Tips for Episodic Television Series

Characters in Episodic Series

Keeping Characters Alive

Unlike single stories told from scratch, television stories have carry-over. That which is established becomes embedded in the mythical lore of the series, creating an inertia that strangles many fine concepts before their time. This inertia can be a good thing if it forms a foundation that acts as a stage for the characters rather than burying the characters under the foundation.

To keep a limber idea from succumbing to arthritis in this concrete jungle, create characters that can portray the full Element level of the structural storyform. Make choices that shift the dynamics from episode to episode. That keeps things lively.

Archetypal Characters

Many episodic series rely on Archetypal Characters who can be counted on to respond in the same way from episode to episode. This caters to the strengths of television series with a loyal audience: The ability to create friends and family on which one can rely.

The first few episodes of a series usually bring in the "Villain of the Week" (essentially a new Archetypal Antagonist each time) while establishing the Archetypal roles for the regular cast and outlining the mythical lore. This formula wears thin rather quickly as the characters fall into predictable relationships with one another. They assume standard roles from which they never vary until the series loses its ratings and is canceled.

Swapping Roles

A solution to this growing inflexibility is to change the formula after a few establishing episodes. If one keeps the Overall Story Characters the same for stability but swaps the Subjective Character roles, the dynamics of the character interrelationships change even while the structure remains the same. This means the Protagonist is still the Protagonist, Reason is still Reason and so on, but Reason may be the Main Character of the week and Protagonist the Impact Character. By shifting Subjective Character roles, several season's worth of character variations can be created without any repeats and the loyal audience's attention is held.

To further break up the routine, occasional stories can focus on one of the Overall Story Characters as Protagonist and Main Character in his own story, without the other cast members. For this episode only, assemble a whole new ensemble as if it were a story independent of the series. Obviously, too much of this weakens the mythical lore, so use this technique sparingly.

Characters of the Week

On the other hand, many successful series have been built around a single character that travels into new situations from week to week, meeting a whole new cast of characters each time. This forms the equivalent of an anthology series, except the Main Character recurs from week to week.

A means of creating character variety is to assign this recurring character occasionally to roles other than that of Protagonist. Instead of telling every episode as revolving around the recurring character, have that character be Guardian or Antagonist or Skeptic to some other Protagonist. This technique has allowed many on the road series to remain fresh for years.

Plot in Episodic Series

Plot is the aspect of episodic series most plagued with formula. This is because of a predictable Dramatic Circuit. A Dramatic Circuit consists of a Potential, Resistance, Current, and Outcome. Each of these aspects must be present to create the flow of dramatic tension.

Storytelling conventions often follow the order suggested above. Each episode begins with the potential for trouble either as the first act in a half hour series or as the teaser in an hour series. In half hour series, the next act brings in a Resistance to threaten conflict with the Potential. Hour-long series present an act setting up the status quo the Potential is about to disrupt, then present an act on the Resistance. Next follows the Current act in which Potential and Resistance conflict. In the final act, Potential and Resistance have it out with one or the other coming out on top. Some series favor the Potential winning, others the Resistance; still others alternate depending on the mood of the producers, writers and stars.

Some feel this kind of formula is a good pattern to set up because the audience becomes comfortable with the flow. Sometimes this is true, but unless the Character, Theme, and Throughline of each episode vary the audience will wind up getting bored instead. More interesting approaches vary which function of the Dramatic Circuit comes first and jumble up the order of the others as well. Starting with an Outcome and showing how it builds to a Potential, then leaving that Potential open at the end of the story can make plots seem inspired. Many a notable comedy series has its occasional bittersweet ending where all the pieces don't come together.

Theme in Episodic Series

Often in episodic series, themes are replaced with topics. Although Dramatica refers to the central thematic subject as a Topic, common usage sees topics as hot subjects of the moment. This makes topics an element of storytelling, not storyform. Often, the actual thematic topic is missing or only hinted at in exploring a news topic.

For example, the topic of the week in a typical series might be "Babies for Sale." But is that a Theme? Not hardly. What is interesting about Babies for Sale? Are we exploring someone's Strategy or Worry or Responsibility or Morality? Any of these or any of the 60 other Variations could be the thematic topic of "Babies for Sale."

To involve the audience emotionally, the theme of each episode must be distinct, clearly defined and fully explored in essential human ways--not just revolving around a news item.

Genre in Episodic Series

Series can be comedies, action stories, love stories--whatever. The key point to consider is that Dramatica Throughlines work in any Genre. To keep a high concept from bottoming out, rotate through the Throughlines, using a different one each week. There are only four Throughlines: A Situation, an Activity, Manipulation and a Fixed Attitude. A Situation Comedy (Situation) is different from a Comedy of Errors (Manipulation). Whatever Genre the series is cast in, bouncing the episodes through the Throughlines keeps the Genre fresh. In addition, jumping among genres can spice up the flavor of a series that has begun to seem like leftovers from the same meal, week to week.