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JP bringing up fanfiction more often makes me think he's been reading more of it

The best way to write a scene is to not have any idea on your mind! Just brainlessly copy from the most basic movie scene you can find!

>write scifi >set in a bar or at a campfire I've subverted your expectations, I am a genius.

I've always wanted to see how to make people do stupid things without the audience finding out it's stupid

I will say that Fanfiction writers can mostly get away with not describing the scene because, presumably, the reader is already a fan of the original work, and thus they probably know that the room would look like already.

Imagine if J.P. made a bunch of parody books based around the "lessons" in these videos called like The Best Fantasy Story Ever, Best Romance Story Ever, etc, and all of the stuff that isn't the actual story is just him stroking his ego and telling everyone that there will never be a better book than this

Some personal advice that worked for me on the “murder your darlings” advice, because I both agree with it and don’t like it: once you realize a scene you like has to go because no amount of modification could make it have a purpose, first, think about why you like that scene so much, second take whatever element it is and look through out your story where you could fit that element in a different scene, those who plan their stories more might have an easier time while discovery writers like me might want to keep a digital notepad somewhere and paste it until you find somewhere it works. But if even that element can’t fit anywhere you might still have to murder your darlings, although it will be a much lower rate. An example might be you have a coffee shop scene, it does nothing in anyway but you like how your one character reacts to the taste of coffee, you take that bit and you see an opportunity to place it in the meeting room scene that is a useful scene where it could make sense still having your character drink coffee and have that reaction, and you’d probably add just like… a couple of lines of the result of this move. This advice comes from because a. You’re a writer and that usually means you enjoy stories in general, so if you can make something you like work you should just for your own enjoyment, and B. Doing this gives opportunities where you could find out you make the story flow better just by adding that element, like my coffee shop idea, maybe you needed a conflict where your character needs their boss to give them a disappointed look to establish who the boss is like, and you might add that element from the coffee shop and think “oh wait, this could work WAY better if had him reacting to the character’s reaction to coffee than what I had planned previously.” And you make the scene better for it, which wouldn’t happened if you didn’t add that element from the cut scene in there.

5:10 THIS! This image right here. Some fanfics will be so well written, you genuinely forget about all the “fanfic is bad” stereotypes. Then some incredibly weird and/or highly sexual happens, and you are suddenly reminded just how fanfic it is. Not cause it’s bad, but because there is no way this would get past a publisher without major edits.

The obvious way to scene write is to be so vividly descriptive as possible about every minuet detail from the room to the characters mole under their left eye. Clarification is great! Therefore clarifying for three pages about a room’s dusty carpet while adding no progression to the narrative will be sure to neither bore the reader while not confusing them as to what to keep track of!

Man if only webcomics had taken off more. Those guys figured out the "Characters talking in a white void" problem long ago. They just had the characters talk in a colored gradient! Or hell, the really GOOD ones had the characters talking in front of a stock photo of a Game Stop/shopping mall/etc just hit with the blur tool in GIMP!

Its been 10 years. My aspirations of writing video game stories are rotted away. I am now a glorified handyman. I still love watching terrible writing advice. As long as you make videos I can still dream.

"Instead, just blame the beta reader for reading it wrong and get into a huge argument! That's way more productive than just fixing the stupid scene." He dipped his toe into "TAKING CRITICISM - Terrible Writing Advice" territory for a moment there, didn't he?

About weird POV switches in scenes, I distinctly remember one chapter of My Immortal has the first-person POV abruptly change between Ebony and Draco without warning, but not before switching that same POV to a secret third character who is apparently also in the hallway but is never acknowledged by the narrative. I thought I had finally gone insane at that point. Edit: Towards the end the narration also contains the line 'You put on my clothes', implying that you the reader are secretly Ebony in some unholy way.

The best tip for writing scenes is you should constantly switch between perspectives, characters, settings and conflicts on a whim and without setup, And remember, it is the audiences responsibility to read it write. Any criticism is just them reading it wrong

You forget the most important thing when writing a scene... Put those settings into a love triangle (Ex. Men's Bathroom X Women's Bathroom X Truckstop Bathroom)

Always make sure to include as many scenes as possible to get as much exposition to the audience as possible. Don't worry if they start falling asleep, I'm sure even more exposition scenes will wake them up.

