Is It A Good Idea to Bring In An Outside Writer To Pen A Script For Something They've Been Never Part Of?

[bwrosas 252]

From Gail Simone penning "Between Dark and Dawn" for My Little Pony: Friendship Is Magic, and Ariel Shepherd-Oppenheim doing the same for "A HorseShoe-in" for the first time. Some fans had somewhat mixed reactions, (mostly good),the they question is asked, "Is it a good idea to bring in an outside write to pen a script for something they've never part of?"

Especially if they're fully brought up to speed, continuity-wise.

Please feel free to give thoughts/feedback on this topical question.

Edited September 21, 2019 by bwrosas

[Sepul-Coloratura 756]

I think it depends. Those two examples can't explain everything just because they have mixed reactions, I think there are plenty of other scripts improved by doing so.

[ExplosionMare 18,007]

It depends on their writing experience. If they have displayed good writing skills in the past then I’m all for new writers. Sometimes they bring things to the table that are interesting.

[Dark Qiviut 22,160]

Depends who. Gail Simone and Ariel Shepherd-Oppenheim each co-wrote really solid episodes, the former one of the best of the show. If the people understand the product, know what they’re doing, and are just as passionate for it as much as the mainstays, why not.

[Lambdadelta 1,462]

The real question is: is it a good idea to let them write these very last episodes of the show?! Thankfully, they works but in my opinion, they should let some veteran handle the last mid-season episode. Season 9 is not a season for experiment, they should gather the best ones to handle it. 

[Latecomer 438]

Well, all the writers are new ones sometimes. And if they're experienced pros, I'd approve it... but I would also take care with my feedback (I assume i'm the story editor here?)

[Megas 27,052]

Depends on both the writer and the episode. If it’s for a dumb, simple episode then whether it’s good or bad is irrelevant because it could easily be ignored. But when you bring them in for important episodes, especially at the end of the show’s run, it’s an insane gamble that may not be worth the risk. Using two similar episodes with wildly different outcomes as an example, Sometimes you end up with Dave Rapp, who’s only writing credit was a couple of episodes to a no-name cop drama back in 2008, yet for some asinine reason they had him write the episode where RD became a Wonderbolt, they pretty much handed the guy a could be classic on silver platter and managed to turn it into one of the show’s most hated episodes. On the other, there was Josh Hamilton, who introduced RD’s parents, yet he had a pretty extensive portfolio and in it you could really tell he did his homework and liked the character, and a lot of people ended up liking his episode in the end, double impressive given RD’s track record with new writers. And people have already brought up Gail Simone, who’s has a big track record as well and managed to make one of S9’s best episodes and something a lot of people wanted to see 

[StitchandMLPlover 930]

If they understand continuity and the characters I have no problem with it because it can bring new life to a show. However milestones like MLP season Premieres and Finales and minor episodes with big over arching plots like the key MLP episodes of season 4 should be handled by experienced writers. In general my biggest beef with new writers on kids shows especially is a lack of understanding of continuity and character which creates tons of plot holes. It's like nobody more familiar with the show bothered to correct or edit the new writer's scripts. 

[Metemponychosis 1,236]

Personally, I don't think that is a good idea, irrespective of what media, the person or what story. And it's not even because of the episode, which I considered good enough.

To me, it seems that a writer needs to be connected to a story to get it's 'feel' right, and the only way to do it is to spend time with the characters and the way the story is told and unfolds.

[Thrond 3,257]

I mean, if those are the examples we're going with, then sure. Those are both good episodes. 

[Xe__or 4,376]

It can be a good thing because they usually aren't biased on a single idea of what an MLP episode should be about. There are general themes, but maybe they won't follow a typical formula. But it must be done correctly too -- changing just for the sake of changing is pointless.

[Splashee 28,537]

I understand that writers might confuse characters and their backstory while simultaneously writing episodes for the same season. But when it comes to, at least half seasons, I think all the stories, and character advances (non-status quo) should be in a list for all writers to read through, so that there will be no conflicts.

If there is a list, telling that a character has done something, has interacted with someone at some point, made some kind of change to themselves, THEN I don't care who writes for the show as long as it is good writing.

 

Remember, good episodes are always good episodes, no matter who wrote them.

[Megas 27,052]

2 hours ago, Splashee said:

I understand that writers might confuse characters and their backstory while simultaneously writing episodes for the same season. But when it comes to, at least half seasons, I think all the stories, and character advances (non-status quo) should be in a list for all writers to read through, so that there will be no conflicts.

If there is a list, telling that a character has done something, has interacted with someone at some point, made some kind of change to themselves, THEN I don't care who writes for the show as long as it is good writing.

