Screenwriting : Writing Nonlinear Scripts by Maurice Vaughan

The best tip I can give is to separate your theme and plot. While your plot can be completely out of sequence, you still need that linear growth and proof of thesis with the deeper story. Pulp Fiction works because everyone still gets their ending, even though they're still out the sync. Butch makes a deal with Marcel Wallace and makes off with Grace even though this is technically after Vincent and Jules discuss going their separate ways and surviving the coffee shop robbery.

That's fantastic advice, CJ Walley! I saved it. Thank you. Pulp Fiction is definitely one of the movies I'm gonna study. Happy Holidays to you and your family!

Hi Maurice, like the Twilight Zone movie and Creepshow movie? If yes, go for it

Hi, Billy Kwack. I'm not sure. I haven't watched Creepshow in a long time, and I haven't seen that many episodes of The Twilight Zone. Thanks.

Hey, Maurice Vaughan , my view kind of aligns with CJ's. The linearity can be what you choose for it. However, as pertains to the meaning or the articulation of the theme and how it transforms the protagonist, it needs to get the transformational arc across. I have written extensive analyses of both PULP FICTION and MEMENTO, showing that their unconventional approaches, nonetheless, convey their transformational arcs in completely conventional order. The analyses were, for me, very interesting exercises.

Hey, Lee Matthias. Thank you. I plan on studying Memento too (the movie and script).

Maurice Vaughan What's interesting about MEMENTO is that, despite the film unfolding in a sequentially reversed order, the protagonist's arc transforms in a forward order, meaning-wise. Very clever.

There's a special edition DVD with a hidden Easter Egg of the entire film re-edited and re-ordered chronologically as the events actually happen. The result reveals a VERY mundane and conventional little crime story that would never have found production interest. But, as produced, the same series of events become profound as they reveal the hero's story.

Thanks, Lee Matthias. I'll have to look for that DVD. This will be my first time watching Memento. It's been on my watch list for a long time.

Maurice Vaughan It's the Limited Edition Two Disc Set, boxed with a blue cover that simulates an official "file". To access the "Easter Egg" that is a chronological re-edit of the film, you need to navigate to the special features menu on the DVD and select the "clock" option, then answer a series of questions by placing images in reverse chronological order to unlock the alternate viewing experience; essentially, the film playing in a forward timeline instead of backwards.

Lee Matthias So cool!

Thanks, Lee Matthias. I just looked up the DVD. They're on Amazon and eBay.

My advice is to keep your focus on the efforts of the characters to achieve their goals, and to find the non-linear logic in how those efforts lead them through their growth as characters. Don’t try to get clever with passive story logic, or use the format as a rationalization for more literary storytelling… because it might be a good read, but your actors will wind up “selling the narrative” instead of actually performing strong, compelling actions. Your performances will feel pushed, in some way, if you fall into that trap.

Ok, gotcha, Tennyson Stead. Thank you for the advice.

Hi Maurice, they made a twilight Zone movie. I think there's 4 separate stories

Cool, Billy Kwack. I'll have to check it out.

First, make certain a nonlinear structure will add depth to the story. It should be used to create suspense, reveal character backstory and highlight themes. A nonlinear structure done well enhances characters as long as their motivations and arcs stay gripping even if out of order.

Nuts and bolts, use visual clues for different times and POVs. Clothes differences, props, color, like B&W vs. Color, or tones as used in the 2000 version of “Traffic”

Map it all out on index cards or other method. Use supers and titles in the script to avoid audience confusion.

Is this truly non-linear or an extended flashback as in an open and close Framing Device and circular structure used in “Saving Private Ryan?” Or is it a single story told from different perspectives.

Good luck.

It'll be a true nonlinear script, Tony S. "Or is it a single story told from different perspectives." I'm not sure yet, but you gave me something to think about. Thanks for the advice.

I made a film with nonlinear perspectives so I can tell you it's the prep work that has to really shine... everything has to make sense overall, so one thing I did was create an overall timeline first of everything. Then take that and figure out how you want to design it.

I like the timeline idea, Scott Sawitz. Thanks. And thanks for the advice.

Maurice Vaughan That's how i cracked Save State... i used it as an emotional structure and then worked it from there. It became "how is the character's emotional arc going" and writing that... then developing it from there.

I remember watching Save State, Scott Sawitz. I'm gonna rewatch it when I outline my script.

As long as the emotional ride is linear, the storyline can be played with.

I have a very good series script but I didn't know how I could give the idea to a company to turn it into a series. I spent 112 days making the script.

Pls Answer me if you are Do you know the solution?

Welcome to the community, Dhouha Ben Rabeh. You could enter screenwriting contests that get your script in front of agents and managers, like Stage 32's contests (www.stage32.com/scriptservices/contests). Stage 32's contests get scripts in front of managers, agents, producers, development executives, and financiers. Here's the list of contests: www.stage32.com/scriptservices/contests

You could pitch your script to executives, managers, etc. through Stage 32's Pitch Sessions (www.stage32.com/scriptservices/pitch-sessions). The Pitch Sessions are mainly to get feedback on pitches, but members have gotten managers, signed shopping agreements, etc. through the sessions (www.stage32.com/scriptservices/success-stories).

