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Before you write a single line of dialogue, understand that perfect families are the enemy of drama. Complex family relationships are built on a foundation of contradiction. A mother who is both loving and manipulative. A brother who is a protector and a rival. A child who desperately seeks approval but refuses to conform.

The most compelling storylines operate on three distinct levels: Before you write a single line of dialogue,

For example, in August: Osage County, a missing patriarch isn’t the story. The story is the chemical reaction of addiction, repressed grief, and Southern Gothic cruelty that has been brewing for fifty years. Complex relationships are never about the current argument; they are about every argument that came before it. For example, in August: Osage County , a

One mistake novice writers make is solving family drama too quickly. In reality, complex relationships do not resolve in a single argument; they evolve in waves. Consider the final scene of The Godfather Part

Consider the final scene of The Godfather Part II—Michael sitting alone, remembering his brother’s birthday. That is the apex of family drama: the loneliness that comes from winning a war against your own blood.

HBO’s Succession is arguably the apex predator of the family drama genre. It functions because it removes the safety net of sentimentality. The Roy family does not love each other. They need each other. Need is uglier than love.

The genius of Succession is that the plot (who runs the company) is boring. The drama is the relationship. Every boardroom vote is a vote on whether Daddy loves you. That is the universal truth of complex families: The external battle is always a metaphor for the internal one.