Brandon Sanderson once said something about describing environments, regarding using the spectrum of abstraction. You always want to go into the concrete, tangible details about a place first, before going into the more nebulous abstract stuff, in order to ground the reader into the scene properly. It is something I am trying to do in my own book I am working on, set in a dark fantasy setting with a gothic aesthetic. JP should do a video on establishing character introductions at some point. First impressions about a character matters, especially if its your main protagonist, and doing a great establishing character moment is important. In my own novel I am working on, i introduce my protagonist, a pre-teen elven girl, wishing upon a star and preying to be gods during a full moon night. I also introduce the protagonist's love interest using the balcony rundevuz trope too. Edit: In regards to dialogue, Brandon Sanderson also once said that you want to break up your dialogue between two or more characters with action beats in order to ground the characters back into the setting, otherwise you end up with 'white room syndrome" or talking head syndrome.

This is the best piece of media, much better then the likes of One Piece, The Lorax, or the Wikipedia of cheese. This has changed my world view, and made me realize the true meaning of the universe. As a wise man once said "I edge to your videos."

*“Self-proclaimed know it all’s who revel in ignorance are the best guides of course!”* Why do I feel like that describes most people in any positions of authority. Not all of them just the vast majority of them.

The thing about screenwriting that's stressful is mostly you are taught (or at least I was) to avoid detailing sets, describing acting, or going too detailed with action (since the production designer, cinematographer, director and stunt coordinators are responsible for working that stuff out). I try to keep those in mind and make notes on a separate document (plus I like storyboarding).

Honestly, I unironically really like the talking in a void scenes in books. Sometimes, context for a conversation isn't really necessary. One of the best aspects of books as a medium is leaving things to the imagination. This would just be the extreme end of that. I like when scenes and descriptors are kept ambiguous and blurry, especially when its deliberately done to convey something, rather than just being a byproduct of laziness. "They're Made out of Meat" is a great example imo.

Scene writing is a funny thing, it's something you never seem to think about or notice in the moment, but it's SO noticeable when it's bad or poorly done. I've had some scenes that just went on and on, entire paragraphs dedicated to internal exposition and prose so exotic it makes me think the author was maybe a little too enthralled about a random smell or sound they felt one day. Also with how much more JP is bringing up fanfic this episode, I can't help but wonder if there's any fic specific tropes that will get an episode in the future.

3:42 I don't know why but this one image is really interesting. Mary Sue, the trope of an over powered character, is presented with the existential terror that she's a shallow character in a shallow world controlled by an ego maniac.

Probably the best writing advice on the internet

You definitely read a bad book right before recording this. I know that feeling 😂

Actually, everyone being trapped in a coffee shop until they go insane sounds like a good idea for a cosmic horror

5:54 Now I want a story about a body hopper who has to in-universe deal with headhopping between perspectives.

Forced and pointless conflict is SO COMMON it’s criminal

I really love your videos, and if I may, I'd like to suggest topics I'd personally like to learn about. 1) "Villains' Redemption Arc," and specifically: How many words does a Mary Sue have to say to shake a centuries-old villain's beliefs? How do you skip the "redemption arc" part of the "villain's redemption arc"? And what to do with the villain's new personality - distort it beyond recognition, or change nothing at all? 2) "Revisions" (which we know aren't necessary, but I'm still curious): How chaotic do you have to be during this process? How many years can you spend fixing a character's name that appears once in the entire book? And how do you fixate on scenes without thinking about the overall flow of the story? 3) "Detective Story": How do you make your main character another copy of Sherlock Holmes? How do you cast suspicion on suspects in a way that leaves the reader in no doubt as to who the villain is? Or should you make the story so convoluted that only you know what's going on, thereby demonstrating your intellectual superiority? 4) "Red-herring": How do you fit them into the setting in the most obvious and bizarre way possible? How many hundreds of clues do you have to leave the reader with before they realize something? And do you even need to explain the red-herring you've introduced into the story?

Sometimes a KZfaq ad is a good scene transition

Everytime I watch one of these videos, I just wait for things to compare my current fanfics to and critique myself, but I find I actually follow the points the video make better than I thought I would and become more confident with my writing skills. But that doesn't mean I should only listen to my own thoughts. These videos always have essential tips that I make note of because they make me reflect on my work and help me always improve. Thank you so much for making these videos.

Moving scenes around!? Impossible!!! *has been finalizing her outline for weeks* Seriously tho, moving even only part of a scene can do wonders. Whats better still is taking some of those single duty scenes and smooshing them together. Next goal: Make every scene be a love triangle of plot, characterisation and exposition!

