What techniques can you use to write a screenplay for an anthology series?

Don't use AI to define your premise (like this AI-written article did.) It'll be so much more unique if you base the premise off your individual life experiences. Let's not cede all creativity to the machines.

To create an anthology series people usually say, for example: ‘Let’s talk about fear’ and suddenly we have 8 scary stories. But it’s a great idea to consider all aspects of fear, even the opposite, like bravery. Then you can have 8 original stories with 8 different points of view about fear.

Study the principles of narrative structure and storytelling and consider the overall story arc as well as the discrete components. Know and understand the rules and principles but don't be afraid to break the conventions if you can justify it and know why you are doing and to what effect.

Powerful premises are those that audiences can imagine themselves in the central idea, naturally, without feeling artificial about it. And regardless of the genre. So, how about heavily borrowing from our lived experiences?

I think the most important aspect of an anthology is not just the core theme but also different ways that you can explore that same theme/premise. I am currently working on a series where the premise is love. Each story has a different aspect, a different kind of love that has been explored, using different characters/age groups/cultural settings/emotions/and expressions.

An anthology series is a great opportunity to use multiple short stories all with strength in character, plot, direction. Almost a dream for a Creative writer and Producer who enjoys introducing new scenes characters and plots. The reader and watcher is taken on a journey that is not predictable. A gem in a sea of media and movies that drag out a story

Nothing. Absolutely nothing should be written in stone. In form of techniques and strategies. If it is, it voids creativity. This Q is irrelevant.

I don't believe you sit down with a pencil and "create a character." Characters come to you. They develop as you understand more about the story you're writing. In the stories I write, the strongest characters are multi-dimensional but also present a different perspective of the theme.

One thing I’ve found important is that within the limited amount of time in a film, each move of the character is a critical aspect in character development, hence each time a character makes a move or a choice, it should be meaningful, instead of random. It is very helpful to have people in the same profession/ industry as the character to advise on the screenplay so that everything from decisions to habits would make sense.

Character Development is sometimes even more important than plot or storyline. If the characters are used to make the reader feel something they will be hooked to the project. This should be accomplished very quickly and early on. Even the most intense and interesting plot can be bland and snooze worthy if the reader has not been allowed to FEEL something about the characters.

I'll add. For a short form, where each episode is 20 minutes long, the structure may not involve a character arc. Moreover, most often the character does not have time to change. This doesn't mean it shouldn't be there, it just rarely happens in a short film. More often than not, in short form we are dealing with the genre of a comedy, action film or horror. When the concentration of actions and emotions fits into 20 minutes. And often the short form uses the structure of a final twist, like in a joke. When a certain fact, revealed to us only at the very end, forces us to retrospectively re-evaluate the entire story. For example, we only realize at the end that the main character had died, and we were looking at his ghost.

Study the structures and different methodologies of narratives to know how to manipulate them and how to break them in an interesting way. If you become a hostage to the manuals, you will become a hostage to the AI too.

This series was consistent with the same death but in different historical contexts, for example, during war time, during the time of New York gangs, and in the future where society is ruled by a strange non violent dictatorship, that is very ‘big brother’

South Park is a great example of excellent storytelling within a short time period. they follow an outstanding premise to allow a story to flow. When explaining your story. If you have to use the words "and then" you need to rethink. Use Therefore, however and but For example Don't do this: man goes to shop and then tries to buy a car and then he can't afford it so he gets a new one and then it starts flying Do this: Character A buys a sports car. HOWEVER he has no money THEREFORE he has to settle for a cheaper car BUT it turns out this car can fly THEREFORE he now has a super car.

Although I learned Ancient Greek mythology at school it took me a few years after I started working in film and marketing to understand the deep meaning of that very simple structure that a story has to have to convey the writer’s idea to the audience. Then a friend and commercial director gave me the book of Joseph Campbell “ the hero with a thousand faces “ - this was a moment of click- the simplicity is the the most difficult to extract- if you have a clear way to go in front of your - you might stop and discover- just like good storytelling.

I write what I want to see on the screen. It's a visual medium and action is the movement of something or someone with urgency that's not completed and has changed to a different direction where the character or situation could never go back to. No exposition show don't tell. Action is a short dialogue. Heroes don't say much, just a quick line no more than three. No matter what the character does to rectify the situation another wrench is thrown in to mess up the journey. The audience wants to know "Now what is he going to do"

In writing an anthology series, for example with themes like depression, the challenge lies in creating dialogues and scenes that are both unique and relevant. Road trips, office events, social tables in cafes - each offering a different perspective on depression. Additionally, integrating surreal elements like dreams can deepen character exploration. But i think the key is effective scene blocking. This becomes complex when overthinking, as breaking the story down into meaningful scenes requires clarity and focus. When writing scenes, it's important to choose certain POVs to focus on and ignore others.

Step 1. Go to coffee shop and listen to the conversation happening at the next table. Even if you're writing a vampire sci-fi, I guarantee you the guy complaining about his roommate to his work buddy will be GOLD . Just imagine they're vampires in a dystopian future, maybe change one or two words. Step 2. Just say hello to the cute barista! What's the worst that could happen?

