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Daniel Silvermint
Want to know why Game of Thrones *feels* so different now? I think I can explain. Without spoilers. /1
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Daniel Silvermint May 7
Replying to @DSilvermint
It has to do with the behind-the-scenes process of plotters vs. pantsers. If you’re not familiar with the distinction, plotters create a fairly detailed outline before they commit a single word to the page. /2
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Daniel Silvermint May 7
Replying to @DSilvermint
Pantsers discover the story as they write it, often treating the first draft like one big elaborate outline. Neither approach is ‘right’ - it’s just a way to characterize the writing process. But the two approaches do tend to have different advantages. /3
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Daniel Silvermint May 7
Replying to @DSilvermint
Because they have the whole story in mind, it’s usually easier for plotters to deliver tighter stories and stick the landing when it comes to endings, but their characters can sometimes feel stiff, like they’re just plot devices. /4
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Daniel Silvermint May 7
Replying to @DSilvermint
Pantsers have an easier time writing realistic characters, because they generate the plot by asking themselves what this fully-realized person would do or think next in the dramatic situation the writer has dropped them in. /5
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Daniel Silvermint May 7
Replying to @DSilvermint
But because pantsers are making it up as they go along (hence the name: they’re flying by the seat of their pants), they’re prone to meandering plots and can struggle to bring everything together in a satisfying conclusion. /6
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Daniel Silvermint May 7
Replying to @DSilvermint
That’s why a lot of writers plot their stories but pants their characters, and use the second draft to reconcile conflicts between the two. What does this have to do with Game of Thrones? /7
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Daniel Silvermint May 7
Replying to @DSilvermint
Well, GRRM is one of the most epic pantsers around. He talks about writing like cultivating a garden. He plants character seeds and carefully lets them grow and grow. /8
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Daniel Silvermint May 7
Replying to @DSilvermint
That’s why every plot point and fair-in-hindsight surprise landed with such devastating weight: everything that happened to these characters happened because of their past choices. But it’s also the reason why the narrative momentum of the books slowed over time. /9
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Daniel Silvermint May 7
Replying to @DSilvermint
After the first big plot arc, book four was originally going to skip ahead five years. But GRRM didn’t know how to make the gap in action feel true to the characters or the world, so he eventually decided to just write his way through those five years instead. /10
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Daniel Silvermint May 7
Replying to @DSilvermint
Which meant planting more seeds, and watching those grow. And suddenly his garden was overgrown, and hard to prune without abrupt or forced resolutions. He had no choice but to follow each and every one of those plot threads, even when they didn’t really matter to the story. /11
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Daniel Silvermint May 7
Replying to @DSilvermint
And now that the plants were fully in control, he struggled to get some of the characters that had grown one way to go where they needed to be for the story. (Dany getting stuck in Meereen is the example he frequently cites.) /12
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Daniel Silvermint May 7
Replying to @DSilvermint
And because he had all this story to cover and pay off, some of which was growing in the wrong directions and needed enough narrative space to come back around, he started increasing the number of books he thought it would take him to complete the series. And, well. /13
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Daniel Silvermint May 7
Replying to @DSilvermint
So the books the showrunners were adapting ran out. What now? People assume the show suffered because they didn’t have GRRM’s rich material to draw on anymore, as if the problem was that he’s simply better at generating new plots than they are. But that’s not what happened. /14
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Daniel Silvermint May 7
Replying to @DSilvermint
For a season or two, the showrunners actually tried to take over management of GRRM’s sprawling garden, with understandably mixed results. When that didn’t work, they shifted their focus to trying to bring this huge beast in for a landing. /15
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Daniel Silvermint May 7
Replying to @DSilvermint
They gave themselves a fixed endpoint - 13 episodes to the finale, and no more - and set about reverse-engineering the rest of the story they wanted to tell. You see, I think the showrunners are not only plotters, they’re ending-focused plotters by design. /16
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Daniel Silvermint May 7
Replying to @DSilvermint
They want to deliver an ultimately satisfying experience. So with only two seasons to work with, they started asking themselves what was left to do. What could they build with the pieces left in the box? What beats did they just have to include? /17
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Daniel Silvermint May 7
Replying to @DSilvermint
What big moments did they want to deliver? Where should the characters end up? What did they think we, the audience, wanted to see on screen before the show came to an end? It was a Game of Thrones bucket list. /18
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Daniel Silvermint May 7
Replying to @DSilvermint
And once they had that list, it was time to connect the dots to make it all happen. So they started maneuvering the characters into the emotional and literal places they needed to be for all those dots to connect up in the right way. /19
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Daniel Silvermint May 7
Replying to @DSilvermint
That’s why Game of Thrones feels different now. A show that had been about the weight of the past became about the spectacle of the present. Characters with incredible depth and agency - all the more rope with which to hang themselves - became pieces on a giant war map. /20
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