JP blesses me with more advice for my scenepunk world

This was a very good video. I'm a prose writter nowdays, but even back when I drew comics I had a hard time describing the scenery where the characters were on. As someone who takes most inspiration from visual media, this is inexcusable. I always thought I had already perfected my craft, but perfection is a process instead of a goal, after all. The Sponsorship Wars was a very good surprise. I was aprehensive about the moment the Space Communists would appear, but they turned out to be a well made satire of Cold War stereotypes and flaws that communists sometimes end up having in real life. Greed advertising Ground News was a gem in its own right as well. 100/100

I honestly find that forced or pointless conflict is much worse than no conflict.

On the other hand: over description can get REALLY boring, I was reading a book I was enthralled in and then there was this ABSOLUTELY boring long description of a hotel and just when I thought we were moving along, BOOM more hotel description!

I actually thought of a writing strategy for this... Make it like a script, and have you and another person do the words and then improvise actions... (OFC this is if ur both theatre kids) Then film said scene. The way, when you play it back, you can still get the dialogue, BUT you can also have a more concrete medium for the small actions. Like a head turn, or a hand gesture, or like the direction they're looking.

That feeling when you KNOW what the outdated "meme face" is.... (It's the "Awesome Face". Kinda shows my age a bit knowing that....)

a series that does "talking in a nondescript abyss" well is Chikn Nuggit. the emptiness of everything actually became a huge plot point in Chikn starting to realize he's the forgotten god

I can say that I struggle with pacing. My scenes have very little environment description, but a lot of actions description - when someone lifts a finger, it will be specifically said which one, how high and for how long. What I do not struggle with is removing scenes, replacing them, or changing their place in the story and context.

to add to the conflict section: if you're having issues w/contrived conflict, it's worth taking a look at the "7 types of narrative conflict." Conflict doesn't always need to be character vs character. char vs self, char vs nature, char vs society, etc. are also forms of conflict! if there's a scene where a character needs to get somewhere FAST, you could make the scene more interesting by sticking them w/a stickshift that they don't know how to drive. boom, char vs machine conflict. not everything needs to be 2 people arguing.

In the next episode, he should cover thrillers, doesn't matter if techno or action any will do.

In terms of what I’m currently working on and what I’m struggling on, this is perfect timing.

"Et tu Mary Sue?" Maybe the best line written in the last thousand years. Nearly brings a tear to the eye.

"The last scene featured an orphan burning to death not long after his newly adoptive parents were crushed trying to rescue him." Man J.P what the fuck are you reading?

Bro has returned.

I'll set the scene of the youtube video by proudly proclaiming that I am one of the first people here! I proudly add this detail so we all know it's an actual youtube video comment section instead of some lazily added note about being early written in a satirical way and potentially adding a meta joke.

14:58: "How does it work??" "Eh. The robots do all the work and they maintain us."

General Tip: place yourself in the position of the character from which PoV you are writing the scene. This can include the "omnipotent watcher", who in the end is still just an invisible, all-seeing character. Play through what this character is doing/seeing/thinking in your head and that's what you should describe to the reader. By this, you can also avoid to write page after page of description, since you (should) only focus on what the character really is focussing on - not just everthing, as you yourself also do not walk around in a city and just see everything, your gaze will wander and focus on a few selected things, the rest is there, but just in a general case, not in details - and when you are distracted by something interesting/important, you will likely see even less. You can and should also work with this, that your character might be surprised by something you didn't mention before, simple because it was just a random part of the background. Meanwhile you can also use this to show, that the character is for example alarmed - and in that case you go more into details, since the character is actively looking around, searching for anything that might be wrong or dangerous. If you just always describe everything, this will not work, of course.

I never murder my darlings. I put them in the Playroom (AKA, a separate google doc where all my favorite scenes with no purpose go to hang out)

His sponsorship segment is so well made and high effort that I actually watch those. Commies in SPACE! (RA3 reference)

>Unbroken chunk. >Visual analogy of the Lego bricks. >One column of the bricks are not attached to the rest. Oh the pottery

5:25 : Wait, revision process? Who needs THAT when you right perfect, flawless prose every time on the first try? 12:53 : Aaaaaand there it is!

