Murray Miller, a seasoned television writer and Emmy Award-winning producer, has helped shape the structure of numerous successful TV shows across genres, including American Dad!, Girls, King of the Hill, and Tour de Pharmacy. Known for his ability to balance humour, story, and rhythm, Miller brings a deep understanding of what makes a television episode work — not just as a standalone piece but as part of a larger narrative arc.
1. Begin With the End in Mind
In this article, Miller shares key ideas on structuring TV episodes effectively — insights drawn from decades of experience in writers’ rooms, storyboarding, and revising countless scripts.
According to Miller, one of the most important aspects of structuring a TV episode is knowing where you’re going before you begin.
“I always think about what the last scene or moment is,” he says. “That doesn’t mean you can’t change it later, but if you know the emotional or narrative endpoint, it helps everything else fall into place.”
Whether it’s a punchline, a twist, or a moment of growth, a strong ending anchors the episode and gives structure to the events that lead up to it.
2. Follow a Three-Act Framework — Then Break It Creatively
Murray Miller often returns to the classic three-act structure as a foundational tool for building episodes. The setup, confrontation, and resolution format is familiar to audiences and keeps the story moving.
However, he warns against treating the structure as a formula. “You use the three acts as a guide,” he explains, “but some of the most memorable episodes come from knowing the rules well enough to break them in clever ways.”
For example, episodes of Girls often subverted expectations by delaying key plot points or focusing on quieter, character-driven moments instead of traditional arcs.
3. Let Character Drive the Structure
For Miller, structure shouldn’t dictate what the characters do — the reverse is true. “If your story beats don’t reflect who your characters are or what they want, you’re just hitting marks,” he says.
He suggests that each episode’s structure should reflect a central question or tension specific to a character. “What does the character want in this episode? What’s stopping them? And how do they change, fail, or succeed?”
That internal logic, he argues, is what gives a show its emotional consistency.
4. Weave in A and B Stories With Purpose
Balancing multiple storylines — typically labelled the A-story and B-story — is a hallmark of well-structured television. Miller emphasises that each subplot should serve the theme or emotional tone of the episode.
“The A and B stories don’t always have to intersect, but they should echo or contrast each other in a way that makes the episode feel cohesive,” he explains.
In animated shows like American Dad!, this often meant having a more absurd or comedic B-story that still reflected the emotional conflict of the main plot.
5. Create Momentum With Reversals and Turns
Pacing is critical in TV writing, and Miller notes that a common mistake is allowing the story to feel flat or predictable.
“Every five to seven pages, something should shift — a reversal, a surprise, a new piece of information,” he advises. “That keeps the viewer engaged and gives each act a natural shape.”
These turns don’t have to be big twists. Even small changes in dynamics between characters or setting can reinvigorate the momentum.
6. Use Cold Opens and Teasers Strategically
Miller highlights the importance of the cold open — the scene before the title sequence or credits — as a structural tool.
“It’s your hook,” he says. “You can use it for a laugh, a question, a surprise — whatever it is, it sets the tone.”
Final Thoughts
Murray Miller’s ideas on episode structure go beyond rigid formulas. His approach emphasises flexibility, emotional logic, and character-driven storytelling — all essential elements in creating compelling, successful television.
For aspiring writers, his advice is clear: structure should support the story, not dictate it. Keep the audience engaged with reversals and momentum, build your plot around who the characters are, and always strive for endings that resonate beyond the credits.
Whether you’re writing your first script or refining a full season, these principles offer a solid foundation for turning good ideas into great television.