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As cliche as it may seem, passion inspires me probably the most. What I mean by passion is seeing other people excited about making a work, seeing how actors get excited about a role or a certain scene, and seeing how audience members talk in-depth about their feelings for a show after watching it. I often find myself in projects that I can't motivate myself to get through, or I get stuck in my own head, however seeing these kinds of passion lights a fire in me to keep going so that I can produce the same passion.

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On a more specific note, what also inspires me is seeing inventive and new forms of storytelling in any type of media. I love a cliche love story as much as anybody else, but I feel that a lot of what Hollywood produces today is old, tired, and boring. So when I see media like "The Handmaid's Tale", "Black Mirror", and others, it really inspires me and teaches me what good writing, characterization, and development can be while also being incredibly enjoyable. It diversifies how I feel about writing my own stories.

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Last semester for PPP, I was required to read the play "Mr. Burns, a Post-Electric Play". It's bizarre time-skips and odd disconnect yet connection to the reality that we know through "The Simpsons" references really made me question and think about how we tell a story without giving away all the details at once.

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While my inspirations have nothing to do with "The Office", it's articles and fan engagement like this that are similar to what I mentioned before about me being inspired by audience members engaging with a performance long after it's conclusion because of their love for it. It inspires me to keep going so that I can give people another reason to spend their time thinking about things they enjoy.

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One of the practices that I live by is what I call letting my ideas "marinate", or sit in my head for a long period of time. My favorite work I've done sat in my head for probably 2 years before I put it to the performance stage. I draw from media around me and my thoughts and experiences throughout life to incorporate new ideas into my work and keep marinating it until I feel like it has a sense of completion. I'm pretty persistent on not putting something half-baked to the stage.

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One of my favorite rehearsal processes (at least in the lens of a director) is to foster a sense of collaboration between myself and the actors. Sure, I know a lot about the play, but at the end of the day I'll be sitting and watching it just like the audience. I never tell actors how they're supposed to act, but how they feel about what they're saying and what their interpretation of their character and lines are. I don't like telling others what to do in that sense, because if we're going to collaborate, we both need to think about what it is we're doing and express our individuality in how we reach a conclusion.

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This article is a recent discovery that really pushed and showed how my ideas of "marinating" are not odd, unfounded, or unnecessary. My work, just like the work of "The Queen's Gambit" takes time to be what I consider successful.

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One of my more theatrical-focused values is to have a story that, no matter what, has a good balance between comedy and a serious narrative. I believe I like this more because it is more reflective of our own reality where this combination applies regularly. Mixing it up not only embraces that, but it keeps the work interesting, in my opinion. I want my work to reflect the life we live in, so that it and the message that the audience takes from it can be applied to their own lives to make it better.

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Anne Bogart is someone I researched about 2 years ago for a theatre project, and her practices have been so informative to how I make theatre. She devises through her Viewpoints method, where she touches on both the physical and mental components of her work before and during her rehearsals.

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I often find that a lot of my work is about ordinary people and the nuances of life. My strongest personal values are that of love and family, and it evidently seeps into my work. I want my audience to take away not really one strong message, but to relate in some way to the people on stage who, while actors, are still just ordinary people. I want them to be able to identify with someone to make them feel more comfortable in the space when the rest of the work tells a story that's usually more grim (or at least, that's what a lot of my works have been).

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This is from one of those MTV shows where they look for Laura Bell Bundy's replacement for "Legally Blonde: The Musical". I rewatch this show like once a year honestly. But I always remembered this scene because Lauren totally loses some costume pieces, and the ensemble members cover for her like its nothing. They're in sync and it was one of my first times thinking about how cool collaboration and ensemble work is.

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I've probably read this article like 100 times, especially after finishing a show or seeing a play that I really liked. I always enjoy thinking about how the main character, or any character, did and didn't apply these points. It always brings me back to my core thoughts that people in media have to be just that: relatable or at least understandable people.

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"Our Town" is one play that has always stuck with me because it is just about ordinary life. It's a telling story about normal characters doing seemingly normal or boring things to an audience, but once you reach the end you realize how much you enjoyed the normal, boring things after they were gone. These are the kinds of stories I want to tell.

