Spotlight TV series for good examples of writing.

Jemini

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Part of improving your own ability to write is looking at how other writers have practiced their craft. I find that you can sometimes actually learn more from a TV series than you can from another person's web novel. TV series are also writing, someone has to write the screen-play for every single episode of the series and a lot of planning goes into the whole thing.

Writing for TV is something that also presents several challenges. I have no experience with it myself, but you can easily picture it. What is normally put across with descriptive details is instead portrayed visually. There are very seldom few cases where there is a narrator present in a show. Meanwhile, the medium allows for the character and the dialogue to shine through far better than it does from most written stories, and it allows the viewer with a critical eye to learn more about character portrayals.

I thought we should probably share a few of the better examples of TV or internet streaming service series that someone can learn from. Here are a few of my selections (more may be added in later posts in the thread.)


The Twilight Zone (Original 1959 black-and-white version)

The Twilight Zone is a series of short stories in which, in the majority of the episodes, something paranormal happens. In the few episodes where there is nothing paranormal, a person's extreme abnormal situation has various consiquences that result from their actions and life choices. In either case, every single episode contains 2 stories (each short story taking half the episode) that uses excellent minimalistic story telling, getting all the important points out in a "show-don't-tell" way, and getting all the important points across as quickly as possible in its short run time.

Most of the original Twilight Zone's stories, including the ones which do not include paranormal events, also have a tendency to make some excellent social commentary that will strike a chord with most viewers. Some stories in the original Twilight Zone are even adaptations or retellings of stories from some of the greatest writers before this time. It is my opinion that the original Twilight Zone boasts some of the very best top-tier writing ever seen, and any writer can find a lot to learn from it.


Batman - The animated series. (1992 - 95 version)

This is another excellent use of a single-episodic format to tell a story, and the fact that it maintains most of the characters from one story to another allows for an excellent character study on the characters. Some stand-out greats are the characters of Mr. Freeze, Harly Quinn, and Baby Doll. The motivations, flaws, and personal situations of these characters are all incredibly sympathisable and humanizing.

It is a frequent challenge of many writers to write a good humanized villain, and Batman the Animate Series is one of the better example of good villain characterization done at a top-tier level. The best part about this is that the comic book origins of the villains the writers of the series were handling at the time were not really done anywhere near this well before. This series actually set the standard and changed the views and expectations on several of these characters, and also forced DC comics to step up their own game in portraying these characters more like how the animated series had as these sympathisable versions had become the ones most of the fans identified with. This is a sign of some truly great writing so far as I see it.


Avitar the Last Airbender

This is an example of good episode-to-episode story telling. Rather than a single ongoing story though, it also manages to tell a number of smaller stories within each episode. Although these episodes each tell their own self-contained stories, they each serve as more of a C-plot under the larger A and B plots that arc over the entire series. These self-contained stories though also genuinely feel like they can stand on their own, while also progressing the larger overarching stories of the series.

This level of story telling is something that tried to emulate Japanese animation, but in doing so it managed to recapture something that actually hadn't been seen in Japanese animation for a long time prior to this, and it is done to such an amazingly high level of implementation that I felt I would not be doing a good job here if I did not include this in the roster of first recommendations for good series to take a lesson from.

All larger stories really are a collection of smaller stories when it comes right down to it. We may not write in an episodic format in our own works, but there is a lot we can learn from the idea of progressing the larger plot using a series of smaller incidents and events within the story.
 