Josh Haber has straight up admitted they don't keep any sort of list, record, or "a story bible" of things that have happened and instead have relied on fan wikis, which was a terrible idea and unfortunately explains so much

[Splashee 28,537]

Just now, Kiryu-Chan said:

Josh Haber has straight up admitted they don't keep any sort of list, record, or "a story bible" of things that have happened and instead have relied on fan wikis, which is honestly a terrible idea and unfortunately explains so much

That's news to me! Thanks for sharing that!

Well, I have a slight problem with how Josh is dealing with mlp. He might be taking the easier way out at times, which is hurtful. He is a great writer and he did make mlp great again after season 6..... Kinda.

The fan wikis, while being really really helpful, are also quite unreliable as source material. That's really scary!! But it makes sense.

[Megas 27,052]

10 minutes ago, Splashee said:

That's news to me! Thanks for sharing that!

Well, I have a slight problem with how Josh is dealing with mlp. He might be taking the easier way out at times, which is hurtful. He is a great writer and he did make mlp great again after season 6..... Kinda.

The fan wikis, while being really really helpful, are also quite unreliable as source material. That's really scary!! But it makes sense.

I heavily disagree unfortunately. I agree that as a writer Haber is fine, but his story editing is awful, to the point where I believe he doesn't do his job unless it involves his own personal ideas or biases. S6 was one of the show's weakest seasons and a huge step down to everything before it.  the Lady Writers were way better and it really shows in S7. He came back with a second story editor in S8, which was better than S6 but not by much as it suffers a lot of the same problems, but I feel because it had two people in charge meant less bullshit getting through, and this really shows plain as day in S9, where the first have was mostly fine, if not a but underwhelming, then Haber was left alone on the second half, went back to its old habits, and S9 fell off a cliff while Dubuc went to story edit Rainbow Roadtrip which was better than just about the entirety of S9

[Splashee 28,537]

2 minutes ago, Kiryu-Chan said:

I heavily disagree unfortunately. I agree that as a writer Haber is fine, but his story editing is awful, to the point where I believe he doesn't do his job unless it involves his own personal ideas or biases. S6 was one of the show's weakest seasons and a huge step down to everything before it.  the Lady Writers were way better and it really shows in S7. He came back with a second story editor in S8, which was better than S6 but not by much as it suffers a lot of the same problems, but I feel because it had two people in charge meant less bullshit getting through, and this really shows plain as day in S9, where the first have was mostly fine, if not a but underwhelming, then Haber was left alone on the second half which fell off a cliff while Dubuc went to story edit Rainbow Roadtrip which was better than just about the entirety of S9

Hard to disagree with your arguments. They are all true.... Well, I am not a fan of Rainbow Roadrip, but otherwise. I'll judge Josh Haber when Season 9 officially ends.

[Megas 27,052]

Just now, Splashee said:

Hard to disagree with your arguments. They are all true.... Well, I am not a fan of Rainbow Roadrip, but otherwise. I'll judge Josh Haber when Season 9 officially ends.

Bear in mind, most of my opinions on S9 probably don't really hold...any weight or merit.  I got so upset with S9 I quit halfway through, so I haven't seen past episode 15, and most of my thoughts for the rest of the seasons are based on screenshots, plot summaries and random clips.

Though my thoughts on S6, 7 and 8 I feel are still fair game

[Twilight Luna 30,917]

It can be both good and bad. For instance, take Star Trek II: The Wrath of Khan. Nicholas Meyer knew nothing about Star Trek before writing the script for the movie. So, he watched every single episode of the series to familiarize himself with it and to come up with a plot for the movie. It ended up being the best movie of the series.

That being said, outside directors should care about what they're doing and the source material. Otherwise they're going to produce a mess.

[Megas 27,052]

On 9/21/2019 at 4:59 AM, Kiryu⚡Chan said:

Depends on both the writer and the episode. If it’s for a dumb, simple episode then whether it’s good or bad is irrelevant because it could easily be ignored. But when you bring them in for important episodes, especially at the end of the show’s run, it’s an insane gamble that may not be worth the risk. Using two similar episodes with wildly different outcomes as an example, Sometimes you end up with Dave Rapp, who’s only writing credit was a couple of episodes to a no-name cop drama back in 2008, yet for some asinine reason they had him write the episode where RD became a Wonderbolt, they pretty much handed the guy a could be classic on silver platter and managed to turn it into one of the show’s most hated episodes. On the other, there was Josh Hamilton, who introduced RD’s parents, yet he had a pretty extensive portfolio and in it you could really tell he did his homework and liked the character, and a lot of people ended up liking his episode in the end, double impressive given RD’s track record with new writers. And people have already brought up Gail Simone, who’s has a big track record as well and managed to make one of S9’s best episodes and something a lot of people wanted to see 

I really need to re-evaluate my stance on this thanks to certain recent events(you know which one I'm talking about)

Let's just say that I owe Dave Rapp, F.M. DeMarco, etc., a huge apology