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Despite my own personal issues with collaboration, I have seen and can see the promise and benefit in doing it. Other collaborative works I've seen have taken all the best parts of the actors I knew and meshed them together into something great that couldn't be done alone. That is the kind of collaboration that I could see myself doing, but I feel like the negative experiences I've had in my own collaborations keep me from achieving that.

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I do not think of myself as a collaborator in the traditional sense, to be honest. I like my ideas, I like what I do with them, and I produce and have produced great work with my own ideas throughout my time as an artist. I have an idea, I think through it thoroughly and internally collaborate with myself. I look at media, other works, and my own thoughts over a pretty long period of time to let them simmer together. I continue developing my idea until I’m satisfied and create a work around it. This is what I’ve done before and it’s been successful.

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Suzanne Collins has always been a write I've looked up to, and her diversity in books from the Franklin children's series to "The Hunger Games" has always been something that I saw myself doing in my aspiring writing work.

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"I was such a huge Greek mythology geek as a kid, it's impossible for it not to come into play in my storytelling," said Suzanne Collins, the author of The Hunger Games trilogy. Credit... Jason Merritt/Getty Images

"The Hunger Games," by Suzanne Collins, came out in 2008. It is the first in a trilogy by the same name that includes "Catching Fire" (2009) and "Mockingjay" (2010). The series has more than 100 million copies in print worldwide, and spent more than 260 consecutive weeks on The Times best-seller list. The books have spawned four record-breaking films and many Katniss Halloween costumes. In a 10th anniversary edition of the book, which hits stores this month, David Levithan, a vice president and publisher at Scholastic Press, interviewed Collins. An excerpt from that interview, [ Read "Katness Everdeen Is My Hero," an essay by the writer Sabaa Tahir, commemorating the 10th anniversary of the publication of "The Hunger Games." ] including potential spoilers, is below, condensed and edited for clarity and length.
David Levithan: Let's start at the origin moment for "The Hunger Games." You were flipping channels one night.

Suzanne Collins: Yes, I was flipping through the channels one night between reality television programs and actual footage of the Iraq War, when the idea came to me. At the time, I was completing the fifth book in The Underland Chronicles and my brain was shifting to whatever the next project would be. I had been grappling with another story that just couldn't get any air under its wings. I knew I wanted to continue to explore writing about just-war theory for young audiences. In The Underland Chronicles, I'd examined the idea of an unjust war developing into a just war because of greed, xenophobia and longstanding hatreds. For the next series, I wanted a completely new world and a different angle into the just-war debate.

DL: Can you tell me what you mean by the "just-war theory" and how that applies to the setup of the trilogy?

SC: Just-war theory has evolved over thousands of years in an attempt to define what circumstances give you the moral right to wage war and what is acceptable behavior within that war and its aftermath. The why and the how. It helps differentiate between what's considered a necessary and an unnecessary war. In The Hunger Games Trilogy, the districts rebel against their own government because of its corruption. The citizens of the districts have no basic human rights, are treated as slave labor, and are subjected to the Hunger Games annually. I believe the majority of today's audience would define that as grounds for revolution. They have just cause but the nature of the conflict raises a lot of questions. Do the districts have the authority to wage war? What is their chance of success? How does the re-emergence of District 13 alter the situation? When we enter the story, Panem is a powder keg and Katniss the spark.

DL: A connection you made early on was with mythology, particularly the myth of Theseus. How did that piece come to fit?

SC: I was such a huge Greek mythology geek as a kid, it's impossible for it not to come into play in my storytelling. The connection to the myth of Theseus happened immediately. As a young prince of Athens, he participated in a lottery that required seven girls and seven boys to be taken to Crete and thrown into a labyrinth to be destroyed by the Minotaur. In one version of the myth, this excessively cruel punishment resulted from the Athenians opposing Crete in a war. Sometimes the labyrinth's a maze, sometimes it's an arena. In my teens I read Mary Renault's "The King Must Die," in which the tributes end up in the Bull Court. They're trained to perform with a wild bull for an audience composed of the elite of Crete who bet on the entertainment. Theseus and his team dance and handspring over the bull in what's called bull-leaping. You can see depictions of this in ancient sculpture and vase paintings. The show ended when they'd either exhausted the bull or one of the team had been killed. After I read that book, I could never go back to thinking of the labyrinth as simply a maze, except perhaps ethically. It will always be an arena to me.

DL: But in this case, you dispensed with the Minotaur. Instead, the arena harkens more to gladiator vs. gladiator than to gladiator vs. bull. What influenced this construction?

