One of the paradoxes of television writing is that although story is king, writers in television are judged by their dialog.
That’s because the plots for each series episode are usually constructed by the entire staff, with input from the stars, stunt co-ordinators, network personnel, and various assistants as well.
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The key to successfully writing for television is to remember that it is primarily a storytelling medium. All other considerations are secondary.
No one in TV is crazy enough to say that character and dialog don’t matter, but the truth is they don’t matter AS MUCH as story.
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The Writers Guild of America Awards winners were announced last night in a virtual ceremony online, and, man there were a lot of them.
No, we’re not being snarky, we’re being honest. Similarly, we’re being honest when we say that all the nominated scripts were superbly written by true artists, and the winners were, when you get down to it, just a teeny-weeny bit moreso.