所謂的編劇創作方式，包含創作劇本的「工作藍圖」以及文本內容的「敘事技巧」，是一種長期而持續累積形成的編劇技藝與專業知識，但它們並非一成不變，而是經常受到科技發展、國家政策或外在社會氛圍所影響，不斷變化。以近十年來說，因為網路串流媒體的興起，對全球的電視劇製作產業鏈與媒介生態皆產生了巨大的改變，譬如串流影音平台所使用的電視演算法，這種基於數據行為主義下的演算法治理，雖然建構了類似觀眾”口味群集（taste clusters）”的模擬預測機制，並帶動平台與用戶互相馴化的效果（Siles 等人， 2019），但由於變數是複雜且不斷改變的，使得獲得的經驗無法延續與傳承 （Shapiro, 2020），也增加劇本開發決策的不確定性。然而目前尚缺乏系統性的研究，針對媒介生態變遷究竟如何對編劇創作方式產生影響，兩者之間的關聯性仍有待討論。特別是過去研究較少針對台灣編劇創作的實務與經驗之考察。 因應上述情形，本文嘗試提出一個歷史性與實務性的檢視，來探討編劇創作方式如何因應串流媒介特性與現實主義導向再建構及創新？其包含（一）戰後台灣戲劇發展對編劇創作方式的影響；（二）串流時代下媒介生態於台灣編劇的新創作意涵；（三）全球在地化與新社會寫實導向於台灣編劇創作的課題及其對策之探討等面向，並提出後續研究設計及建議，包含 BOCR 架構之設計。 

 The so-called screenwriters’ creation method, including the "work blueprints" for creating scripts and the "narrative techniques" of the text content, is a long-term and continuous accumulation of screenwriters’ skills and professional knowledge. However, they are not immutable, but often affected by scientific and technological developments, national policies or the atmosphere of external society, and they are constantly changing. In the past decade, with the rise of online streaming media, the global TV series production industry chain and media ecology have undergone tremendous changes, such as the TV algorithms used by streaming video and audio platforms, which are algorithmic governmentality based on data behaviorism. Although a simulated prediction mechanism similar to the audience's "taste clusters" has been constructed, and the effect of mutual domestication between the platform and users has been driven (Siles, et al., 2019), the experience gained cannot be continued and passed on because the variables are complex and constantly changing (Shapiro, 2020), which increases the uncertainty of script development decisions. However, there is still a lack of systematic research, and the correlation between the two on how the changes in media ecology affect the way screenwriters create is still to be discussed. In particular, there was little research on the practice and experience of Taiwanese screenwriters in the past. In terms of the above situation, this paper attempts to put forward a historical and practical examination to explore how screenwriters' creation methods can be reconstructed and innovated in response to the characteristics of streaming media and realism orientation, which includes (1) the impact of the development of Taiwanese drama on screenwriters’ creation methods after the war; (2) the new creative implications media ecology provides for Taiwanese screenwriters in the streaming era; (3) the exploration on global localization and new social realism orientation of Taiwanese screenwriters’ creation topics and strategies, and making subsequent research design and suggestions,  including the design of BOCR.