Like the writer of a television series, Corgan must build a world and people it with villains (a.k.a. "heels"), good guys ("babyfaces"), and those riding the line in between. He must create character arcs, plan for future turns in the plot, even shifts in a wrestler's basic nature, while staying flexible enough to respond to audience reaction. It's the wrestlers, of course, who must conduct the violent pantomime, but it all flows from the booker's vision.
"I sit in almost every meeting," Corgan tells me. "I tweak the matches to make sure the wrestlers understand the emotional import of what I want told in the ring."