Screenwriting : Building a series I think could really stick. What makes one stand out to you? by Macorey Trotter

For me, it comes down to the voice and the story. If it feels interesting or a little different, I’m willing to take a chance, even with a new writer. What about you? What makes you give a new project or author a shot?

That makes sense—voice is a big one for me too. I think what pulls me in is when something feels honest but still a little different in how it’s told. Like I can tell the writer isn’t just following structure, but actually saying something specific through the characters.

I also pay attention to tone. If a project can balance humor and something deeper underneath it, that usually gets me. It feels closer to real life.

Out of curiosity, when you say voice, is it more about dialogue, perspective, or just the overall feel of the writing for you?

I really like the title!

I think voice is a mix of a few things—how your dialogue sounds, the perspective you’re writing from, and the overall feel of the story. It’s what makes your writing sound like you.

When you look at your manuscript, is there a particular feeling you want readers to pick up on?

A unique world and POV. I loved Mrs. Davis and Mrs. Maisel (really love "Mrs,"...LOL) and both have unique POV's and interesting worlds. That's what works for me.

Thanks Michael!

Yeah, that’s a good way to put it.

For me, I want people to feel like they’re watching something that’s real, but slightly off in a way they can’t fully explain. Like it feels familiar, but there’s always something underneath it that’s a little uncomfortable or thought-provoking.

I also want that mix of humor and honesty to come through. Like you can laugh at something, but then later realize there was something deeper going on in that same moment.

That’s kind of the space I’m aiming for with Arcadia Hill. Do you find that certain genres make it easier to establish a strong voice, or is it more about the writer than the genre?

That’s real, Nikita—I think world and POV go hand in hand for me too. If the world feels specific and lived-in, it automatically makes the perspective stronger.

That’s something I’ve been really, and I mean REALLY, intentional about with Arcadia Hill. I want the setting to feel familiar, especially being rooted in Mississippi, but also slightly heightened in a way that gives it its own identity.

And yeah, those shows definitely have a strong point of view. Do you feel like the world has to be visually distinct, or is it more about how the characters experience it?

Post about the series, not about yourself.

I get what you’re saying David Taylor . I think I approach these posts a little differently—I like to talk about the tone and perspective behind the work, not just the plot itself. But I hear you on wanting more focus on the series directly.

Appreciate you taking the time to check it out.

Macorey Trotter Mississippi? I know Grisham is based there but what is the series about?

Kenneth George Yeah, it’s definitely rooted in Mississippi, and the setting plays a big role in the series. Arcadia Hill follows a group of young adults navigating life in a city that feels familiar but slightly off, where everyday interactions are shaped by social dynamics, cultural expectations, and sometimes unspoken racial tension. Each character is dealing with their own sense of identity, purpose, and pressure, and the show moves through their perspectives as their lives start to overlap in unexpected ways.

I’m not approaching those themes in a heavy-handed way, though. It’s more about how they naturally show up. Like in conversations, relationships, and small moments. The tone blends grounded, real-life situations with a subtle, almost surreal feeling underneath it, so things don’t always feel completely normal even when nothing “big” is happening. At its core, it’s a character-driven series that focuses on how people exist in a shared space and slowly start to influence each other over time.

Hey Machorey!

A lot of writers have great premises. What gets my attention is when I can clearly see why the show can sustain multiple seasons. After the pilot, what's generating new conflict? What's keeping the characters evolving? Why does episode six feel just as compelling as episode one?

The other thing I look for is a unique point of view. It doesn't have to be a completely original idea, but it should feel like a story only this writer could tell. The market is crowded with familiar concepts, but a distinct voice is much harder to find.

And finally, character. If the audience wants to spend time with these people week after week, you're already ahead of most projects. Great series are often remembered less for their plots and more for the characters viewers become invested in.

Happy to chat more about the specifics of your project privately!

Hi Macorey,

Grounded yet surreal regional storytelling—especially set against the distinct cultural backdrop of Mississippi—has a massive competitive advantage in today's landscape. The challenge you are describing with Arcadia Hill isn't just about balancing tone; it’s about mastering tonal tethering.

As a script doctor and story architect, what makes me take a chance on a new series or writer isn't a flawless script; it’s a writer's ability to anchor structural volatility. In television development, shifting from "heartfelt" to "funny as hell" episode by episode is incredibly risky because buyers fear losing the show’s emotional gravity. The secret to making a multi-tone series stick is ensuring that both the comedy and the drama stem from the exact same thematic wound. The surrealism shouldn't be a random stylistic overlay; it must operate as the distorted psychological projection of the characters navigating their reality.

When you treat the ridiculous and the serious as two sides of the same coin, the unpredictable nature of life becomes a precise narrative engine. A professional showrunner or financier looks for that specific structural maturity on the page—knowing exactly when to tighten the tension and when to use humor as a pressure valve without shattering the universe's internal logic.

You’ve built a deeply authentic canvas here, Macorey. Protecting the unique DNA of that voice while packaging its structural layout into a high-conversion commercial asset is where the magic happens. I’d love to connect in the DMs, look at how you are balancing those tonal beats, and share a few architectural frameworks to help get Arcadia Hill the industry traction it deserves.

Best regards,

Volkan "Walkie" Durakçay

This is really insightful Sean Hussey, I appreciate you breaking it down like that.

The engine is something I’ve been thinking a lot about with Arcadia Hill. For me, it comes from the characters constantly trying to move forward—creatively, financially, emotionally—while the world around them never quite responds in a straightforward way. So even when things seem small on the surface, there’s always tension coming from that disconnect between what they’re chasing and what they’re actually experiencing.

A lot of the conflict regenerates through that—jobs, relationships, creative pursuits—all grounded, but with these subtle moments where reality feels slightly off, which keeps shifting how they interpret what’s happening to them.

And I definitely agree on character. That’s been the core for me—making sure each person feels like someone you’d want to sit with even when nothing “big” is happening.

I’d actually love to hear your thoughts on the engine specifically if you’re open to it—I can share a bit more with you about where I see the series going beyond the pilot.

Volkan Durakcay I really REALLY appreciate this—especially the way you framed tonal tethering. That’s something I’ve been trying to articulate with Arcadia Hill but didn’t quite have the language for yet.

The idea of both the humor and the surreal elements stemming from the same thematic wound is exactly what I’ve been aiming toward. For me, a lot of the surrealism comes from how the characters process confusion, lack of control, and that feeling of life not responding the way it’s “supposed” to. So even when things get funny or strange, it’s always tied back to something real they’re dealing with internally.

I also hear you on structural volatility. I don’t want the tone to feel like it’s shifting randomly—I want it to feel like it’s revealing different sides of the same reality.

I’d definitely love to connect