SC: A fascination with the gladiator movies of my childhood, particularly Spartacus. Whenever it ran, I'd be glued to the set. My dad would get out Plutarch's Lives and read me passages from "Life of Crassus," since Spartacus, being a slave, didn't rate his own book.

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Jennifer Lawrence as Katniss Everdeen in the 2012 film, "The Hunger Games." Said Suzanne Collins of the character Katniss: "She was a born archer." Credit... Murray Close/Lionsgate

DL: Another key piece of The Hunger Games is the voice and perspective that Katniss brings to it. Some novelists start with a character and then find a story through that character, but with The Hunger Games I believe you had the idea for the story first, and then Katniss stepped into it. Where did she come from?

SC: Katniss appeared almost immediately after I had the idea, standing by the bed with that bow and arrow. I'd spent a lot of time during The Underland Chronicles weighing the attributes of different weapons. I used archers very sparingly because they required light and the Underland has little natural illumination. But a bow and arrow can be handmade, shot from a distance, and weaponized when the story transitions into warfare. She was a born archer. Her name came later, while I was researching survival training and specifically edible plants. In one of my books, I found the arrowhead plant, and the more I read about it, the more it seemed to reflect her. Its Latin name has the same roots as Sagittarius, the archer. The edible tuber roots she could gather, the arrowhead-shaped leaves were her defense, and the little white blossoms kept it in the tradition of flower names, like Rue and Primrose. I looked at the list of alternative names for it. Swamp Potato. Duck Potato. Katniss easily won the day. As to her voice, I hadn't intended to write in first person. I thought the book would be in the third person like The Underland Chronicles. Then I sat down to work and the first page poured out in first person, like she was saying, "Step aside, this is my story to tell." So I let her.

DL: I'm curious about Katniss's family structure.

SC: Her parents have their own histories in District 12 but I only included what's pertinent to Katniss's tale. Her father's hunting skills, musicality and death in the mines. Her mother's healing talent and vulnerabilities. Her deep love for Prim. Those are the elements that seemed essential to me. I have a world of information about the characters that didn't make it into the book. With some stories, revealing that could be illuminating, but in the case of The Hunger Games, I think it would only be a distraction unless it was part of a new tale within the world of Panem.

DL: When did Peeta and Gale come into the equation? Did you know from the beginning how their stories would play out vis-à-vis Katniss's?

SC: Peeta and Gale appeared quickly, less as two points on a love triangle, more as two perspectives in the just-war debate. Gale, because of his experiences and temperament, tends toward violent remedies. Peeta's natural inclination is toward diplomacy. Katniss isn't just deciding on a partner; she's figuring out her worldview.

Jennifer Lawrence as Katniss Everdeen and Liam Hemsworth as Gale Hawthorne in a scene from the film, "The Hunger Games: Mockingjay Part 1." "Gale, because of his experiences and temperament, tends toward violent remedies," said Suzanne Collins. Credit... Murray Close/Lionsgate

DL: Why is Peeta a baker?

SC: Bread crops up a lot in The Hunger Games. It's the main food source in the districts, as it was for many people historically. When Peeta throws a starving Katniss bread in the flashback, he's keeping her alive long enough to work out a strategy for survival. It seemed in keeping with his character to be a baker, a life giver. But there's a dark side to bread, too. When Plutarch Heavensbee references it, he's talking about Panem et Circenses, Bread and Circuses, where food and entertainment lull people into relinquishing their political power. Bread can contribute to life or death in The Hunger Games.

DL: When it comes to larger world building, how much did you know about Panem before you started writing?

SC: I knew there were thirteen districts - that's a nod to the thirteen colonies - and that they'd each be known for a specific industry. I knew 12 would be coal and most of the others were set, but I had a few blanks that naturally filled in as the story evolved. When I was little we had that board game, Game of the States, where each state was identified by its exports. And even today we associate different locations in the country with a product, with seafood or wine or tech. Of course, it's a very simplified take on Panem. No district exists entirely by its designated trade. But for purposes of The Hunger Games, it's another way to divide and define the districts.

DL: Where do you write? Are you a longhand writer or a laptop writer? Do you listen to music as you write, or go for the monastic, writerly silence?

SC: I write best at home in a recliner. I used to write longhand, but now it's all laptop. Definitely not music; it demands to be listened to. I like quiet, but not silence.

Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson). Suzanne Collins said that it was in keeping with Peeta's character "to be a baker, a life giver." Credit... Murray Close/Lionsgate

DL: You talked earlier about researching survival training and edible plants for these books. What other research did you have to do?

SC: You know, I'm just not very handy. I read a lot about how to build a bow from scratch, but I doubt I could ever make one. Being good with your hands is a gift. So I do a lot of book research. Sometimes I visit museums or historic sites for inspiration. I was trained in stage combat, particularly sword fighting in drama school; I have a nice collection of swords designed for that, but that was more helpful for The Underland Chronicles. The only time I got to do archery was in gym class in high school.

DL: You cowrote the screenplay for the first Hunger Games movie. I know it's an enormously tricky thing for an author to adapt their own work. How did you approach it?

SC: I wrote the initial treatments and first draft and then Billy Ray came on for several drafts and then our director, Gary Ross, developed it into his shooting script and we ultimately did a couple of passes together. I did the boil down of the book, which is a lot of cutting things while trying to retain the dramatic structure. I think the hardest thing for me, because I'm not a terribly visual person, was finding the way to translate many words into few images. Billy and Gary, both far more experienced screenwriters and gifted directors as well, really excelled at that. Throughout the franchise I had terrific screenwriters, and Francis Lawrence, who directed the last three films, is an incredible visual storyteller. The most rewarding moment on the movie was the first time I saw it put together, still in rough form, and thinking it worked.

DL: Do you picture your characters as you're writing them? If so, how close did Jennifer Lawrence come to the Katniss in your head? And now when you think about Katniss, do you see Jennifer or do you still see what you imagined before?

SC: I definitely do picture the characters when I'm writing them. The actress who looks exactly like my book Katniss doesn't exist. Jennifer looked close enough and felt very right, which is more important. She gives an amazing performance. When I think of the books, I still think of my initial image of Katniss. When I think of the movies, I think of Jen. Those images aren't at war any more than the books are with the films. Because they're faithful adaptations, the story becomes the primary thing. Some people will never read a book, but they might see the same story in a movie. When it works well, the two entities support and enrich each other.

DL: All of the actors did such a fantastic job with your characters. Are there any in particular that have stayed with you?

SC: A writer friend of mine once said, "Your cast - they're like a basket of diamonds." That's how I think of them. I feel fortunate to have had such a talented team - directors, producers, screenwriters, performers, designers, editors, marketing, publicity, everybody - to make the journey with. And I'm so grateful for the readers and viewers who invested in "The Hunger Games." Stories are made to be shared.

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Suzanne Collins Talks About 'The Hunger Games,' the Books and the Movies

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"The Hunger Games," by Suzanne Collins, came out in 2008. It is the first in a trilogy by the same name that includes "Catching Fire" (2009) and "Mockingjay" (2010). The series has more than 100 million copies in print worldwide, and spent more than 260 consecutive weeks on The Times best-seller list.

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I had to watch this video from Elon for my research into Anne Bogart, and it is one that I still often come back to. The actors are so comfortable in a collaborative space that they barely even need words to communicate with one another. It makes me want to achieve that same level of collaborative experience.

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My aspirations are honestly a little bit all over the place as of right now. I want to do something that encourages or helps my local community, but I can't exactly pin down what that entails. I think I'd love to write stories on my own, whether that be through playwriting, screenwriting, or through some other form of media I'm not really sure. My goal in doing something like that is similar to my values: making a difference in people's lives positively.

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In terms of collaboration and its practice, I hope to become someone that is more open to collaboration. I've pointed out that I do see positives in collaboration, but I've had a hard time being personally a part of it. Within this space, I hope to become someone who can reliably collaborate and who can be one cog of a working machine, or at least understand how to do so.

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A writer's room is something that I've never been a part of, but I understand it is crucial to writing most media now. In and of itself, it is a collaborative practice, and learning more about it intertwines with my desire to be more of a collaborator and expand my writing abilities.

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THIS STEP-BY-STEP GUIDE WILL TELL YOU EVERYTHING YOU SHOULD KNOW AND EXPECT WHEN BECOMING A WRITER FOR A TELEVISION SERIES! Written by Johnny Papan
Characters, storylines and the direction of a series evolves with the team who writes it. Though the seed of a series may often come from the mind of one individual, it takes a team to plant, water and blossom a television show into what we see on screen. A show's direction can completely change based on a number of factors. Characters originally intended to last through the finale are killed off two seasons early because an actor decides to move on, or two protagonists will develop an unplanned romance because it's what the audience wants.

