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A while back, we defined “seasons” as a particular chunk of story with particular attributes. Much like an “act” in a movie. We then took you through all the different attributes of each season.
The seasons are defined by these attributes, it’s what makes a particular season different from the rest. This is an important distinction to understand when “variations” come into play.
Here at Story Shamans we make a clear distinction between a show’s “season”, based on structural content, and a show’s “year” based on the schedule in which it was released to an audience.
Ideally, your “seasons” and your “years” would line up perfectly.
Like we see with:
- The Shield
- The West Wing
- The Wire
- Buffy the Vampire Slayer
- Sons of Anarchy
But, a “year” of a show and a “season” of a show won’t always be the same thing.
When this happens, it’s called a “variation.”
These variations come in many forms:
- Continued Season
- Season Jump
- Mislabeled Season
- Mash-up Season
When a season of content keeps on going into the next year.
The content should shift from one year to the next, moving the story forward from one season to the next. But with the “continued season” variation – it doesn’t.
It just keeps the same season content, across two (or more) years.
Dexter did this with its last year. Their season 8 is really just season 7 continued. Their season 7 started in year 7, and continued on through to year 8. It was just a big two parter.
One Tree Hill did the same thing for its fourth year. Year 4 wasn’t season 4, it was season 3 continued. Everybody is still in high school, playing out the events of their senior year, dragging out that first era.
When you jump to the next season, mid year.
Maybe you’re in season 4 and it turns out you’re getting cancelled. You don’t want to end your story on all the weirdness and shake up of season 4. So half-way through the year, you jump to season 5 content, to close out the era and the show.
This is exactly what The O.C. did. Year 4 starts out with our main characters living their post-high school lives. Scattered and grieving the loss of Marissa. That’s “change of circumstances,” “disbandments,” and “beginning of new era.” All season 4 stuff.
Then at the midpoint of the year, they resolve all of this stuff and jump straight into season 5 content:
Ryan’s Dad Frank comes to town to patch things up with his son – “family” and “salvation.” Ryan finds emotional solace in his new relationship with Taylor – more “salvation.” Sandy and Kirsten are going to have another baby – more “family.” Julie is dating both Bullit and Frank and has to choose between them. Will she marry for money or love? – “impossible decision.”
The show clearly transitions from season 4, straight into season 5. All in one year.
Prison Break did the exact same thing in their fourth year. Halfway through, they resolve the season 4 content, and move full-on into season 5 content.
Imagine your favorite show is truckin’ along.
- Year 1 = season 1
- Year 2 = season 2
- Year 3 = season 3
- Year 4 = season 4
- Year 5 = season 5
And then suddenly, the coming episodes are being advertised as “season 6 part 1,” and then “season 6 part 2” after that.
This variation is just a quirk of labeling.
It typically has nothing to do with the actual content and “seasons” of the show.
We see this happen with:
- The Sopranos
- Rescue Me
- Mad Men
- Breaking Bad
- Teen Wolf
- The Walking Dead
For The Sopranos, their seasons matched their years, all the way up until the end – when suddenly they had “season 6 part 1” and “season 6 part 2.” That’s what the marketing team called them anyway. But really, content-wise, it was just season 6 and season 7.
With Entourage, their season 3 was supposedly broken up into “season 3 part 1” and “season 3 part 2.” But structurally, it was really just season 3 and season 4.
These distinctions are usually business decisions, not creative ones.
With the “season jump” variation, we saw clear examples of shows blowing through two seasons worth of content, over the span of one year. And they did it sequentially. Year 4 of The O.C. first spent time on season 4 material, then moved on to season 5 material.
The “mash-up” is different. Instead of doing two seasons sequentially…
You’re doing two seasons simultaneously.
We see this in:
- Veronica Mars
- Battlestar Galactica (2004-2009)
At the beginning of their third year, we see elements of both season 3 and season 4. Veronica is working a new case, chasing down a serial rapist. That’s “power,” “sexual violence,” – exactly what you would expect in a season 3. But she’s also starting college. That’s “shake up,” “even trade of characters,” – exactly what you would expect in a season 4. It’s both seasons, at the same time. Structurally, you would expect one more year of high school playing out season 3 elements. But they’re jumping the gun and incorporating season 4 ideas as well. This is a classic “mash-up.”
When looking at different shows, you’re going to see all kinds of variations. And quite often, you’ll see more than one type of variation during a show’s run.
Veronica Mars had a crazy third year.
Year 3 started as a mash-up of seasons 3, and 4. Then it jumped fully into season 4 territory. Then briefly jumped to season 5, right at the end there. That’s 3 seasons, all in one year.
Alias had a couple of variations as well.
Over the course of the show they had…
- A “jump” variation: Year 2 = season 2, then season 3.
- A “mash-up” variation: Year 5 was simultaneously seasons 6 and 7.
Take a look at the new Battlestar Galactica (2004-2009).
It’s nuts. Once you think you’ve got a firm grasp on the seven seasons, go ahead and watch Battlestar Galactica‘s 4 year run and see if you can piece together just how many seasons they cover.
I’ll give you a hint: It’s all 7.
There are all kinds of combinations and permutations of the seven seasons and how they work across the years a show is on the air. It works best when each year corresponds to each season of a story. But some times, as a matter of necessity, variations are needed.
There are 3 areas of concern:
Let’s turn our attention to:
When we say “origins” we’re talking about any events that occurred before the present day of your story. Anything from the past that you might call “history.”
Season’s 1’s origin theme is expressed as:
This means that season 1 will spend time establishing and exploring the old circumstances, the old locations, the old relationships of your characters, etc. Season 1 will incorporate elements from the events that occurred before the “new world” was entered into.
There are two common ways that long from stories tend to express this “old world” theme in the context of origins:
- Old Circumstances and/or Old Location
- World Change
Old Circumstances and/or Old Location
Here you show the audience what the old circumstances and old location were like.
At the very beginning of Battlestar Galactica – (2004-2009) our characters had to flee their home planet due to a Cylon attack. Through the course of season 1, we get an idea of what our character’s lives were like before that tragedy. We get enough information to understand what their old world was like. This is important, as it helps define who they are now, and what their new life is like, in contrast to how the world used to be.
We see something similar on Veronica Mars. Throughout season 1, we get an idea of what Veronica’s life was like back when she was part of the popular “09’er” crowd. Back before she was a P.I., before her friend Lilly was killed, and before she herself was sexually assaulted.
The “world change” is that moment when your “old world” fully kicks over into the “new world.”
It’s a defining moment in your story. It’s the moment the rest of your story will grow out of. The catalyst that sets everything in motion.
In The Walking Dead, this world change happened off screen while Rick was in a coma. The story didn’t dramatize the walkers overrunning the world. But it most definitely happened – kicking off the rest of the story.
In Alias, the world change was when Sydney’s fiancé was killed and she discovered the truth about SD-6 and her father. Her old world of believing she’s working for the real CIA is over, and she’s in the new world of working as a double agent to bring down SD-6.
Both solid world changes.