As the show continued to be wildly popular in those early weeks, Lindelof says, "I was completely and totally creatively crippled by people saying two things: 1) 'How are they going to keep this up?' And I had no idea. 2) 'They better have really satisfying answers to all these mysteries.' And I was like, 'We have satisfying answers for all the character ones.'"
The development process had unfolded so quickly, there was very little time to figure out what all the weirdness meant — when I ask Lindelof how much of the mythology they had mapped out at that stage, he says, "During the pilot? None of it, to be honest with you" — and most of the focus during the pilot and immediately after was on fleshing out the characters and their reasons for not wanting to return to civilization. The writers knew early on, for instance, that John Locke had been in a wheelchair before the crash — this revelation, at the end of the fourth episode, "Walkabout," is to Lost what Febby Petrulio's murder in "College" was to The Sopranos — and that his father had been a con man who caused the injury, but they hadn't figured out exactly how the injury had occurred.