There’s some questions swirling around on how to handle some secret identity subplots that have been set up on our show — during a debate about it, one of the writers said this: “Secret identity crap can be like cat nip for a writer, you keep wanting to go back to it but it doesn’t deliver new drama, it doesn’t progress but instead distracts from other new drama – and there’s always too many iterations to always consider.” It’s moments like this that remind me that TV writing (and any specific form of writing) is a profession that must be cultivated with years of work. So many people think that because they watch TV and love TV and know how to formulate dialogue on some level - that they are prepared to switch careers and delve into TV writing as a profession. I’m not saying you shouldn’t pursue your dreams, but you shouldn’t think it’s readily deserved or easy to achieve either. Little blips of wisdom like this, that the writer threw out, came from years of writing her own work - and moving up the ladder on shows in various positions. You have to do the work again and again and again to realize the little intellectual pitfalls that are unique to your profession - and be able to articulate them to a different room in a totally different context. Another writer said, “writing is just averting accidents all the time” - so like any good navigator, with intuition, training, and experience you learn to avoid the accidents.
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