...no matter how hard you work on story in TV, ultimately story will not save you. Character in TV is ALL. Truly good stories, of course, come OUT of character, they don't happen TO characters. Good story always comes out of character choice.

John Rogers, co-creator of Lverage

“This doesn’t mean that you can slack off and write bad stories, or you shouldn’t bust your ass to write great stories, which is what all those writers hammering away in writer’s rooms right now are doing. It’s just that you can not help be cognizant of the irony that you are working hardest at the part of the show the audience cares least about. Very rarely do people show up, week in and week out, to watch intriguing stories regardless of characters — those are anthology stories, or, arguably, Law & Order. People tune in to watch characters they like do things and deal with unexpected complications in delightful or interesting ways. Your story, per se, is disposable, week after week, replaced in the viewer’s mind by the new week’s dilemma like clockwork. Nature of the beast.

“While I personally cannot think of a show that I watched on a regular basis because the story was just so gripping — even though the characters were boring or I hated them — we can all recall episodes of our favorite shows where in retrospect the episodic stories didn’t really hang together, but we loved watching the characters deal with the situations (good chunks of several X-Files seasons fall into this, and I’m sure you can all add your own personal picks.)

“What good story does is provide the most interesting or intriguing framework for the characters. Great story supercharges a show. Also, cumulative great stories allow you to address a season as a creative meta-work of art unto itself. Even so, while you need a constant stream of great stories, and breaking great stories is bear work, it’s the invisible part of the magic trick, the skeleton, for 99% of the viewing public, and hence the occasional frustration.”