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Web Series vs Mystery Novel Writing — Collaboration and Craft

Sherry Harris in sunny Northern Virginia

I met Kathryn O’Sullivan the day I went to my first Chesapeake Chapter meeting of Sisters in Crime. Kathryn’s most recent book, Murder on the Hoof, came out last week. Thanks so much for joining us today, Kathryn!

Thanks, Sherry Harris, for inviting me to do a guest blog! Since I write THURSTON, a Western web series, and the Colleen McCabe mystery series, Sherry thought it might be fun for me to compare writing a web series with writing novels.  I quickly realized that I could write an entire chapter!  However, I finally settled on two areas – collaboration and craft.

Collaboration
Writing a web series (think online television with shorter episodes) and writing a novel both involve collaboration, and this collaboration influences my writing.  The script for a web series is the beginning of the creation of the final product (the episode that airs) – it is not the final product.  My script for an episode is not fully realized until actors, directors,costumers, designers, editors, etc. have brought their unique creative talents to the story.  When I see an actor do something interesting with a character while working with the director, I make a note to incorporate that into future scripts.  In the editing room, lines or scenes are cut because they’re no longer necessary or serve the story.  A score can add tension or lighten the mood.  The story evolves as each person contributes to the process.  When writing a web series, you shouldn’t expect your script to turn out exactly as you wrote it.  You must be willing to give up the idea of controlling everything.  If you’re open to collaboration, you’ll discover that your story often ends up better than you had initially written.

Kathryn with the cast and crew of Thurston.

Writing a novel also involves collaboration.  For my web series it is script first, collaboration second.  For my novel it is collaboration first, book second.  The book sitting on the shelf is the final product. Whether it’s your writing group, a close friend, your husband or a neighbor you begged to read early drafts, when you invite people to give you feedback on your work they are collaborating.  Add your editor’s, agent’s, and copyeditor’s input and you quickly appreciate how many collaborators you have.  Yes, I’m still the one writing the book; but many people along the way influenced how it turned out.  They may not be collaborators as obvious as actors and directors but they are just as crucial to my final product.

Craft
Now let’s talk about the technical aspects of writing.  Both the web series and books let me tell an ongoing story that allows my characters to evolve and change; both force me to think visually in terms of how I describe the action; and both should have tight dialogue that reveals something about character or moves the plot forward.
So what’s different?  One of the things I can’t do when writing a web series script is write a character’s thoughts – anything “in the head.”  Why?  Because an audience can’t see a thought while watching the show.  If I want an audience to know what a character is thinking or feeling I need to reveal that by describing what the character does (an action/behavior) or says (dialogue).

Another difference is the verb tense.  Screenplays are written in the present tense.  I write the action as if it is happening right now.  Most books, however, are written in past tense. This was a definite adjustment for me.  The length of sentences is also different.  Screenplays tend to have terse sentences.  It helps them “read” faster.  I was so used to writing short sentences that my book editor had to tell me to vary my sentence length and structure!  Also, with the THURSTON scripts, I’m appealing to two senses – sight and sound – since that’s how an audience will experience the show (unless, of course, they have a scratch-n-sniff card).  When writing fiction I can also explore smell, touch, and taste.  The final difference is the consideration of cost.  Most writers don’t have to think about this but, because I’m also a producer of THURSTON, when I’m writing I’m always thinking about the budget.  If I write a horse into a scene, that costs money.  If I write a lot of locations or additional characters or effects, that costs money.  But with a novel, I have incredible freedom.  I can have a house explode, car chases, and as many characters – and horses – as I want, and they’re all free!

The bottom line is whether you’re writing a web series, novel, short story, screenplay or play, storytelling is storytelling.  No matter the form or genre, we’re all interested in stories that have a main character we can root for as she or he struggles to overcome seemingly insurmountable obstacles in pursuit of a goal.  We writers do this with collaboration, an understanding of the craft, and so much more.  Happy reading and writing!

Kathryn O’Sullivan’s debut FOAL PLAY, a cozy set in North Carolina’s Outer Banks featuring feisty Fire Chief Colleen McCabe, won the 2012 Malice Domestic Best First Traditional Mystery Novel Competition.  MURDER ON THE HOOF is the second book in the series.  She is a playwright, co-executive producer/creator/writer of the Western web series THURSTON, and a theatre professor at Northern Virginia Community College.  Kathryn lives in Virginia with her husband, an award-winning director and cinematographer, and their rescue cat, Oscar.

Websites:  www.kathrynosullivan.com, www.thurston-series.com

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