In week 6, one of the concepts discussed was the “serial narrative”. 

Characteristics that define a serial narrative include:

• a multiplicity of characters with individual storyline
• overlap of characters
• a larger narrative web where most of the main characters are connected

This all can be explained by the fact that the biggest overarching attribute of a serial narrative is that the narrative continues over the entire season or multiple episodes rather than having stories resolved within 30-45 minutes. 

An example of a serial narrative can be demonstrated by the popular ABC series, Suits. While within an episode, smaller issues are usually resolved, the overall narrative and the bigger-issue stories continue throughout the season- these narratives may affect one or two individuals, but usually later branch out and affect most main characters. At the end of each episode there is usually a cliff-hanger moment to entice viewers to watch the next episode. 

The series also features a multitude of characters, with two to five main characters, introducing supporting characters such as antagonists, trouble makers and love interests along the way. While some characters are recurring throughout an episode, season or the series, they are obviously crafted in a way as to not overshadow the purpose and storylines of the main characters- In suits, these main characters are Harvey Specter, Jessica Pearson, Louis Litt and Mike Ross.

These characters all have intertwining storylines who are affected within their social circles and also through work related law cases which cause conflict and disagreement between parties. As previously mentioned, these conflicts branch out and usually involve other characters as well to create a larger, intricate narrative web.

While a series makes it harder to watch episodes out of order or on a one-off occasion, serial narratives like Suits are fantastic and crafty as they engage viewers from episode one and keep them engaged from the beginning and throughout the entire season in order to build rapport with viewers. 

The elements of a serial narrative can be made more obvious when comparing to a show like Modern Family, where episodes can easily be watched out of order. Despite character and plot arcs throughout multiple episodes, these arcs are not too extreme or narrative dependent and the episode-long conflicts are usually solved within the shorter time frame.

With the rise of the public sphere and increased fan-cults, the serial narrative has increased. With shows that existed in the 60s and 70s such as I dream of Jeannie and Bewitched, conflicts and problems were solved by the end of the episode, allowing closure for viewers who were unable to watch the show religiously or on a regular basis. Now with the societal changes such as the public sphere and the easy accessibility for viewers to share what they want, with the introduction of heavy binge watching -due to time shifting mechanisms like VHS and Foxtel IQ and VOD such as Netflix and Stan- shows can be created with long character arcs and developments throughout an entire season rather than episodic conflicts which are resolved in 40 minutes or less. While these kinds of narratives are not new, they have definitely become the more popular type of programme for networks- types of popular serial narratives include Game of Thrones, Suits, Greys Anatomy, True Detective, House of Cards and Madam Secretary. 

Described by Journalist Tom French, a serial narrative is a “promise that the end is worth waiting for”. Due to the long developmental arcs and season long suspense while building rapport, audiences fall into the trap of being extremely invested in a television show. This is how the cycle of fan-cults and fandoms begin, and of course the power and influence of fan cultures are invested back into the television series, which carries on as a two-way relationship. Due to this, producers must work hard to market and creatively construct their series- a show needs to avoid repetition in order to stray from the dull “wallpaper” approach a self contained series would have. Fans hold out for seasons at a time, waiting week upon week in order to get one step closer to the final developments and to uncover the outcome/resolution. In saying so, programmes such as Game of Thrones and Suits are crafty by introducing larger conflicts which overlap throughout the series, so that during the season finale, one major conflict can be solved, and another can offer a cliff hanger moment, to entice current viewers into the following season, as well as to encourage new viewers to jump on board.

With heavy focus on the investment of viewers from start to finish, this is not to say that viewers are unable to switch the channel and stumble upon an episode of Suits and not follow. While it may take some time for the viewer to acquaint themselves with the characters and their respective storylines, serial narrative programmes cater for such viewers by adding episode recaps- “Previously… On Suits…”- In order to jog the memories of the poor viewers who have waited a full week to see the new episode (unless you’re watching a Netflix Original) and also in order to give new viewers some background knowledge and context so they can follow the current episode. 

Serial narratives are extremely constructed in a way that caters to both casual and religious viewers while providing the opportunity for a larger, stronger fanbase and heavy, passionate investment. 

REFERENCE:
McDougall, J. & Potamitis, N. 2010, The Media Teacher’s Book, Hodder, Hodder Education, Great Britain, London 2010