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Farscape

Although slow to start (I would forgo the standard "four episode rule" and watch it up to episode 8 before deciding whether or not it's for you), Farscape has some incredibly inventive writing that constantly walks the razor's edge between absurdly comedic, heartrending, and deep space horror. It was produced by the Jim Henson Company, so a good 40% of the strange alien life of this unique sci-fi universe are actual puppets (including two main cast members), which allows them to portray a hugely varied display of alien biodiversity. As far as lessons taken from it, as stated it is a masterclass in balancing tone, being a show that is able to have cartoonish humour (literally in one episode) and some incredibly dark stories, often revolving around things like body horror and degenerating mental states, but never feeling like two separate shows. S2E4 "Crackers Don't Matter" probably exemplifies this aspect of the razor sharp writing, with the characters gradually circling the mental drain as they become increasingly paranoid and manic and aggressive towards one another, the story being told through both amusing and comedic displays of mania and some really chilling instances where characters crossed lines, ending the episode on a bittersweet note of "well we're all sane again now because [threat] that was causing our insanity was taken care of, but we also cannot take back the things we said and did".

Another lesson is, and I cannot stress this enough, the breadth and depth of the world, just how absorbing and fascinating and creative it is. If you're familiar with the AM/FM distinction of sci-fi storytelling, Farscape leans hard into FM. Why watch until episode eight? Well, because that's the episode where a space wizard traps a character in a magic dimension so he can drain his soul energy, and if you can watch that episode and be like "I'm on board with this D&D space opera nonsense" then you can watch anything the show has to offer. The show is very awkward through the first half of the first season, as it's still figuring out it's voice and the stories it is trying to tell, but they were always inventing and testing and trying to push the limits of their show, and the result is a really fantastic and absorbing world - and because a lot of the world is being sort of figured out on the go, as though delve through the story, it ends up being built up gradually. I mean, the first episode literally throws you into the thick of things, but after that they do gradually just sort of take their time building things up.
 

JustHANO

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Love sex robot is also in the black mirror boat.

I feel with these two, some are just cool stories while others are poetry.

Cowboy bebop is my idol for episodic stories. Such a wide variety stemming from one central focus.
 

Jemini

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Cowboy bebop is my idol for episodic stories. Such a wide variety stemming from one central focus.

I think anything that adapts the western method of story telling into a more futuristic setting is great. Westerns featured a few great things in story telling. Mostly, they feature a simple plot (revenge, drive away the bad guy, honor duels, traveling) and tells these simple stories in a way that emphisises the characters rather than the simple events. The characters are, after all, the main thing to make a western unique from all the others.

The mere simplicity of the western genre forces other areas in the writing to improve in quality. For the most part, adaptations of the western genre such as Cowboy Bebop abandon the idea of simple story telling, but still take the time to utilize the same themes with the same slow-paced character driven story telling.

In other words, what ultimately makes westerns good is the mixture of action and slice-of-life style story telling, with simple easily sympathisable themes that are not too out there.
 

Sloth-of-Bangkok

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originally the west character piece used to be good, but it has degraded in recent years.

There are JoJo Bizzare adventure. Araki is a master for a reason search mother’s basement youtube video for further detail.

Then here comes the unlikeliest source of comparison. The Kamen riders series. You have the franchise that has been running around for fifty years and is still relevant to the Japanese kid. And given on how GoT and Ben 10 ended with pie in there face I began to wonder what Karmen Rider have that those two shows didn't. How did they adopt a tv show for kids to sell toys and made relevant for three separate range of emperors and counting?

There is a secret. Beneath the Rubber suit and super moves, Karmen rider has several beautiful ending that wasn’t found on normal kids tv. Basically, the comparison must be made to be believed. They are made to sell toys but fifty years worth of evolution have built that legacy. Faiz explores the the theme of humanity and is so damn dark, I can’t believe it was made for kids. Kuga can be fucking depressing in some aspect but it concept was duper cool with 3D Villians. And Kabuto is just memorable with a the very meme-inducing protagonist in name of Tendou Souji (I love him when I was a kid). Each one of the riders were designed differently and the villains did have some depth to them.

So yeah each story told an arc that has movable characters and stake actually meant something. The gadget despite being use to sell toys was goddamned cool. Several concepts, especially Faiz, was ridiculously dark to the point Western parent worrying about video games influence seem almost weaksauce
 
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