The showrunners of BetterCallSaul and Ozark on writing compelling season finales: “What I found, though, is that if it’s a good story and the characters are truthful and they’re changing, then it’s almost an arbitrary thing, where you end it”
,” while his sophomore year is on the ballot. Both series center on characters that do questionable things but have become beloved by critics for their complicated studies of people who refuse to be or do what may be expected.to talk about taking risks in their storytelling, the importance of knowing an endgame, and why they prefer their season finales to punctuate the emotional journey the audience just went on, rather than set up something new too come.
So when you are up against story ideas that scare you, especially knowing the audience might react similarly, what makes you say, “Yeah, we have to do this”?If you’re making a decision based on, “Oh this is the franchise of the TV show,” it’s probably going to be a bad decision. You’re thinking like a business person then; you’re not thinking like a writer. If it feels like these people are going to do it, you just have to trust that it’s right.
There are a lot of terms thrown around to define shows as dark or tragic or centered on anti-heroes of sorts.
” has worked, it’s usually mostly your cast; there’s not a lot of outside sources because you’re not introducing new people at this stage in the game.I don’t know if I have a guideline in the finales. They all feel very different to me, and I’m jealous that you find them easy to write! What I found, though, is that if it’s a good story and the characters are truthful and they’re changing, then it’s almost an arbitrary thing, where you end it.
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