[ SECRET POST #2333 ]

[case]

⌈ Secret Post #2333 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

01.


__________________________________________________



02.


__________________________________________________



03.


__________________________________________________



04. [repeat]


__________________________________________________



05.


__________________________________________________



06.


__________________________________________________



07.


__________________________________________________



08. [posted twice]


__________________________________________________



09.


__________________________________________________



10.


__________________________________________________



11.


__________________________________________________



12.


__________________________________________________



13.


__________________________________________________



14.


__________________________________________________



15.


__________________________________________________




















Notes:

Secrets Left to Post: 01 pages, 019 secrets from Secret Submission Post #333.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 1 2 - too big ], [ 0 - repeat ], [ 1 2 - ships it ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[intrigueing]

Re: your last paragraph, and liking the plots but still feeling removed and left cold:

IA, Moffat's guest writers did a good job with the plots in 7b and Moffat did quite a good job of guiding the underlying themes to the finale (I'm actually pretty damn impressed in retrospect at how far back his foreshadowing and setup goes!), but his problem (which was also present in most of season 6) is he didn't do the legwork of building character arcs and traits and relationships that are necessary to give some sense of basic certainty and foundation to 45-minute TV episodes.

And I don't mean in some big sappy soapy feelings-y emotional-investment way. I mean in a basic "what is going on inside this character's head, what are their motivations, what are their problems and concerns, where exactly do they stand on X Y Z very obvious issues that are really kind of important, what was the impact of Event X or Problem Y or Expression Of Feeling Z on their relationships and personality and future behavior, what are the boundaries of that personality and behavior, and what exactly is their knowledge and opinions of their closest associates and in what ways would it be in-character and believable of them to act towards them?" way. Just the stuff that kind of has to be known in order for those plots to work.

And that stuff doesn't have to be complex unless the writer chooses to make it complex. That stuff can be very short and direct and concise and bare-bones simple with a neat small scope. But if the writer wants the character stuff to be simple and small-scope, the writer has to write his plots with character roles that are fairly simple and small-scope too. The writer can't write very vaguely-defined characters with vaguely-defined relationships and then try to write a plot that heavily relies on being a relationship- and character-study revolving around them.