What television taught me about writing, by Kait Carson

There’s a benefit to coming late to popular television shows. If they are available on streaming networks, you can watch them at your own pace, or all in a sitting. I admit, I came late to the Downton Abbey craze. About two years late. But hey, at least I arrived.

When I finally arrived at the Abbey door, I expected good television. PBS is famous for period pieces. Downton Abbey is no exception. Once past the famous dog’s bum opening, I was pulled right into pre-WWI Yorkshire. Yum. The opulence of the setting was offset and made human by the behavior of characters. I don’t think there was any poorly acted part in the entire series. Well, maybe Shirley MacLaine’s Mrs. Levinson was a bit over the top, but then, she was American so we forgave her. In fact, even with a degree in history, she was the only stereotype I spotted.

By episode two—which I admit I watched right after episode one—I was enthralled. The enchantment never ended. As you can guess, I binged, and the binging taught me a lot. Not only about how much I enjoyed Downton Abbey, but about writing in general. There is something to be said for a writer having a full-on, multi-year episode visual binge. It lays bare the entire series, triumphs and warts. To paraphrase General Pritchard in 12-O’Clock High, you get it with the bark on.

The first thing that stood out to me about Downton Abbey was that the characters listened to each other. I know they were reciting a script, but they listened, left time for the first speaker to finish while the demeanor of the listener was clearly attentive to the words. The habit struck me first because it is so different to how conversations take place today. Not just the digital distraction aspect, but because with rare exceptions, the listener seems more intent on thinking up their next comment! Perhaps in a slower time, listening intently was usual. I can’t say, but it struck me as something would benefit my writing.  What a great glimpse into personality. An engaged character can tilt a head, make eye contact, consider before responding. Other characters demonstrate indifference with one eye on the cell phone and the other on the door.

Season three was a lesson in pacing. Writers are admonished to keep the action flowing, but to remember to give the reader a break. I keep a plus/minus chart to help me with this. If a scene ends on a big bang, a respite is needed both to let the reader catch their breath and to let the characters emotionally adjust. In Downton Abbey season three was a rollercoaster of higher climbs and massive drops. The viewer never got a rest, and it was exhausting. So much so, that I wondered if I could make it through to the fourth season. I did, and I later discovered that the actors were signed to three-year contracts. Some were ready to move on and so, constant…drama.

In the way of well-crafted mysteries, especially serial mysteries, the last season was a time of closure. All the storylines wrapped nicely in the last show. We were left in a comfortable place, feeling that all would come right for the Abbey in the future. As 1925 drew to a close and 1926 opened, the Crawley family had been through a lot and the viewer was happy to rejoice with them in the way it all turned out. For the time being. Like any good mystery writer, the series writers left the door open to a return to the Abbey. For every answered question their remained a tail. A thread that if the writers elected to tug would open the door to another season. The viewers were satisfied, but the ending did not slam the doors, merely closed them gently with the thought that a light breeze would open them wide.

Writers, do you watch shows with an author’s eyes?

Readers, do you see the potential in endings?