I suggest if its episodic to write straight through then go back to each scene and ask is it relevant or is it filler? Also remember if it is a series you want to have each script as sharp as possible and your timeline on the wall.

Each scene increases or decreases the gap between the character and his goal. Thus, it changes the charge of the scene from positive to negative and vice versa.

For an anthology series it’s a great idea, once you have all the episodes, to add some lines that are said in the exact same way in every episode, no matter the story or context. The audience will remember and then expect it in the next eps like a game.

ROGER: Amy, I love you more than I love my own foot. AMY: Roger, why do we always end up talking about feet? ROGER: (laughing) Hahahahaha. Oh Amy, this is why we were meant for each other. AMY: Roger, I'm your boss. Table 12 need a refill on water. ROGER: But we can never die! Alas, such is the life of a vampire in 2072

Dialogue- the meaning also derives from Greek word διάλογος: simply translated into words exchanged between 2 or more individuals/ persons. If not then it is a monologue- sometimes this is the trap in trying to write a good dialogue- one writes a couple of monologue one for each character- that sound like dialogue- but it’s not - dialogue is based on horizontal communication- one has to learn and to experience that- vertical like in politics is simple- that’s why we need new characters every few years on the political stage- the characters are not deep and they do not talk to each other - they talk about something or about each other … good dialogue is mandatory- if you don’t have to say anything just don’t do it- let the frames do the work

Characters might use clichéd lines or find themselves in stereotypical situations, which seems predictable. But as the story progresses, this technique is used to reveal the limitations and lack of depth in relying on clichés. The goal is to make the audience realize that clichés often fail to capture the complexity of real-life situations or emotions, leading them to reconsider their value.

To contrast the bland advice of the AI that's leading this article, I suggest that your dialogue should be fresh and UNnatural, because you have created a distinctive world that justifies it! Maybe your characters cite song lyrics to excess, or can quote parts of medical textbooks that no one without a photographic memory would be able to. Character dialogue is rich and interesting because it synthesises what humans might say more succinctly or cleverly. And sometimes, it reveals things that humans absolutely would not have the courage to say to each other -- in a metaphorical, quippy, or cleverly concealed way. If you use dialogue just to be "natural" or "realistic," you are not very good at this.

The old adage "writing is rewriting" should be canon. After writing first draft, set it aside for a week or two, then return and read it with fresh eyes. Write notes. See what you'd need to change and make your story stronger and better. Evaluate what works and doesn't work. This is where the writing truly begins-- In the rewrite. It's more than just looking for typos. This is where you continue to delve in to the story and develop your voice as a writer.

Get feedback early on. Think of the user experience as well as the thoughts of different producers/filmmakers. The more the merrier. (Just filter for honest and constructive feedback.)

Get comfortable with drafts. Save your old drafts, and create a copy when you start working again. It's always good to know where you came from, if you need to go back. And, I am really just regurgitating advice that ChatGPT has surely shared with you: kill your darlings, darling.

I found a simple and unexpensive (72 US) program on line that is geared mainly for Script Writing with grammar correction and phrase suggestions. SmartEdit Writer. It also helps with my books...lol

In my opinion, checking out the standout examples of anthology works are a great place to start. From the radio drama Escape! to the infamous Twilight Zone (the original), The Alfred Hitchcock Hour and others can spark the inspiration for your project! Also, note the conventions of genre, in the event that you can either emulate them to delight your audience or turn it completely upside down.

Ensure each episode explores a common theme or concept, even if the stories are diverse. This provides cohesion to the series.Use a framing device or central narrative that ties the individual episodes together. It could be a character, location, or a recurring element.Embrace diverse genres and tones to keep the series engaging. Anthology series thrive on the element of surprise and variety. Even if each episode has different characters, consider incorporating overarching character arcs or subtle connections that unfold over multiple episode.Maintain a consistent visual style or tone across episodes, helping to create a cohesive viewing experience.Ensure each episode can stand alone while contributing to the overall narrative.

In my experience, sometimes the order doesn’t much matter. If you are stumped or just starting out, sure having these listed references offers a good fall back. But just as many stories came together where characters come before the premise, as vice versa. The beauty of the creative is there is no right method.

All of the above are the formulas for what it takes to write and create your series, or for any other type of script for that matter. One very important aspect, for me at least, is to watch and study what were your favorites that influenced you as a writer and as a Fan. Analyze what you loved as a Fan enjoying what you watched, and what you feel you could have done better and what you feel that your Fans would want when enjoying your creation. From there, create memorable characters that will stand the rest of time, and be what you want your Fans to talk about with others. Get into the heart, soul and mind of your characters, even modeling them from those you feel embodied and inspired their creation. Interaction, Mission & Dialogue.

Discover what has already been produced in anthological series. But be inspired by things beyond that. Something that has already been covered won't be as interesting the second time.