Season 4 (part 4) – Even Trade of Characters & Promotion

Season 4

Dramatic Pace

Has two traits:

  • Even Trade, for your roster of characters
  • Promotion

Even Trade

In season 2, our previous separation/negative/deviation season, we had a change in our roster of characters with “new blood.” That meant we were bringing in new people – explicitly adding to the story’s roster of characters.

For an “even trade” in characters, this means…

We’re gonna lose some, and gain some, in equal measure.

What does this look like? Let’s take a peek:

In season 4 of Friday Night Lights they traded show regulars:

  • Street
  • Lyla
  • Smash
  • Tyra


  • Vince
  • Luke
  • Becky
  • Jess

That’s 4 for 4. That’s a straight even trade.

Glee did the same thing. After season 3, most of the glee club graduated. And while we kept up with some of them, like Rachel, Kurt, and Santana – others fell by the wayside, only making the occasional appearance, like:

  • Mercedes
  • Quinn
  • Mike

With a lot of the group having graduated, the club needs new members. So in come:

  • Jake
  • Marley
  • Ryder
  • Kitty

Generally speaking, that’s an even trade. Out with the old and in with the new, as life goes on.

An even trade of this size works best on large ensemble shows. The smaller the cast, the smaller the trade.


What this means, is a little difficult to pin down. But basically:

The quality of your show has to go up. The show has to get better.

You’re giving your story a “promotion” in the eyes of the audience. The show was good before, but now it’s really killin’ it.

Why? Why do we need to specifically make the show so much better than before? Well, it’s been 3 full seasons now. Most shows don’t last even that long.

If your show is going to go for a second era, then you’ve got to show your audience that there’s more story to tell. You’ve got to open up the story to bigger and better things. You’ve gotta show them that the best is yet to come.

Let’s take a look at a story that really nailed the promotion:


For the first three seasons, LOST was doing fantastic things with the stranded-on-an-island idea. But to “promote” the story, they moved past the mysterious island angle and opened up the story to bigger and better things. We’re shown that in the future, some of the survivors get off the island. Things get weirder, more complex, as mystery upon mystery teases itself into the future. More intricate mythology, and deeper, wider reaching questions, about not just the island, but: Why these people? Why go back to the island?

This is what we mean when we say “promotion.”

They even took it one step further in promoting not just the story content of the show, but the format as well. Season 4 ditches the flashback format from the previous era, and instead utilizes the flashforward format in the new era. That’s a definite promotion. Good work, LOST.

A more subtle example would be something like Dexter.

Season 4 pushed the quality of the show to new heights. The first three seasons were quite good, but season four really hit its stride and arguably achieved the series’ high point: Rita’s death.

Now, we understand this “promotion” idea can be fairly subjective. Especially when one of its main components is:

“Hey, make it ‘better.'”

But keep in mind, the general idea of the promotion is to open the show up to greater possibilities. Breathe new life into the overall story by leaving behind what’s already been explored – search out new vistas. Specifically new, cooler, more interesting vistas. Season 4 should feel like the meaningful culmination of everything that’s come before.

It’s like reinventing the show in a way. By season 4, you need to communicate to your audience that not only is there more story to tell, but better story to tell.

But what if you don’t promote. What’s the harm? Well, then you’ve got what we call a:


If the quality of your show was solid all through seasons 1, 2, and 3. And then you stick to the same general level of quality in season 4, then you’ve “slumped.” The show can’t stay the same level of quality. Because even if they don’t consciously realize it, the audience unconsciously needs things to get significantly better after the first era’s over.

Promoting isn’t an option, it’s a necessity for the longevity of your story.

If season 4 doesn’t take the story to new heights, then it’s no longer building with forward momentum, it’s sliding backward into inferiority. The best days of the story will be behind you and your audience will feel it. They will lose interest and stop watching. They’ll be thinking:

“The show peaked, what’s the point?”

It makes sense right? The first chunk is over, and they want the next chunk to be that much cooler. They want it to be an improvement upon the foundation set by the first era. If it’s just more of the same, they’re going to lose interest.

