If someone broke into the place where the coming jokes are devised - what the Americans call the script room - they would find only three people and probably one of them wandering around with a racket in their hands. "It's his artifact of thinking," explains Araceli Álvarez de Sotomayor about a habit of Alberto Caballero , creator and screenwriter of the popular Telecinco series. "He thinks very well on the move," he reiterates.

The third member of the team is Daniel Deorador , who highlights the main differential feature of this comedy - the most watched series so far in 2019 - of other productions: "Our work is very handmade," he says. "At some times we have tried to industrialize the process to make more equipment and get more chapters, but it has always been total failure," he confesses.

There is a fourth architect: Laura Caballero , creator of the series with her brother and who also participates in the writing but less presently since she turns in the direction of the episodes.

Deorador has been in the team since the beginning of the series, back in 2007. Álvarez de Sotomayor, on the other hand, joined later but it has been nine years since the sixth season of a veteran fiction that this Wednesday issues a new chapter of his eleventh installment in Telecinco.

«What we do is not done by anyone», emphasizes Álvarez de Sotomayor: «We are the only ones in Spain with three in the team; in another series the writers are seven, eight or 16 ». Deorador emphasizes this: «Other fictions of long duration try to copy the American model and have several teams working in simultaneous chapters. This way they get more performance, but they encounter congruence and coordination problems. Our process is more artisan. We finish one chapter and move on to the next ».

A photo of the scriptwriters of La looming working, as they tell Paper themselves, would show Alberto Caballero sitting on the side of an office table with the laptop -and his racket at hand-, and in front of Araceli Álvarez de Sotomayor and Daniel Deorador releasing ideas of all kinds. «Many plots come out of our personal miseries », confesses the screenwriter. "We have no openings," agrees Deorador. «We tell each other everything, our adventures, our problems, our pains ...», they say: « It's like Las Vegas : what happens in that room stays in that room».

As in any creative process, differences in criteria are common. "When there is conflict, you vote", comments Álvarez de Sotomayor. «Being three allows us to move quickly. The democratic functioning in decision making has always worked for us, ”he adds.

The three scriptwriters, and Laura Caballero when she is, address all the flanks. No characters or plots are distributed, although time has specialized a little. Deorador, for example, is very freaky , he loves science fiction or zombie ideas. Álvarez de Sotomayor, on the other hand, is a mine with marujadas . But in any case, they defend a task that, they regret, is not as widespread among the profession as it should. " Many screenwriters do not document anything, " says Deorador. "Before writing about a topic you have to know so that people don't question you," he insists, although the genre of comedy may seem more apt for certain licenses.

In their case, they have addressed issues of Social Security fines, cryogenization, renewable energies or nuns - various manuals of Canon Law have passed through their table - which required hours of study to not screw up. "It requires a lot of work but it is one of the parts that we love most about our work because you learn a lot," they conclude.

According to the criteria of The Trust Project

Know more

    Technology SER and Everis, victims of a cyber attack that has 'hijacked' their computers

    Vis a vis escapes from jail and yellow on a final lap that takes her to El Oasis

    Sergio Peris-Mencheta stars in the series 'Narcos vs Zombies'