No matter how hard you work on story in TV, ultimately story will not save you. Character in TV is ALL. Truly good stories, of course, come OUT of character, they don’t happen TO characters. Good story always comes out of character choice.

This doesn’t mean that you can slack off and write bad stories, or you shouldn’t bust your ass to write great stories, which is what all those writers hammering away in writer’s rooms right now are doing. It’s just that you can not help be cognizant of the irony that you are working hardest at the part of the show the audience cares least about….What good story does is provide the most interesting or intriguing framework for the characters. Great story supercharges a show.


@ blusongz : YES! I loved auctioneer!Parker and how Nate kept having to remind her to focus on the con rather than the 16 angry henchmen who chased her through the Palace of Versailles :p I can’t decide what was my favorite part: Parker’s color commentary? the various reactions of the fancy people in the crowd? her long-suffering and occasionally baffled assistant? or Pink Shirt, who was so awestruck by her he almost ruined the con?

Does anyone else have a favorite bit or highlight from The King George Job?


“Screw writing “strong” women. Write interesting women. Write well-rounded women. Write complicated women. Write a woman who kicks ass, write a woman who cowers in a corner. Write a woman who’s desperate for a husband. Write a woman who doesn’t need a man. Write women who cry, women who rant, women who are shy, women who don’t take no shit, women who need validation and women who don’t care what anybody thinks. THEY ARE ALL OKAY, and all those things could exist in THE SAME WOMAN.” x

Inspired by this post - http://nikita-world.tumblr.com/post/66272116442/screw-writing-strong-women-write-interesting