PEARL OSIBU THE MASTER SCREENWRITER<\/strong><\/p>\n

With a spec script, sure, that would be the process: a synopsis where the core idea is laid out which captures the premise, the protagonist\/main characters, and the conflict. This is followed by extended treatment, especially if this needs to be submitted to a prospective partner, funder, producer or studio exec. Another time this would be necessary is if it\u2019s a high concept idea, and\/or a unique world where the texture and rules are different, as against a contemporary story where almost everything can be assumed.<\/p>\n

Otherwise (that is if the project does not fit with the conditions above), I simply let the idea marinate in my mind, and then go from synopsis right on to the next step which is the step outline. This is where all the checks and balances are done; all plot holes are found and fixed, all areas where the story lags or events spiral, where relationships between core characters are established, the sequence of events are laid out for best effect and most importantly, the story is seen clearly and in a brutally honest light from start to finish. If the story doesn\u2019t work in step outline, it doesn\u2019t work on screen. It\u2019s that simple. There is no place to hide. This is, after all, the blueprint for the script.<\/p>\n

And then on to the script \u2013 easy-peasy.<\/p>\n

The rules\/methods are however slightly different from an idea you\u2019ve been contracted to develop, or as in this case, an adaptation. The template has already been handed to you. Your job at this point is to make decisions about plot points and plot structure; what storylines would translate well on screen? Which ideas can be shot in a visual medium within the constraints of translation, technology and budget? Which characters are interesting enough to follow? How do we sequence the events? Are we going to tell the story linearly or\u2026? And finally and most importantly, how do we elevate the original idea, so that audiences who have experienced a previous version would still be having a unique experience with this retelling. Decisions, decisions. So while the job of creating a story may have been lifted off you, the new challenge is to condense and create a whole new and equally \u2013 if not more exciting \u2013 experience for the audience, both old and new.<\/p>\n

\u00a0<\/p>\n

You\u2019ve had an amazing career so far; How did the relationship with the showrunner [Arese] develop, and what was the creative process like for you? <\/em><\/strong><\/p>\n

I was in another story conference \u2013 when I received a phone call from Arese. She introduced herself, told me about her book (I found out later that two people had sent me pirated\/illegal e-copies of the book and I\u2019d declined). She gave me a brief idea of what was intended and wanted to know my availability. I wanted to hear about the project in order to know whether I was interested. So she pitched the idea\u2026and let\u2019s just say I was intrigued enough to ask her to go ahead and mail me a copy of TSMW book.<\/p>\n

\u00a0<\/p>\n

So while the job of creating a story may have been lifted off you, the new challenge is to condense and create a whole new and equally \u2013 if not more exciting \u2013 experience for the audience<\/em><\/strong><\/p>\n

I received it the very next day \u2013 and yes, that told me quite a bit already about how she works and how passionate she was about the project.<\/p>\n

I read the book; I\u2019ll summarize my impression by simply saying that I wish I\u2019d read it before. Then we set up a meeting. Arese was warm and open and vulnerable. You see that vulnerability, it made me feel immediately that I would slay dragons to make this happen. It\u2019s a skill she has. She\u2019d scam you, you\u2019d know she\u2019s scamming you, she\u2019d know that you know she\u2019s scamming you, you\u2019d know that she knows that you know she\u2019s scamming you\u2026and so on, and guess what; you wouldn\u2019t mind.<\/p>\n

I was determined not to let her down, and I hope I never did. Anyway, after that, we set timelines and then went on to work in consonance to make sure this got done and on time. Of course, we hit a few snags, missed some deadlines, but we pressed on, and now we\u2019re here.<\/p>\n

\u00a0<\/p>\n

Do you think TSMW will be an important show for Nigerian women?<\/em><\/strong><\/p>\n

I believe so. I hope so. Because, how could it not be? It makes its points, passes its message, all subtly wrapped in the snug blanket of great and interesting storylines that ease the rigour of absorbing these lessons so that in the end, you\u2019ve had a pretty good ride, learned many lessons along the way, forged a new determination or reminder to do better with your finances, and all without feeling preached at or dictated to.<\/p>\n

\u00a0<\/p>\n

What were the biggest challenges in adapting the source material from the book to a script, good and bad?<\/em><\/strong><\/p>\n

\u00a0<\/p>\n

Can I be honest? Thank you. There was not enough source material for the number of episodes we wanted to film and the time assigned for each episode. A lot of creation of subplots and storylines had to be done. Also, for a project such as this that is, at its core, the education genre, you have to be careful not to get too carried away with teaching that you forget to entertain.<\/p>\n

