Continuining the slightly new direction of the column away from broad concepts about television to the work of specific auteurs within the medium, this week I tackled the work of one of my very favourite writers, Aaron Sorkin.
I'm very, very pleased with the way that this column turned out, especially because the first draft of it was a mammoth 3,000 words. The current version isn't exactly short, but it's much more concise and has a stronger central argument behind it than the first, in which I tried to cover every aspect of Sorkin's career, including lengthy digressions about the way in which his film work fits into the work he did on television. Some of that stuff was good, but I felt that it distracted from the actual point I was trying to make. The punchier, more focused version is far preferable.