Sometimes, the best scenes one can craft....are the ones you don't share with the world! In fact, just keep that story scene in your head so long that even the minute details are so thoroughly described that it takes entire chapters dedicated to it. I'm sure it won't make people want to scream "Come on!" In Angrish

I'd like to have some clarification of what classifies as 'conflict'. I always considered any level of clash between perspectives, personalities, beliefs or anything that one character dislikes about another to be a type of conflict even if it doesn't result in violence. Outside of fully neutral 3rd person I find it's a good way to illustrate character contrasts. You can have a brief inner monologue by the perspective character when the person they're talking to does something that grates on their nerves and why it does, or the opposite when they do something they find pleasant.

As a communist myself, the sponsor segment was such a treat. I love how nothing is elaborated on them, they're just red, have hammer and sickles everywhere, say collectivism all of the time, and yet, it's not said how their society actually functions. Fun!

JP, that meme face takes me back to being a young teen on Internet forums. I will never get tired of it.

Thanks for pointing out static unchanging scenes. They are so common. And, I'm sick of them

One of the most jarring things about reading Dune for me was the way the narration would jump between different characters' thoughts within a single scene. Just instantly threw me out of the narrative the first time it happened.

as someone who just today has been struggling with scene setting and flow, this is perfectly timed for me also, my advice about "murder your darlings" it isnt actually as necessary as people say, or at least not to the level people act like it is, if a scene doesnt serve a purpose or move anything forward, consider altering or adding to the scene so that it has weight, find either development that youre struggling to introduce, worldbuilding that youre having a hard time coming up with, or characterization that you can use the scene to employ rather than falling into a false dichotomy of a scene either being useful and good, or not useful and needing to be cut. editing and moving things around is a great change to make scenes better or more impactful.

I like these notes that pop up with useful information you've started adding that have the green question mark icon you tend to use when giving useful information before sarcastically denying it

making the sponsorship wars an ARG would be fun, especially if it begins in an ARG writing episode. An ARG writing episode plot would be fun

Or you can just end a scene with the main characters being dramatically killed off as the bad guy stands triumphant and the credits roll over a black screen with no music like at the end of It Comes at Night. You can just have a movie where things are going well and then, all of a sudden, something shocking and messed up happens, like a sniper blows the head off a beloved child character from afar or something like that, and then the story is suddenly and permanently dark. Better Call Saul did the comedy suddenly careening into drama the best, for example when Jimmy was pulling seemingly harmless pranks on Clifford but then it suddenly hard turns into drama when Clifford sincerely tells Jimmy that Jimmy betrayed him as a friend and even Jimmy feels bad. Or when he's doing harmless pranks with his friend who suddenly has a heart attack and dies and it hard cuts to a depressing funeral scene. Or when he is doing harmless pranks on Howard and he comes over to the flat and his career and life are sincerely ruined and he is genuinely and realistically distraught, devastated, and hurt, and Jimmy and Kim genuinely hesitate and faulter before he is then shot and killed and the entire show gets substantially darker and heavier after that point. You can have a movie that is always completely horribly bleak and hopeless with zero levity whatsoever like Biutiful, Son of Saul, The Godfather 2, The City of Life and Death, The Silenced, Silence, These Final Hours, Antichrist, Melancholia, Dogville, I Spit On Your Grave, Hostiles, Eden Lake, The Last Duel, The Golden Glove, Bone Tomahawk, Salo or the 120 Days of Sodom, Seven, or Schindler's List.

Who Else is here for the End Sequences/Story Arcs of each video; with Better Animation than the rest of the video that comes before it?!?!!

Also it’s important to remember that Darlings can be reused. One of my favorite scenes from Brandon Sanderson’s Warbreaker was actually a cut scene from a previous book that he had repurposed with cast that ended up fitting it much better.

9:50 Not a fan of Quentin Tarantino but he does some excellent "no conflict scenes". He seems to use them, not for character development, but to reveal the character's nature.

Currently binging your videos on a long road trip. Your videos have helped me develop my own writing. Take it easy TWA 🎉

The only channel were I'm anticipated the sponsor 😂 the adventure developing there is a page turner 🎉

I love the way TWA says 'freaking' 1:29 3:41 4:27

Okay, the timing of this was eerie, lol. I have four days off for the Thanksgiving holiday and haven't written fanfiction for years as I keep scrapping ideas 😂. I was just sitting on the couch thinking about giving it another go and what the opening scene would be and then I see this notification! I do agree as well, setting the scene has sometimes taken a backseat with my writing because I have the crutch of the fans already knowing what the locations look like from the source (especially with video games). So, I don't focus too much on it. Also, as a comedy writer, I suppose I may have thought that would detract from the humor, but there are ways that setting the scene can also be done with comedy, I'm sure. The story I've been mulling over is not a comedy, though, so I'll be taking notes with this video.