In the hit mockumentary series The Office (U.S.) the show's main couple Jim and Pam were written to break up in it's final season. However, after audience backlash, the entire production backpedaled, quickly rewriting, reshooting and re-cutting episodes to mend the fictitious couple's breaking bond as the season was already on-air, making sure to get the couple back together for a happy series finale.

Although the screenwriter's journey is a long and winding road, it's never too late to start. Diving into the world of film and television later in life, InFocus Screenwriting Instructor Roslyn Muir bloomed into an actively working screenwriter who has penned feature films, television movies and, most recently, was part of the writer's room for the CBS television series .

Originally working for the series as an intern after being accepted into the Corus Writer's Apprentice Program , Muir used the time to learn, network and push for a greater opportunity.

After meticulously studying the show, rewatching old episodes and reading past scripts, Roslyn became a story editor for Season 3 and penned the ninth episode, "Broken Record".

Now, Roslyn shares her experience of how a television show breaks down inside a writer's room.

1. GET TO KNOW YOUR SHOWRUNNER

The showrunner, more often or not, is the creator of the show. They act as lead writer on a series and are judge, jury and executioner, so to speak. Though putting a show together is a team effort, the showrunner will have final say in which ideas make it from concept to screen.

All the writers, and the showrunner [David Vainola], were really welcoming," says Roslyn. "I networked with a lot of people in Entertainment One (production company). I asked the showrunner if he would read my samples and consider me for the next season. He did. I got an email from one of the development people asking a few questions, it was kind of out of the blue. It was a really fortunate thing that I was able to do the internship first and be in the room and really learn."

You will have to adapt your writing style to fit the showrunner's voice. This enforces continuity in the series as a whole. Once you've solidified your understanding of the show's style and what's expected of you by the showrunner, the team will begin creating a season.

2. CREATING A SEASON

"The first week [of putting together Season 3] we went over Season 2," says Roslyn. "We talked about what episodes worked, the arcs for the characters. I believe Season 2 is very much about the protagonist's family always being in danger. So we decided to step away from that. We really worked on some of the other characters, what they were going to do, what we wanted them to go through. Do they have a girlfriend or boyfriend? What kind of personal problems could they have?"

Since is not serialized, it allowed the writer's to touch on each character's personal life without, as Roslyn says, "getting heavily into soapy moments." Once the show was mapped out, they would begin jotting episode ideas down on a board.

On the left hand side of the board we see the names of each recurring character on the show. Writers will then write information like what will happen to the character each episode on cue-cards and stick them on the board. This is a popular screenwriting tactic known as "carding".

"We give characters a three episode arc," Roslyn explains. "They have a problem, they get to the middle of it and they have to find a solution. The story wasn't complete at this point because we didn't always know every detail. We would go back and forth and fill it. Like 'Okay, now we're progressing, let's find out what's going to happen to these characters in the last few episodes before we figure out what happens to this other character.' Before we even pitched ideas for episodes, that's what we worked on."

3. PITCHING EPISODE IDEAS

In week two, writers begin pitching episode ideas one by one. Some of these ideas will be fully developed and others may not. It doesn't matter how far along the idea is, each episode will receive input from other writers.

"If you have an idea but you're not sure where it can go, just pitch it out anyway. That was what happened with my script that got made," says Roslyn. "The character Eric had a doppelganger, somebody who was pretending to be him. I didn't know what that episode could look like but we talked about it. It was kind of dropped and then it came back again, everybody would just pitch ideas around it. We'll write them down and the showrunner will go 'Okay let's switch that one, let's put a pin in that one, etc."

If your idea is chosen to become a produced episode, you will also most likely write it, though this isn't always the case. Some writers will pen two episodes in a season, so depending on the order of who writes what episodes, writer's may end up swapping so there's ample time between scripts for anyone doing double-duty.

"You're constantly pushing yourself to go deeper into ideas and expand them. Keep the ideas flowing, you can train yourself to do that. Once you're throwing ideas around during the breaking of an episode you learn not to be precious about them. The ideas belong to everybody, and you just don't go like, 'Oh, why didn't we use my idea?' You don't survive this if that's your attitude."