And best of all, all are transported by far more accessible vehicle, a visual medium. Because hey, it is easier to watch than to read\u2013 facts! If the show is as successful as the sourcebook has been, I think we\u2019ll all be very gratified.<\/p>\n

\u00a0<\/p>\n

What\u2019s your secret weapon when you\u2019re on a new project?<\/em><\/strong><\/p>\n

Ownership\/buy-in of the project. Once I\u2019ve decided that I\u2019m intrigued and interested in a project, it becomes mine and I want almost as desperately as the owner to see it through.<\/p>\n

There\u2019s no gainsaying the fact that many times, this quality of mine can and has been abused, but I don\u2019t intend to change.<\/p>\n

If you cannot become vested in a project you\u2019re on, there\u2019s no point doing it, and the moment the situation becomes so fraught that you\u2019re no longer interested in the best interest of the project for reasons other than the work itself, that might be a good time to step aside, rather than give it less than your best. This is a value I try to live and work by. Every other thing \u2013 hard work, excellent quality etc are secondary to owning the project and treating it as your own<\/p>\n

\u00a0<\/p>\n

Favourite memory of writing\/re-writing this script?<\/em><\/strong><\/p>\n

Arese and her drama! Arese can be dramatic. Deep in rewriting \u2013 around the third draft \u2013 we took our story conference to a serene resort far, far away.<\/p>\n

One day, we got stuck at episode nine, and after a long and gruelling day and making no headway, Arese suddenly and very dramatically threw her hands up and said \u2018Oh my God, we don\u2019t have an episode nine!\u2019 and from the way she said it, all was irretrievably lost. My colleague and I promptly threw her out because that was just bad energy and she was going to transfer it.<\/p>\n

When she returned a few hours later, we read the episode to her, and I daresay it is all of our favourite episodes of the season. I still roll my eyes and convulse in equal measure at this memory. And then all those 2 am phone calls.\u00a0 Arese does not stop working, and time truly became a human construct during the period we were working on this script. When you work with someone who works so hard, you have to match their energy<\/p>\n

\u00a0<\/p>\n

What\u2019s the writer\u2019s room like for a character-driven show like TSMW? <\/em><\/strong><\/p>\n

Strong opinions. Let me say this categorically; it was hard, it was intense, and yet it was exciting. We argued, and agreed, fought and made up. We listened to each other, and then we\u2019d close off and get stuck on an idea. I am forever glad for this experience and wouldn\u2019t have traded or \u2018short-cut\u2019 any of it\u2026<\/p>\n

\u00a0<\/p>\n

What\u2019s the most thrilling part for you \u2014 writing, filming, or watching?<\/em><\/strong><\/p>\n

You missed a step; conception. Conceiving a really good idea is incredibly wild. But after<\/p>\n

that, writing and filming are just down to grit, interspersed with moments of euphoria when things go right. So it will be watching, for me Watching, is the culmination \u2013 seeing months, and in some cases, years of work finally come together. It\u2019s a miracle and I cry often the first time a project I\u2019m involved in is screened to an audience outside of the people involved in its<\/p>\n

production.<\/p>\n

\u00a0<\/p>\n

What\u2019s your secret weapon. When you\u2019re on a new project?<\/em><\/strong><\/p>\n

My secret weapon is my sense of humour. Writing is not sexy at all. It\u2019s long and arduous and very often your ideas get ripped apart and dressed down, so you have to learn not to take any of these things too personally. Also, I\u2019m biased, so very rarely do people care about the writers as they do the stars or directors. It can be quite thankless. So I always find the upside when I\u2019ve just finished crying over feedback or been given some harsh critiques.<\/em><\/p>\n

\u00a0<\/p>\n

What\u2019s the most thrilling part for you \u2014 writing, filming, or watching?<\/em><\/strong><\/p>\n

Writing by far. I love it very, very much.<\/p>\n

\u00a0<\/p>\n

What were the biggest challenges in adapting the source material from the book to a script \u2014 good and bad.<\/em><\/strong><\/p>\n

When you\u2019re trying to stay true to the source material, it can sometimes feel limiting. You don\u2019t want to stray too far out of what people know of a character that feels familiar to them. However, It\u2019s also very helpful. A lot of backstory work is done for you, so you are building on something that exists, which can be wonderful.<\/p>\n