But if your editor is too stubborn, you can just remove the scene temporarily. Then you will print a deluxe complete version a few decades later and make a few more millions.

I've actually received conflicting advice regarding talking heads scenes. I was told to cut down on gestures and actions (referred to by the advice giver as clunky "stage directions") and just let the characters play off each other, with the already established scene implying background actions to allow for better narrative flow. I still include those actions for the sake of breaking up the dialogue with some movement, but not so much that it gets in the way of the dialogue. As for conflict, I honestly have trouble finding the point of injecting conflict into the low-stakes scenes I tend to write. It just tends to derail the plot for the sake of "conflict is necessary for a story". I honestly feel that advice needs to be phrased better so as not to lead writers into thinking that their characters getting into fights all the time is "good writing." I've never been very big on the "murder your darlings" advice either. If I like a scene I wrote but it doesn't have a place, to me that means it's better suited somewhere else with revisions than cut altogether. I always try to write scenes seamlessly into the story, only taking them out if I can't manage to do that. In all, this was a great video. It made me think about how I write, and honestly that's all I can ask from a writing advice channel.

Ah, yes, screenplays, not at all the type of writing that attracts the- worst- writers (oh no, not me.... totally me). Something about armature screen writers, possibly the worst about defending their crappiest writing the most fervently instead of just acknowledging they are beginners and going back to the ol' drawing board and trying again..... Not that I'm guilty of that.... I'm guilty of that. :-D One of your very best episodes, maybe your best. You've gotten very good at giving great pointers to beginners like me jacketed in hysterically bad advice that captures the worst traits of genres and new (and experienced) writers. Thanks for another excellent video.

Please do videos on the following: Maguffins, Fantasy Quests, Martial Arts, Writing about Sports, Fantasy Weapons, Stories taking place in High School/ College, NaNoWriMo, and just for fun writing for Disney Channel Original Shows/Movies.

your point about moving scenes helped me alot ! i had so many ideas i didnt know where to connect. not being rigid about the order of scenes i planned could easily fix that

"Trap them in a coffee shop till they go insane." That reminded me of that Sandman episode.

4:00 - 4:17 Why I didn't enjoy most live action films during my childhood in a nutshell. I've grown more tolerant of this as I got older but I guess it's good to know that my 7 year old self (24 now) feels vindicated about this.

0:12 Now that you mention it... I've completely forgotten what that Face was even called

My current story is set on a Starship to Mars. 10 people. 5 levels. The setting barely changes. The intrigue is in their interactions over the 7 month journey.

I personally find that fanfiction tends to lean on the over-descriptive side, rather than the under-descriptive. If I have to read one more scene being interrupted by the complete run down of someone's all white/cream living room mood board...Also, amateur writers tend to focus a lot on visual appearances, while better writers use setting descriptions to create a certain mood. It's the difference between being told the exact color and material of each piece of furniture in the living room and being told that it was cozy and inviting or devoid of any personal touches.

This episode gave me a surprised boast of confidence in my writing. Thanks, JP!

I wanted to say thank you so much for your vids, they really helped me to get a perspective on genres, tropes charachter and etc

cant wait for your next upload. your videos are good! i feel like you got better at knowing which details to put in which parts of each video chapter. and your editing skills got better and go well with your style of visuals

One of your most ruthless ones yet. While talky slow pacingfeels like my biggest weakness at present even when breaking things up, I'll never understand 01:40 or the infinite coffee shops. The funniest thing about 01:40 is that a lot of time it feels like it applies to *not* describing the characters, I guess because fandoms automatically expect you to know what *every* character looks like off the top of your head even if they don't change things. That or they seem to go *way* overboard with (changing up) the elaborate or physical descriptions of people instead of names instead of realizing that they can do both as long as they're consistent (and short) about as well as clear as to who is whom and who the hell is talking or otherwise doing something. (I really don't care for height in these types of descriptors personally even if height differences migh be otherwise important. [/kink-shaming?])

