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The writers
The writers also opened up on their collaborative process and how their form of storytelling evolved with the show. According to writer George Mastras, Screen time was precious, and infusing every moment with the emotion [was the point], not just forming the pieces of the puzzle to tell the story, which is hard enough. If you're going to take five seconds of screen time, you'd better damn well be sure that there's an emotion there. It may be very, very subtle, but trust the audiences to pick up on that, because audiences do.[186] The development of certain characters posed challenges. Skyler became unsympathetic to some viewers in earlier seasons as she was often presented as an obstacle to Walt's ultimate agenda. The writers struggled to change the dynamic and realized that "the only way people were going to like Skyler was if she started going along with what Walt was doing". It was a tricky shift to alter on screen; the writers did not want to betray her character. This led them to justify the change by using her past job as a bookkeeper to segue into her helping Walt launder his money. Breaking the individual episodes was another form of problem-solving for the writers. They stressed the importance of not letting the "master plan" stop them from staying true to the world they created. There came a point where tracking the characters on a moment-by-moment basis proved to be more useful rather than the general direction of the story. Gould said they would always start with the last thought in a character's head. "Where's Jesse's head at? That was always the prelude to the breakthrough moment, because when you said that, it's usually because we had gotten attached to some big plan or some big set-piece that we thought had to be there, but the characters didn't want to do what we wanted them to do."[186]
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