Linda Aronson
Connect With Linda
  • Home
  • Linda's Work
    • More endorsements
    • Author >
      • 21st Century Screenplay
      • Screenwriting Updated
      • Television Writing
      • Writing With Imagination
      • Script Mechanics
    • Screenwriter
    • Plays >
      • Dinkum Assorted
      • Reginka's Lesson
      • A Night with Robinson Crusoe
      • Miss Bilbey
    • Novels
  • COURSES
  • Practical Writing Advice
    • Which Type of Parallel Narrative Suits My Story
    • Parallel Narrative
    • Six Types of Parallel Narrative
    • Should I use conventional three act structure?
    • Characters in Search of a Plot
    • Double Narrative Flashback
    • Reminders about Parallel Narrative
  • Consultant, Teacher
    • Consultancy
    • Teacher & Mentor >
      • Mentorships >
        • Mentorship FAQ
      • Teaching
  • Contact
  • Blog
  • Shop
  • Home
  • Linda's Work

Silly things people say about non-linear films: number 1

8/1/2013

1 Comment

 
Picture
I’m fascinated by that comment you often hear when people discuss non-linearity, to wit:  ‘every film has a beginning middle and end – but not necessarily in that order’. And it’s always said dismissively, as if it ends the debate.

I find it interesting for a couple of reasons, not the least of which is that it’s totally inaccurate.  Nonlinearity in all of the nonlinear structures is (as far as I can see) always arranged so that the end always occurs at the very end of the film, or else, if there are multiple stories, that the film ends on the end of one very powerful story, thereby getting its strong ending from that story’s ending, piggybacking,  if you like, on that story’s pull to closure ( as happens in Pulp Fiction for example). 

There is always a striking or thought-provoking resolution, indeed, nonlinear forms very often clearly show what I call a ‘Rosebud’ twist ( a term referencing Citizen Kane), where only in the final moments is the crucial answer given and this answer turns what seemed to be the message and point of the film on its head.  In fact, it’s this pleasing tying-up of threads in an unexpected way that gives nonlinear films much of their pleasure.

But let’s move on. What practical help is this little dictum offering?  Well, none. To the contrary, not only has it pointed you towards disaster by suggesting that you don’t have to have the end of the story at the end but it begs a dozen questions. Let’s look at it.  ‘Every film has a beginning, middle and end but not in that order’. Surely one has to say: ‘ That sounds really useful, but can you please elaborate?  Your comment implies that you have come to this conclusion after studying these forms in some detail (otherwise how could you make such a sweeping and apparently authoritative statement?), hence, can you please list these different orders, with examples? Please also explain by what rules, if any, one should choose to use any individual order?  Is there any particular form of story content to which each is best suited?  And please may I have some technical details here.  How precisely am I to jump between the three components?  Your argument is premised on there being three distinct parts to the story that one reorders. How do you define those parts? I need to know so that I know precisely where to start the reordering. How do we define the end of the beginning and the start of the middle and the end of the middle and the start of the end?

I’m not being smart here. These questions are the ones you really have to ask about the practical mechanics of non-linear.  Where you jump stories is vital.  Films crash and burn if you jump at the wrong places.  Personally, I’ve spent years studying how and when and why nonlinear stories jump at the points that they do, and what effect each sort of jump creates for the audience and what sort of material suits what sort of structure.  I had no choice about this because the jumps to and fro between stories make or break the nonlinear film and you need to choose the right structure to tell your story or it won't work. I’d say, for example, that many nonlinear forms open on the second act turning point of one of their stories then jump to its disturbance.

My only request is for precision and seriousness. Bottom line. Let’s have a proper debate about nonlinear.

1 Comment

    RSS Feed

    View my profile on LinkedIn

    Author

    Linda is a screenwriter, novelist and playwright. As well as teaching and mentoring writers around the world, she regularly consults on screenplays at the highest level in the US, UK and Australia.

    Picture

    Subscribe to Linda Aronson's Craft Skills Newsletter

    Archives

    June 2017
    May 2017
    September 2015
    June 2015
    September 2014
    July 2014
    May 2014
    March 2014
    February 2014
    January 2014
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    November 2012
    October 2012
    September 2012
    August 2012
    May 2012
    April 2012
    March 2012
    February 2012
    January 2012
    December 2011
    November 2011

    Categories

    All
    Advice For Actors
    Advice For New Writers
    Advice For New Writers
    Advice For Writers
    Advice For Writers
    Agent
    Brainstorm
    Brainstorming
    Cell Phone Movie
    Characters
    Christopher Vogler
    Cliche
    Creating A Storyline
    Creating A Storyline
    Difference Between Film And Fiction Writing
    Dinkum Assorted
    Double Journey
    Double Journey
    Double Narrative Flashback
    Double Narrative Flashback
    First Act Turning Point
    Flashback
    Flashback As Detective Story
    Games Writing
    Getting Ideas
    Getting Into Film And Tv
    Ghost
    Hero's Journey
    Lateral Imagination
    Linda Aronson
    Linear
    Magnificent Seven
    Motivation
    Multiple Protagonist
    Multiple Protagonist Films
    Multi Protagonist
    Multi Protagonist
    Multi Protagonist
    Multi-protagonist
    Mystery
    New Writer
    Nonlinear
    Non Linear
    Non Linear
    Parallel Narrative General
    Pay It Forward
    Pitching
    Radio Writing
    Scriptwriting Software
    Shakespeare
    Short Film
    Sitcom
    Slumdog Millionaire
    Tandem Narrative
    The Great Gatsby
    The Hangover
    Three Act Structure
    Three Act Structure
    Thriller
    Tootsie
    Tv Series And Mini Serials
    Tv Writing
    Vertical Imagination
    Women Characters
    Writing Dialogue
    Writing Fiction

    Note: Hi everyone. For RSS feed from this blog, you'll need feedly.com or theoldreader.com. Thanks, Linda

    RSS Feed

Powered by Create your own unique website with customizable templates.