An almanac is organised by seasons, and series here are kept the same way: the table never moves, and everything around it rotates. A season of sittings shares one light and one family of settings, so the frames sit together; the next season changes the light, the hour, the wardrobe palette — while her five entries are pasted word for word, untouched.
Rotation is planned in the changing line, never in the card. Keep a short season record beside the ephemeris card: the changing lines used, the frames kept, the one frame that fronts the season. When a later season disappoints, the record says whether the table or the weather was at fault — and it is almost always the weather, which is cheap to change.
The weekly rhythm suits the method. A sitting or two a week, judged cold against the table, builds a season in a couple of months without ever hurrying a frame into finishing money it has not earned. Premium and upscaler credits land only on frames the table has passed, season after season.
Move the seasons all you like. Never move the table. That is the whole art of a long series, and it is mostly patience.