What I Learned From Nic Pizzolatto's Work Part 1: Character Development & Plot

The first season of True Detective stands out as one of the finest offerings in the realm of quality TV shows. All episodes were penned by a single writer: Nic Pizzolatto. But what exactly makes them so compelling? I took this question as an opportunity to closely analyze Pizzolatto's novel *Galveston* and the first three seasons of *True Detective*. From this exploration, I extracted dramaturgical similarities and devised a writing model. This process was enlightening, and I'd like to share the results with you.

The model presented here is applicable to novels, films, and anthology series, accommodating both 3-act and 5-act structures. It's also adaptable to cross-season plots, although coordinating the dramaturgical arcs across episodes, seasons, and the entire series can be challenging. Therefore, I recommend starting with anthologies of 8 to 10 episodes, mirroring Pizzolatto's approach.

The primary goal of this model is to craft organic, cohesive stories. The rules outlined below are not rigid laws but rather flexible suggestions. Feel free to experiment, adopt what aligns with your style, and discard what doesn't.

1) Develop Interconnected Relationships:

Flesh out a network of relationships between protagonists, antagonists, and supporting characters. Each character should possess distinct strengths, weaknesses, motives, and beliefs.

Characters, save for a few reclusive hermits, exist within webs of relationships. Every individual maintains different connections with various people, leading to diverse social roles. Consider likes, dislikes, conflicts of interest, and alliances. Treat characters as multifaceted beings with inner contradictions, secrets, fears, and talents.

Example: Hitman Roy Cady becomes a target of gang boss Stan's jealousy, who wants him to vanish quietly during a job. However, Roy survives and rescues a young woman named Rocky. Over time, he develops fatherly feelings for her and her supposed sister Tiffany. As this makeshift "family" finds refuge in a motel while on the run, they must navigate the challenges posed by the other guests and the manager. These encounters turn perilous because Roy and his charges must stay hidden while Stan relentlessly searches for them. (Galveston)

2) Assign Unique Abilities and Tragic Backstories:

Equip each protagonist with a special ability and a tragic backstory to deepen character development and plot possibilities.

Special abilities enhance characters' depth and offer narrative potential, while tragic backstories provide fertile ground for redemption arcs. Characters need not be likable, but understanding their motives and complexities fosters engagement.

Note: Our protagonists' special abilities must be established early in the story. If, later on, we suddenly free our hero from a tough situation by revealing a previously unknown ability, viewers will justifiably feel insulted.

Example: Roy Cady is a hitman with a talent for observation and elimination. With a past of broken relationships and no intact family, he's now an alcoholic facing a mid-life crisis and terminal lung cancer. (Galveston)

Rust Cohle, an LSP CID investigator, excels at noticing crucial yet seemingly insignificant details. His habit of carrying a large notebook earns him the nickname "Taxman" among colleagues. His past as an undercover investigator provides useful contacts in the drug scene, though his use of hallucinogens led to flashbacks. Traumatized by his daughter's accidental death and his subsequent failed marriage, he is now a dry alcoholic and philosophical pessimist. He views human ego consciousness as an evolutionary mistake, believes happiness is an illusion, and sees time as an eternal "flat circle" with no hope of salvation. (True Detective, Season 1)

3) Craft Endings from the Beginning:

Plan the story's conclusion first to set the stage for a compelling twist.

This technique fosters coherence and prevents narrative tangling, particularly crucial in crime fiction. It is useful across all genres, though, from epic fantasy to realistic social drama. The end of the story should plausibly conclude both the plot and the main characters' development. Our heroes must reconcile their external desires and internal needs—or fail in the attempt—suffering along the way (see “Wounding”). They might even die. Despite the story's conclusion, some secrets and mysteries should remain (see “Epilogue”).

Example: Roy went into hiding to protect Tiffany but is now lost in life. When she finds him after 20 years, he reveals that her "sister" was actually her mother and she was not abandoned. They can finally close this chapter. However, Roy's desire for death is too strong. He says goodbye to Tiffany and faces a hurricane unprotected to end his life. (Galveston)

After Rust and Marty save each other and solve their big case, Rust views life more positively, and Marty reconciles with his family. Two very different men with a complicated relationship have finally found themselves and each other. It's unclear if they will work together in the future, though Rust could join Marty's private detective agency. (True Detective, Season 1)

4) Introduce Major Wounding:

Inflict a significant wound upon the protagonist to propel the story into its final act. This pivotal scene should be strategically placed to maximize impact.

