Train finishing from genuinely varied positions and distances, and the switching that creates them. Players cannot groove one shot, because the route determines where and how the chance arrives.
Split the area in front of goal into three channels with two columns of markers, full width, and set a keeper. Work short within a channel, then switch long into another, and finish whenever the route offers it. Run four balls so different routes are live at once: some sequences should be two passes and a shot, others should cross the pitch three times before finishing. Rotate players between the channels so nobody stays on one side.
A finishing session usually produces a single kind of chance. The service is the same, the angle is the same, the distance is the same, and by the end a player has fifty repetitions of one shot he might get twice in a season.
The channel structure here exists to break that. Because the ball can travel short within a channel or long across to another, the position it eventually arrives in is genuinely unpredictable. In the animation the four finishes come from just under ten metres, from thirteen, and from nineteen, which are three different techniques: a placed side-foot, a firm strike across the keeper, and a full contact from range.
The tactical habit underneath is more valuable than the shooting. Players learn that the short pass and the long switch are different tools with different purposes: one advances within a line, the other moves the whole defence. Groups that treat every pass the same either circulate sideways forever or hit hopeful long balls, and the channel markings make the distinction visible enough to coach.
The failure to watch for is switching as a reflex. Once a group enjoys the long diagonal they start playing it even when a direct finish was available two passes earlier, which is worse than not switching at all. The switch is a tool for when the near side is closed, and part of the exercise is recognising when it is not.
Save it to your private drills, then change the animation, adjust positions, swap equipment, or drop it into a session block. Or start from a blank pitch and build your own.