4. BREAKING EPISODES

Breaking an episode involves the team working out all the kinks of each episode. They figure out what happens in each act, writing each scene on the board.

If an episode is about a bank robbery, for example, the writing team needs to know how they are going to catch the robber. What are all the steps needed to lead our protagonists to the final scene where the robber is caught? What happens in the very beginning of the episode? Is the robber planning his big heist, are they already in the bank? All of these major plot points are figured out and written/carded on the board.

Sometimes many of the major points are already thought through by the writer pitching the episode concept. Other times, the writing team will throw spaghetti at the wall, seeing which idea sticks. Roslyn describes this stage as an "organized free-for-all" where everybody gets a turn in sharing ideas.

"Once you've broken an episode you have to stand up and pitch your idea to everybody in the room," Roslyn explains. "You say, 'This is what happens in act one, and then if there's any bumps we'll stop and we'll all work it out and pitch it again."

5. WRITE OUTLINES

Once the team and showrunner are happy with an episode, the writers break to write outlines. They'll take all the cards for their episode and turn those notes into a 10-page document outlining the episode. It's done structurally, so you know exactly what happens in act one, two and so on. After a couple days the writers will meet, read each other's outlines and give each other feedback before writing revisions and doing the process over-again. Then the outlines are sent to producers and broadcasters to make sure everything is working for them.

6. WRITE FIRST DRAFT SCRIPTS

"When the notes come back from the broadcaster, there will be another tweak of the outline. Then the writer can go and take it to a draft. Now that generally takes about five to seven work days. It depends on the room and how much time there is," she says. "Then you send your script to everybody and they read it and note it and give feedback on it the next day. We could end up taking half a day going through the script and giving notes. The writer will take the script away for another day to do all the corrections. Then the script will be sent to the broadcaster and then we'll get more notes back from them."

The showrunner will act as a "middle-man" between the writing team and the producers. As expected, sometimes there could be creative differences in the notes, so the showrunner will massage the correspondence between producers and writers, making sure the notes are being given in a constructive way. The script can go back and forth for a few drafts before the producers and broadcasters say it's ready for production. Even then, given the unpredictability of this industry, writers are always prepared for requests to make more changes even after the script is green-lit. Locations, characters and plot-points can change mid-production. But it all becomes worth it once a season makes it to the television screen.

7. SO HOW CAN YOU GET IN A WRITER'S ROOM?

A) Write Original Content

"The number one thing is having a good script. A good original script. Early on you might write a Breaking Bad spec, or something just to be able to learn to write with those characters. But these days showrunners want to read an original pilot from you. You have to be writing original stuff."

B) Pick a Genre

"Pick a genre that you really feel that you're strong at. Sure, you might like to write like horror, sci fi and drama and comedy but you need to have samples that are going to go in to show that you're a good writer and that you know how to write TV. So never send out those samples, unless you've had a few people read them to make sure they're super polished really sharp.

C) Enter Contests

"You can also send things out to contests. That's another thing that is always good on your resume. If you haven't made a lot of films placing first, second or third in a contest is always a good thing. It shows that people like your work."

D) Keep An Eye Out for Opportunity

"There's always going to be opportunities if you're in the film industry. Producers are always looking for stuff. People can connect you to people if you ask. But your main priority is really your work. Working on making the scripts the best they can be."

E) Keep Writing

"I've had to work at it for a long time. Your writing career is not a sprint, it's a marathon. You are going to be hopefully doing this for the rest of your life because that's really what you are. A writer. So, don't be disheartened if you're not, you know, getting an Oscar right after school. It takes a long time to become a great writer. Just aim to be a good writer for now. And then keep polishing, and eventually you will become a great writer. Take the time to do that. I think it's really important to learn how to do it right."
Related Links: How to Write an Impactful Low Budget Feature InFocus Film School Writing Program InFocus Film School Film Production Program

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WHAT HAPPENS IN A T.V. WRITER'S ROOM? - InFocus Film School

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THIS STEP-BY-STEP GUIDE WILL TELL YOU EVERYTHING YOU SHOULD KNOW AND EXPECT WHEN BECOMING A WRITER FOR A TELEVISION SERIES! Written by Johnny Papan Characters, storylines and the direction of a series evolves with the team who writes it.