Note: This key scene must not be shown to the audience too early! Using the time jump technique, it can appear in the middle of the story's timeline while marking the beginning of the final act. This is made possible by our achronological narrative structure (see below).

Example: Roy's drunken threat to his doctor leads to him and Rocky being tracked down by Stan's henchmen. Roy endures a brutal beating, while Rocky is raped and murdered. Though Roy escapes, his face is left disfigured, and he's mentally shattered. (Galveston)

After Maggie's infidelity with Rust in 2002, a fight ends his friendship with Marty and they both leave the LSP CID, leading to years of loneliness. A decade later, they reconcile and decide to reopen a case together. (True Detective, Season 1)

Wayne and Roland reconcile after a dispute and aim to close their case together. However, Wayne's dementia is deteriorating rapidly, threatening their efforts. (True Detective, Season 3)

5) Structure the Beginning and Middle with Misdirection:

Construct the story's start and middle chronologically, incorporating red herrings to mislead the audience. These elements pave the way for surprising plot developments.

Note: Even if the audience is misled initially, the plot must logically stem from the first act.

Example: Roy believes he has terminal lung cancer (Beginning). When it's revealed he has a non-fatal lung disease (Wounding), he struggles with his second chance, fearing a life of unhappiness (Middle). (Galveston)

In Rust and Marty's initial investigation, a cult appears to be responsible for the murders (Beginning). Rust continues to pursue this theory until it's revealed that the killer, Errol Childress, was a victim of the cult himself (Middle). Rust's apparent descent into alcoholism belies his ongoing work on the case (True Detective, Season 1).

The murder victim, Ben Caspere, initially appears to be just a politician (city manager) (Beginning). Later, it's revealed he was once a corrupt cop like protagonist Raymond. During a robbery that helped him enter politics, he orphaned two children, one of whom eventually took revenge on him (Middle). (True Detective, Season 2)

6) Plan Chronological Events and Time Jumps:

Lay out a sequence of events, allowing for time jumps to unveil backstory and character evolution gradually.

This step is crucial to maintain an overview and avoid chronological errors. Before delving into rearranging the plot, consider the impact of your narrative structure on character development and audience engagement.

Tried-and-tested plot elements involve the dynamics of relationships - their formation, dissolution, and rekindling. Characters may be led astray, driven by obsessions, or confronted with buried truths resurfacing. Critical decisions must be made, often involving the choice between flight and confrontation or facing personal guilt. And ultimately, characters may be called upon to make profound sacrifices.

Example: Rust Cohle's transformation unfolds over years, juxtaposing his past as a dedicated investigator with his present as a disillusioned recluse (True Detective, Season 1).

7) Rearrange the Plot Achronologically:

Focus on key scenes to create new connections and foreshadowing. Gradually reveal causal links from the first to the last episode.

Note: Time jumps don't change the 3- or 5-act structure or plot points. Establish core traits and conflicts in the first half of the season; deeper developments and the climax belong in the second half of the season.

Ensure that each time jump serves a purpose in advancing the story and deepening the audience's understanding of the characters and their motivations. Time jumps give viewers a timeless perspective, motivating them to piece together the story.

Highlight character changes visually and situationally:

- Young, well-groomed Rust in uniform vs. older, disheveled Rust in civilian clothes; young Marty with his family vs. older, single Marty eating alone (True Detective, Season 1).

- 40-year-old Roy drinking beer vs. older, sober Roy at AA meetings (Galveston).

Ensure contrasts make dramaturgical sense.

True Detective Season 2 uses a linear timeline, creating immediate tension but limiting deep character development. Decide which approach suits your story better.

8) Conclude with an Epilogue:

Provide closure while hinting at unresolved threads, reinforcing the story's realism and depth.

This makes our story world more believable—it doesn't revolve solely around our heroes but has a life of its own. The audience realizes that what they see is just a fraction of this fictional world, stimulating their imagination to fill in the gaps.

Example: Rust and Marty defeat Errol Childress, but the Tuttle clan and its cult continue their activities (True Detective, Season 1).

Raymond, Antigone, and Paul solve Ben Caspere's murder with occasional help from Frank. Only Antigone survives, fleeing to Venezuela with Raymond's child and befriending Frank's widow. The corrupt Vinci mayor is replaced by his son, likely influenced by the Mexican cartel and possibly his father's murderer (True Detective, Season 2).

Congratulations if you've completed these eight steps—you have the skeleton of your story.

Stay tuned for part 2 of this blog series, where I'll discuss tropes, themes, and conflicts suited to these types of stories.

Let's hear your thoughts in the comments below!

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