I can see how the time pressure of NaNoWriMo can help turn off the censor. (Nothing quiets my editor, and that's fine. Trying to follow the advice to squelch the inner editor makes me stabby and unproductive).
I have something like 94 scripts in total. The down side of the wild and crazy method is that 44 of them deal with the resolution of a stary arc that not meant to be resolved for a long time. During a break, I thought, "where am I going with this?" Just wondering what I should foreshadow, and such. The I had an incredibly stupid idea, and I decided to see where it went (Basically, the problem comes to a crisis. The characters involved decide to talk it out. One points something out as an ironic joke. All realize it's not irony but truth. All agree, truth or not it would be a terrible idea. In the next strip they have gone and done the thing.) It felt like a cheap gag, but exploring it seemed like a good way to "talk" to those characters. To see how they talk to each other. And the whole exercise was very useful in that sense. One of the characters is way to flat, not engaged. The others have taken to the motives I've given them, but this one hasn't. He needs more flaws.
Anyway, despite that problem, the complications created by the cheap gag are really interesting to me. I'm not sure if they are 44+ strips worth of interesting. That'd be two to four months to tell at a strip a day, and that doesn't allow for weaving in other plotlines. I'm okay with that, to a certain extent. Only the first few scripts need to be developed to a publishable level after all. There's no way I can practically come up with two years of usable scripts in a month.
I'm just astounded at how much volume, in plot and word count, I can produce through the simple expedient of skipping the descriptions.
I feel like the factor here is not the time pressure, but just they way I "see" a story. I feel the motions of the plot, and I hear the characters talk. trying to write both of those things at the same time leads to a situation where I lose track of the direction or dialogue, and have stop and reconstruct the next step. Stripping the first draft down to dialogue, and the occasional blocking, has resulted in my being able to put a scene down while it's still fresh
The biggest issue I have now is that several of the characters are already refusing to stick to the script. I'll see an exchange as being A, B, C. But the characters seem to feel it's A, D, Q, b, c, C.