 But how does working on a daily show like German soap, good times, bad times look like? Telling a daily drama is completely different, not just in the way you tell, in the content you tell, but also in the way you structure your stories, telling and then how you plot, comparison to, I don't know, Breaking Bad, etc. It's completely different. It's a lot more regulated as well. What does this mean for the way the series is designed and written? When you tell a story in a daily drama, the authors go by a different way. First you have the future meaning panning up the entire story arc for the next six or seven or eight months. Then next the story-liners sit down and write a storyline for a group of episodes. Mainly it's about five episodes, which is about a week full of episodes. Then they sit down and write it up into different episodes, making them more vivid and sort of plotting out what's going to happen. Then that's given to the dialogue authors who sit down and write the dialogue and make the whole story complete and make a full script out of it. The length is pretty much regulated and how long it takes to produce scripts for daily dramas. The futureing is usually a couple of days. You have people going off to retreat somewhere far off, where they sit down and plot. They do it in sort of an enclave, completely absorbed by telling these stories and do it usually in group work. Then you have the storyline for a week, which is usually five days. However, that includes maybe plotting two or three days for those five episodes. Then you have about two or three days sitting down and writing it all up, plotting, panning it out. Then usually you work in a group for those first two days, sort of telling these stories. Then you divide yourselves into episodes. You do episode one, you do episode two, and then you sit on your own and write it up. Then the dialogue authors have a couple of days to sort of finish that off and write it up. Then again, you have a couple of days when the script edit goes through the plot and make, because you usually have different dialogue authors on every episode. You have to sort of make it sort of homogenous and make it sort of understandable for everyone and getting the same tone in every scene. But apart from that, the Euphazir drama goes through sort of a process of re-evaluating everything every two years. Now I think it's even shorter than that. I think it's every year sort of going through everything, making it look contemporary. It has to do with looks, what's our society evolving, how's TV evolving, what do people expect when they watch? Should we do it rough or should we do it like more polished, more glamorous, whatever? Are the characters good enough? Are the characters strong enough? Can they stand alone? Have we told everything we can tell about them? Do we need to get them out of here, send them to New Zealand, where they usually end up, or kill them off? So a lot has to do with sort of sitting down sort of making completely general overhaul of the story and then sort of of the story, the stories, the characters, especially the characters and the way the story looks. It has to do with A, creating habits and B, and making that habit still interesting by sort of adjusting everything. Whereas the showrunner in a sense the author of the series clearly shapes his or her series even while clearly being dependent on economic factors, his writers, actors and other aspects. The production of the daily is much more the work of a whole enterprise of well-trained, constantly writing co-workers making the production very efficient but also maybe less creative to secure a stable quality over so many years. Please again use the comment function to discuss this topic. What do you think about it?