Series

Circular open series ^

A circular open series, also called an endless series or procedural, differs from a self-contained series in the following ways:

Typically, each episode deals with a new case (case structure), so that it is self-contained. This means that each episode starts more or less from scratch. The end point of one episode is therefore the starting point for any other episode. The cyclical narrative of the open series ensures that the plot returns to the original “zero state” of the series at the end of each episode.

Accordingly, each episode develops its own dramatic arc (vertical storylines), while there is no overarching dramatic arc (horizontal storylines) for the entire season or series.

An open series can include a potentially unlimited number of episodes, so in principle it can be endless. The individual episodes can be shown in any order. Thus, the circular open series follows the principles of open story structure.

A typical example of an open series is a sitcom.

Limited series ^

A serialized series, in contrast to a circular open series, is characterized by the fact that the individual episodes build on each other. Their order is therefore predetermined and cannot be changed. The series is characterized by long-running narrative arcs that span episodes, so-called horizontal storylines. However, these do not have to form a classic story arc, i.e. they do not have to tell one story, but several stories within a story world. The story arcs can span one episode, several episodes, one season or the entire series. However, the vertical (episode-internal) structure is just as important as the horizontal (episode-spanning) structure.

Thus, there are limited series with a multitude of parallel storylines, significantly more than a circular open series. The end of an episode is merely a turning point in the overall story.

The storylines are shown alternately, with each being at a different stage of development: While one storyline is starting, other storylines have already begun in earlier episodes and still other storylines are drawing to a close.
Every episode and every commercial break should end with at least one open storyline that has reached an exciting point. This serves as a cliffhanger to encourage viewers to watch the next episode, creating a binge flow.

Unlike circular open series, limited series are written with a defined end in mind. The series is limited from the outset. A self-contained series thus contains elements of both open story structure and self-contained story structure.

Miniseries ^

A form of a limited series is the miniseries.

A miniseries is usually limited to one season and has a complete story arc by the end of the season. A typical format for a miniseries is 6 to 8 episodes, each between 45 and 60 minutes long.

In this respect, the principles of self-contained story structure predominate in a miniseries. Care should be taken to ensure that the individual episodes have an intrinsic value as independent units. This is what distinguishes a miniseries from a multi-part film, which is essentially an epic feature film cut into parts. In a multi-part film, the horizontal structure that extends across all episodes dominates, while the vertical structure of the individual episodes takes a back seat.

Soap opera, telenovela ^

A mixture between an open-ended and a limited series is the soap opera (daily or weekly) or telenovela.

The storylines in soaps and telenovelas develop according to a fixed pattern. They are defined in an ABC system, so that usually three storylines (A, B, C) are told in parallel, with a comedy strand always included to lighten the mood.

After each scene, the storyline changes, initially from A to B to C. The subsequent order of change corresponds to a plait pattern: ABC -> BCA -> CAB -> ABC. When one storyline ends, the next storyline begins: ABC -> BCD -> CDE -> DEF -> EFG etc. With this technique, the storylines are literally intertwined.

The setting of a soap or telenovela is familiar, recognizable or comparable with one’s own life or “learned” through other films, series, etc. Viewers are therefore already familiar with the corresponding clichés.

Series ^

A series is held together by the genre, the story material or the theme. In contrast to a series, however, a series does not form a coherent plot, but instead tells different stories, about different characters and settings in the individual episodes.

Characters ^

Series are more character-driven than movies. In addition to the ensemble of characters, there are guest roles that only appear in one or more episodes or appear at irregular intervals.

In terms of the characters, there are two different types of series:

The lead character series focuses on a single main character. The particular (extreme) nature of this central figure characterizes the entire series. By contrast, the ensemble series, in which there are several main characters of equal importance, is primarily characterized by the story world.

A series with a group of characters offers a variety of perspectives and points of view. This allows ensemble series to utilize multiple perspectives that a single-character series cannot. Strictly single-perspective series, on the other hand, are very rare.

A lead character series can also open up into an ensemble series over the course of a season. The original main character then often becomes a door opener for the story world and thus for the other characters.

The characters of a series are not all established at the same time, but gradually: for example, the main characters or the main ensemble are introduced one after the other, followed by the respective environment of each main character.

Typical ensemble forms of the series are:

• Family
• Friends
• Work colleagues

While exposition serves the function of introducing the characters in individual films, this is not necessary at the beginning of each episode in a series. Instead, the exposition of the characters usually only takes place once in the series pilot, i.e. in the first episode, which is usually twice as long. The following episodes can then immediately focus on the conflict between the characters. inciting incident and plot point 1 therefore usually occur earlier in an episode than in a single cinematic work.

Series characters must be so complex, multi-layered and ambivalent that they appear so interesting in themselves that they would be worthy of telling a story even without a story. Only then can you tell a number of stories with them.

In doing so, each character should have great empathy potential and be able to act both as a protagonist and as an antagonist, thus combining as many archetypes as possible. Amoral characters are much better accepted by the audience in series because they always have positive or fascinating character traits at the same time.

In principle, every character in a series should reveal new and surprising facets of their personality. It helps to create each character in such a way that they have one or more secrets that can be revealed over the course of the series.

At the same time, unlike movie heroes, series characters undergo little or no change, or only change to a very limited extent.