You could also post your script on your profile. Producers search profiles on here for projects. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.” You can also post your script on your profile this way (near the top where it says “Add a Logline”): www.stage32.com/loglines

You could network with producers, directors, etc. on Stage 32 and find the right person or company for your script. Here are blogs on networking: www.stage32.com/blog/tags/networking-41

You could also search for industry professionals in the Browse Members section (www.stage32.com/people) and IMDbPro (https://pro.imdb.com/signup/index.html).

Also, I suggest adding a profile picture and more information to your profile bio. People will feel more comfortable networking and collaborating with you if they know what you look like. And if you have a picture, your profile will show up when someone searches for you. A detailed bio will help you build relationships/network on here. You could add things to your bio like why you became a screenwriter, your accomplishments, your goals, and what movies and shows you like.

Listen to Tarantino’s commentary on the True Romance disc. He talks about how his original script was non-linear, and the changes Tony Scott employed to make it linear.

Ok, thanks, Mike Boas.

Maurice - The best advice I can give you is to write your story in chronological order first (whether it's an outline or a full script). This will avoid plot holes and other problems when writing a non-linear story. Then, ask yourself: is there a way to tell this story in a non-linear structure that will be BETTER that telling it chronologically.

Billy Kwack Those are examples of anthology films (features made up of several shorts). Completely different from non-linear storytelling.

Maurice Vaughan Glad to be of service, sir.

I love non-linear stories, though of course they’re tricky to do well hehe. When I do it I try to have some sense of cohesion so it’s not just random events slapped together. What is the thread that makes them flow the way they do if it’s not linear? Do the events in question connect emotionally, thematically? Does the order affect the story differently if it were linear?

It’s not a film but I really liked the way 13 Sentinels: Aegis Rim did it. You piece the story together between 13 protagonists and it’s seemingly all over the place (you have to unlock different characters’ POV by fulfilling certain story threads and of course each character’s relationships shows different sides to everyone), and in the end you create a more linear storyline having unlocked each scenario, which in turn affects how you understand the story itself.

And the more I watch Inuyasha, the more I like the somewhat non-linear setup as well; the story itself is linear but the characters all contribute to it at different times and the connections to one another is often surprising.

All that to say… instead of thinking in one line, envision a net or spider’s web and write accordingly lol

Thanks for the advice, Joshua Keller Katz and Banafsheh Esmailzadeh. With everyone's comments and some studying, I know I can write an incredible nonlinear script.

Some bad advice in this thread. You do not HAVE to visually signify time shifts. That can come from a cowardly and apologetic place artistically and actually make a film worse. One of the most revered films ever made, Pulp Fiction, literally does not do this, and one of the most curious elements about it is piecing it all together afterwards.

@Maurice Is it a non linear script with several stories or one story? If 2 or more EG Parallel Narrative or Group I end each individual scene of one story with cliffhanger or puzzle then switch to another story strand. I’m doing a tandem script now & got main plots but still working out exact order of juiciest set ups, payoffs & reveals.

It'll probably be a nonlinear script with one story, Debbie Croysdale. I might write a script with different stories now though. Thanks for the advice and idea.

Thanks, CJ Walley. I'm not sure if I'll use visuals to show time shifts. I like the idea of the audience piecing it all together afterwards.

Maurice Vaughan just chipping in here, Maurice. My advice, should you choose to accept it, would be to always help the audience build an emotional connection to the character and not just play a mind-game with them - I kind of ‘are you clever enough to figure it out’ approach. If the audience is invested emotionally in the film, then they’ll follow you/the story and won’t mind that it has no linearity.

Thanks for the advice, Geoff Hall. Mission: Impossible reference. :D

Sure you'll figure it out. Even "Pulp Fiction" had title cards to separate the stories for the audience. Nothing has to be done but assure the story is clear.

I usually don't enjoy nonlinear films. Now and then though I will. Memento comes to mind. And one of my all-time favorite noirs qualifies as non-linear too, I think: Out of the Past. I think the problem I have with most non-linears is they make me work too hard to follow along. Usually I watch films late at night, and I'm tired. So Maurice my advice is just don't make the reader/viewer work too damn hard.

Not a film or a short, but I would highly recommend checking out the show DARK on Netflix for Inspo on this very topic (which I'm a huge fan of :)

It's in German, and I thought it did a fabulous job of managing many intersecting storylines, timelines and characters while continuing to remain emotionally attached and invested in many of characters in the ensemble cast. Beautifully shot, the soundtrack is incredible and the transition visuals are gorgeous.

It's 3 seasons long, remiains in my top 5 list of best shows I've ever watched. The same creators made another show called 1899 - also incredible but sadly Netflix did not renew - advising the ending is a big cliffhanger which is super frustrating .

Good luck! :)

Thanks for the advice, Eric Christopherson. It's hard for me to watch a complex movie when I'm tired. I'd rather watch something quick and easier to follow like a sitcom episode.

Thank you, Sarah Jones. I just added DARK to my Netflix list.

Maurice Vaughan Dark is a great story, Maurice, which looks at fractured time and the influence of certain numbers across different timescapes.