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On May 18, 2024, Kasie and Rex took on mixed-up storytelling. Here are the show notes:

Theme for the day

Non-Linear Storytelling

Agenda

• Quick Catch Up
• What is non-linear storytelling
• Why do authors use it?
• Why is it hard to do?
• What are some key tricks & tips to make it work?

Segments 1 & 2

We’ve seen non-linear storytelling sometimes without knowing it. This article does a great job explaining what linear stories are:

In a linear narrative structure, the viewer finds it facile to comprehend the way the narrative is moving. This is mostly because the viewer is naturally fed with all the information required to process whatever is happening on screen.

And then explaining what non-linear stories do:

However in a non-linear narrative structure, the viewer has to use his head in order to connect the dots. Non linear narrative structures are usually adopted to build suspense, to create tension or generally to create a sense of mystery within the spectator. The most crucial aspect of a non-linear narrative structure is that the narrative does not adhere to the norms of a generalized method of storytelling. In other words, in a non-linear narrative structure, there is no hard and fast rule to strictly follow a chronology.

Some types of non-linear narratives:

• Analepsis or a flashback – used to establish critical backstory, probably only used once or twice.
• Zigzag – alternating between two different timelines, often for the compare/contrast (like The Godfather II) and sometimes to provide answers in one narrative with the exposition of another (like in Memento)
• Prolepsis – or a flash forward, showing things that will happen in the future
• Syllepsis – or grouping multiple characters or stories to tell parallel stories that eventually interconnect (think Love Actually) or have some adjacent ideas or characters
• Retrograde – chronological storytelling in reverse chronological order – Mulholland Drive is an example, as is one story of The Last Five Years
• Achrony – disconnected, disjointed, disorganized (like Inception) with no real connection between the order in which events occur and the order in which they’re told
• Chronicle – events occur simultaneously but are told in no specific order (like Pulp Fiction) popular in disaster movies

Not part of the article, but a topic we did an episode on (early on) is en media res – or beginning the story in the middle of the story. 

Segment 3

What is the impact of the non-linear structure? (this link)

On character – last week we talked about the secrets your character is keeping and the lies they’re willing to believe. The non-linear plot enables you to show those secrets at any time. Providing critical backstory just before the character does something stupid can help the reader to be more invested in the character and willing to watch the consequences of the character’s stupid choice.

On audience – a non-linear plot can be a way to jerk audience through emotions, to keep them wondering and guessing and basically engaged. BUT it can also be a way to confuse and manipulate and some audiences have very little tolerance for that. It can create a “rollercoaster” effect, with ups and downs that delight and exhilarate. But it can also befuddle and annoy. Flashbacks, especially, enable the writer to “show, don’t tell” the character’s secrets and wounds, but need to be carefully led into and out of.

On plot – non-linear storylines does NOT mean a non-linear plot. Plot is a series of actions and reactions that drive a character toward their goal. Those actions will be linear. The reactions can be fueled by non-linear baggage – backstory, exposition, core wounds – but the plot itself has to move one place to the next.

Segment 4

So how do you do it? Here are some dos and don’ts (link):

Do use the non-linear structure to reinforce the theme of the story

Do use the non-linear to highlight the character – remind us of backstory, feed us things we’ll need to know about their decision-making capacity

Do use the non-linear to create story questions – keeping the reader engaged

Do use the non-linear to trace multiple character arcs

Do have a purpose for the non-linear, don’t just write broken stuff for the sake of breaking it up

Do build tension through foreshadowing – how do we know “that” will be important? Because it wouldn’t have been shown if it wasn’t.

Don’t use non-linear structure to make a boring story more interesting

Don’t use non-linear structure to make yourself seem clever or skilled