Story Arcs

The episodic nature of a television series makes it very difficult to tell a story with an unbroken storyline. This is why every fall, a dozen new dramas appear on network television with semi-famous lead actors and premises that are only compelling at a glance. The stories are often overly niched, and manufactured to conform to the theme of a particular summer blockbuster. The pilot episode reveals the plot to be so convoluted that discening viewers strain to find something they care about, coming up empty-handed. The characters are similarly unrelatable. And the show, with its A-list actors from yesteryear and Emmy-winning creators drop out of the lineup in lew of reality reruns.

The only reasonable way to tell a story on television is with story arcs. Story arcs allow writers to develop characters and stories that are dispensible alongside main characters. From its onset, characters who appear important can dropoff, creating plot twists usually reserved for late in the season. The characters who survive are developed more quickly by their reactions to these events. Similarly, overriding story elements that might be overwhelming to the casual viewer can be shrunk down to fit into one season. Evil plots and closet-skeletons are conquered in the span of months as oppossed to years.

The genre to most effectively use story arcs in recent years in science fiction. On the strength of several arcs, Stargate SG1 was achieved ran for ten seasons. No small feat for any program. NBC’s hit Heroes is, this season, entering its third arc, labelled villains. With its ensemble cast of twelve leads, plus or minus a few casualties and add-ons, it is easy to forget backstories and motivations between episodes. However, the show remains compelling by using story arcs to gradually bring half a dozen individuals together in a way that is neither drawn out nor contrived. The stories stay consistent and interesting thanks to responsible arc management.

So if most dramas this fall do not have a second season, or even a season finale in their future, their creators ought to take some time to develop believable, interesting story arcs. Unfortunately, most producer-run shows don’t care about anything other than marketability. Someone should tell them: Arcs sell. A little planning goes a long way. To syndication and beyond.