In many modern drama series, the main character’s change of character already takes place in the pilot episode or even “off-screen” immediately before the start of the series plot. In the further episodes, the main character then undergoes no further character development. In these drama series, the primary focus is therefore on revealing the character change that has already taken place or dealing with the consequences of this change. The individual episodes thus show the new potential that lies dormant in this character and is now being activated.

Structure ^

With the new series boom, the structure and format of series has become more variable and individualized. There are hardly any rigid general “structural rules” for series anymore, such as how many episodes a season must have, how long each episode must be, how the episodes must be structured or the storylines arranged, or when all the important characters must be introduced at the latest. Instead, there is now artistic freedom to allow episodes to be of completely different lengths, to allow narrative perspectives to change, to allow important characters to be introduced late (or to die) or for a character who is initially very “small” to unexpectedly become the main character of an episode.

The freer the formal structure of a series, the more important it is to keep the series “together” thematically, that is, to ensure that the basic or overarching theme of the series is present in every episode. Furthermore, the lack of fixed general guidelines does not mean that modern series have no clear structure. Rather, each series has its own structure, which in many cases is very precisely defined.

While the number of episodes per season is often a question of budget – which is why US series usually have longer seasons than German series – the length of the episodes is usually a question of the series genre. A sitcom, for example, usually has much shorter episodes (20 to 25 minutes) than a serial drama (45 to 60 minutes).

Acts, unlike those in feature films, do not represent a primary narrative unit, but mark the commercial breaks.

The actual narrative units in serialized storytelling are beats.

Five to eight beats are usual per act, so that a new beat comes at least every two minutes. The first beat of the episode is called the ‘establishing beat’, the last beat of each act is called the ‘crisis beat’, and the last beat of the episode is called the ‘cliff beat’ or ‘kiss-off’.

Often, the creators of series also set themselves a certain number of beats per act, per storyline or per character to ensure a dynamic, twist-filled narrative rhythm through a high beat density. Clear act break and beat specifications create a kind of matrix for a series season, consisting of, for example, 12 episodes with 4 acts per episode and 6 beats per act:

In this example, this results in 12 x 4 x 6 = 288 beats per season.

This matrix can be an extremely helpful tool for series development, especially in the plotting phase, although the principle “Know the rules – and break them!” applies all the more here.

Series concept ^

A series concept submitted to producers, streaming platforms, film funding organizations or broadcasters is usually 10 to 20 pages long and consists of:

• Logline
• Premise
• Synopsis
• Story world / Setting (“What if…”)
• Characters
• Season arcs (the horizontal storylines, spanning multiple episodes, of the first season)
• Plot of the individual episodes of the first season (the pilot episode in more detail)
• Preview of further seasons

Series bible ^

All the information about a series is bundled in a series bible. This is used, for example, to enable newly hired screenwriters to find out about the previous plot and the backstories of the individual characters. The series bible includes:

• Short summary
• Characters and their development
• Format
• Narrative tone
• Long-running horizontal storylines
• Vertical storylines of the individual episodes
• Themes of the individual episodes

Writers’ Room ^

The writers’ room is a concept (and room) in which several authors plot and write a series together in a playful, creative and productive working atmosphere. The concept of the writers’ room originally comes from the USA, but it is now practiced worldwide.

As a rule, work in the writers’ room only begins once the concept and main characters of the series have already been developed. It is also recommended that the horizontal storylines have already been pre-plotted by the head writer.

Only writers and creatives who participate in series development through writing are allowed in the writers’ room. Producers, editors or directors who do not write the episodes themselves are not allowed in. This means that the writers’ room is a protected space for the writers, where they can give free rein to their ideas without taboos or fear of criticism.

The members of the writers’ room are:

• The showrunner or head writer is usually the creator of the series and therefore the main creative force, as well as being fully responsible for the development and organization of the series. He or she is a manager, writer (and, in the case of the showrunner, also an executive producer) all in one, and must be present not only in the writers’ room but also on the set and in the editing room at the same time. If this is not achievable in a single role, the showrunner has a deputy, known as “Number 2”.
• Depending on the size of the writers’ room, two to ten authors (story editors). A good mix includes a combination of staff writers (authors the showrunner has worked with before) and baby writers (emerging writers), who also get practical training as a result. While there is a strict division of tasks between head writer, storyliner and dialogue writer in soaps, for example, the writers of high-end drama series are usually involved in the entire process, i.e. plotting, writing and rewriting. However, all creative decisions are the sole responsibility of the showrunner or head writer.
• A writer’s personal assistant (Writers’ PA) who collects, organizes and sends all ideas and thoughts on a daily basis, communicates between the writers and does research.

Maintaining a writers’ room on an employee basis is, of course, much more cost-intensive than hiring individual writers on a project-by-project basis. To reduce costs, the number of writers is reduced or the writers’ PA is eliminated.

In terms of space, the writers’ room usually consists of the showrunner’s office, writing rooms (usually for two writers each) and, most importantly, a large conference room with plenty of space space along the walls for the season board, episode and mood boards, photos of actors and locations, set and costume sketches, as well as “props” such as Playmobil figures, etc.

Further Reading

• Douglas, Pamela: Writing the TV Drama Series: How to Succeed as a Professional Writer in TV / TV Serien – Schreiben fürs Fernsehen. 2011.
• Gößler, Timo; Merkel, Katrin: Der German Room. Der US-Writers’-Room in der deutschen Serienentwicklung. 2021.