do it right is a lot shorter than the one's who don't.
My only quibble with Mo Ryan's review is Frank Durabont had nothing to do with the Second Season of Walking Dead. He was fired. So you can't blame him for it.
Dear television writers of the world, we care about your characters. Do not mess them up for the sake of storytelling expedience. Do not give incident pride of place over people.
We want the plots to make sense -- we want them to be exciting, moving or merely competent -- but our primary goal is to be more interested in your characters and their dilemmas every week. Even if we don't like them at times, we want to be compelled to watch what they do and what happens to them. The function of the plot should be to serve up opportunities to see what they're going through and how they respond to challenges.
So here's the deal: Don't take the trust we've placed in you for granted and mess with the characters because it makes your job easier. Go ahead and screw up characters because of an artistic vision you have. OK, don't do that, but we respect that you might have a creative vision that we might not ultimately agree with. If you change your characters and their relationships based on an artistic concept you really believe in, that's one thing. To mess them up because you just need to generate stories and you need certain things to happen in the plot? Do not do this. Please do not do this.
You will get a certain number of freebies on this front, if you're doing many, many other things right. But if you continually come up with storytelling contrivances that make your characters less interesting, smart or believable, and if you frequently introduce incidents and coincidences that mainly exist to fill out the hour, and if those developments detract from our understanding of your characters, you are playing a dangerous game. Over time, your audience will begin the process of detaching from the characters and their world. Even if we have some lingering affection for the show, we'll begin the process of drifting away from it (see also: My thoughts on the current season of "Supernatural").
So, TV writers, come up with cool plots. You should absolutely expend a lot of blood, sweat and tears on the mechanics of each episode and the structure of the season. But we shouldn't have the mechanics shoved in our face and have the characters suffer as a result. We shouldn't hear and see that creaking machinery, and those mechanical objects shouldn't fall on the characters' heads regularly. Whatever you do or don't do, please don't betray your characters just to make that week's story work. Your cast and your audience deserve better than that.
I actually think this applies to all writers of serialized fiction, including comic books, books, and films. Characters FIRST, Plot and Theme - SECOND.
What this means is simply this - if the plot and theme do not organically come from your characters, you are doing something wrong. If your story is Theme first, Characters second - you've written allegory, which is nice, but works better in short story form. Serialized allegories and satires fall apart.
They don't work. [See Glee for an example of why.]
The key here is building stories that spin from the character outwards into the world, instead of the world imposing stories upon its characters," Ryan McGee wrote in an essay on the AV Club site.
Exactly. That's it in a nutshell.
This applies to so many tv shows, films, books and graphic novels...that the list of the one's that don't do this and/or do it right is a lot shorter than the one's who don't.
My only quibble with Mo Ryan's review is Frank Durabont had nothing to do with the Second Season of Walking Dead. He was fired. So you can't blame him for it.