A lot of shows have suffered a slump in their season 4, and then never really recovered from the lost momentum:

  • Nip/Tuck
  • Grey’s Anatomy
  • Rescue Me

They all had more seasons, sure. But the quality of the show never really recovered. Nobody really loved the show as much as they did previously.

They all coasted too much in season 4. These season 4’s weren’t necessarily worse than seasons 1, 2, or 3. But not explicitly better either. As a result, you’ve got no “promotion,” but a “slump” instead.

You can recover from a slump, but it’s an uphill battle.

Arguably The Sopranos did it. Season 4 was not great. It was too much of the same from the past 3 seasons. The circumstances weren’t very different, no real shake-up, nothing bigger, badder, more interesting, higher stakes. It was just continuing on from season 3, still playing out things that probably should have been wrapped up last season. As a consequence: it’s a slump.

Not a huge one. But a noticeable one.

Season 4 was arguably their weakest season, when it needed to be one of their strongest. But, season 5 got things moving again. It’s arguably one of their strongest. It picked the quality back up, and things worked out in the end.

What if your season 4 isn’t the same level of quality, but noticeably worse?

Oh boy…

What if you’ve “run out of ideas” and season 4 is worse than any part of the season 1, 2, 3 era? That’s a true slump that’s very difficult to recover from. A noticeably bad season 4 is a show breaker.

So when putting together your season 4, make sure to swap out an even number of characters for new ones. And go out of your way to up the quality of your show. Open it up to new ideas, grand new story threads, and a general sense of everything getting more meaningful and even better than ever before.

Narrative Part 1: Traits & Timeline

How a story is organized and communicated to an audience.

Storytellers have a whole range of tools to use in designing how their story is specifically communicated.

First up! You’ve gotchur plots.

A Plot:

The main plot of your story.

It follows the general events of the story and the path of your main character.

B Plot:

Typically follows a supporting character and is related directly, or indirectly, to the main character and the main “A” plot.

It’s a smaller side story.

The best “B” plots are typically a smaller version of the “A” plot in some way. For instance, the main character in your “B” plot could be pursuing the same goal as the main character in your “A” plot. They have the same desire line. But maybe we see that the “B” plot character fails, while the “A” plot character succeeds. The “B” plot then stands in stark contrast. Demonstrating just how things could have gone for your story’s main character.

C and D Plots:

These are even smaller side plots that run through the story.

What else do we need to worry about when crafting our narrative?

A few key traits:

  • Perspective
  • Scope
  • Stakes


How the story is presented to the audience.

Is the story from the perspective of the main character? Or is it experienced from the point of view of several different people? This makes it possible for the audience to know more than the main character. It also makes it possible for them to know less.


How wide-reaching are the events of the story?

Does it have a really wide scope with global ramifications? Or does it have a really narrow scope – two guys talking in a bar?


How important is the story to the characters involved?

Are they fighting to save their very lives? Or are they trying to get a date to prom?

Outside of these concerns, we’ve got to take a look at our:


Most stories are linear with a beginning, middle, and end, in that order. But not always.

Some stories employ a non-linear structure.

And there are many tools we can use to pull this off.


You know what these are.
The story was progressing forward in time. But then it shows you something that happened before the beginning. Reaching back to show you events you’ve never seen.


This is when the story is moving along and then shifts to a point in time far in the future. A kind of counterpoint to the “flashback.”


An “anchor” is a stable point in the story’s timeline that acts as the primary focus. The “present” of the story’s timeline. It gives the audience something to hold on to in their minds. Storytellers are great for establishing an anchor. We see this device used in Forrest Gump, among others.


This is primarily a way of compressing time. You show bits and pieces of a larger period of time – conveying the gist.

Co-Current Timelines:

This is when you have two timelines going at once.
Both are considered the “present” by the audience. And at some point you connect them both up. We see this in The Notebook. You have the older versions of the characters. And the younger versions. Two timelines that eventually intersect.

To Be Continued…