Why write a scene when I can MAKE a scene instead?!? *starts rampaging at the car dealership lighting cars on fire

On the topic of headhopping, I'd wonder what the limit to it is. I think in earlier drafts of earlier stories I did it, but at least recently the 'headhopping's in on the level of multiple scenes. As in, each scene has a different character who *might* be the 'main' perspective. Really though, I don't like to put a singular perspective into focus in any scene. Internally, I consider all the characters' perspectives, externally, I just have them say things, do things, and express things outwardly based on their perspectives I have in my head, while letting any potential audience extrapolate what each of the characters are thinking individually. To this end, I do not usually like to directly write down what the character is thinking in words. That forces a perspective to be the focus, and is a very easy way to get trapped into headhopping. It just feels less cluttered when I headhop only on the level of my *own* head, without choosing and shifting perspectives within a single scene. Between multiple scenes, I do it, but within a single scene, I try to avoid it.

Idea: Characters: Tony- The male comic relief. You never know what he’s doing to pass time. Stella- The female main character. Just…exists. Also forgot her plot armor at home. Joe- A guy who is literally average at everything, ever. Travis- The male main character. Is also comic relief, when Tony is stuck in a hole, or in a b-plot, or whatever. Has a voice like Julian from Ice Age. Cherry- The female who hates Tony, no one knows why. Also, has a dark origin, compared to her cheerful character. Bob- a dog. Who is only around every fifth episode. Probably out there, chasing hologram squirrels. Season 1: Every character gets stuck in a coffee shop. Bob is in the lawn of the shop. They try to get out in many (and sometimes dumb) ways. And also never forget their morning coffee. Season 2: The cast finally busts out of the coffee shop. It turns out there was a force field around it, and they had to circumvent it. While they were in there, 5 years passed, and the apocalypse happened. No zombies, though. They then explore the world around them. More later!

Jokes on you, J.P., I put my characters inside a MOS Burger fast food joint in Tokyo.

I would argue that the reason why focusing on setting is so rare in fanfic is that typically fanfic will take place in settings from the original work, whichthe writer and the audience are going to be intimately familiar with.

Subtitles! Finally! Thank you!

I always kept descriptors pretty vague, other than how they mechanically interact with the world or there's odd traits that the carechter notices as carechterization or to convey emotional states. This way the audience can project whatever they want in terms of aesthetic.

Trust me, your meme face is so old that it loops back through several layers of irony to become funny again.

I absolutely went through a phase of "REMOVE NOTHING!" The hardest bad habit to break as a teen writer was the idea that everything must be perfect in the first draft, and therefore it's perfectly justifiable to spend 2 month on one chapter. If you told me to delete this darling scene that took me MONTHS to write, I would rather murder such an obnoxious beta reader. NOT MY DARLINGS! Nowadays, I "murder my darlings" by putting the scenes in an Outtakes folder. This calms my anxiety. (It's not totally gone, it's still available, and sometimes I realize the scene works better later in the plot.) After my 3rd or 4th draft, my outtakes folder can end up even longer than the novel itself. I also used to feel that skipping around while writing scenes was taboo; a story MUST be written in chronological order. If you're stuck on a transition scene but know what will happen next, tough Skittles! You sit there staring at that blank page until something comes to mind! My first attempt at a novel sat on my computer for years because I was stuck on a transition scene. I knew what would come next, but I didn't think I could write all of that until I finished this "travel from one location to the next" scene. Then one day, I finally say "to hell with it," wrote "By sunset, they had arrived," completely skipping the transition scene. In just 2 months, the novel was finished. It was a roadblock, and I had to learn that it's okay to hop the fence and keep running with the story.

I heard "two characters drooling under the moonlight." Which, for the record, I'm not opposed to.

This channel is gold! I knew I was aldready perfect!!!!

I'm feeling called out😂. Second draft is going to be a beast.

Cutting a scene, moving it to somewhere else or getting rid of it is something I've done a few times. Wrote a couple of scripts for imaginary Hazbin Hotel episodes and originally the second episode I couldn't figure out what the story was. So moved it to the third and made up a new second episode. Ended up working out very well.

You might say that especially theatre plays that happen in 1 room could be interesting. Ofc not to shake up the perspective or to underline the importance of that 1 room, but solely so that stage designers have an easier job.

Thank you, this is helping me write my series “gun legs man” about a man whose legs are guns… with legs