Non-linear narratives can be super engaging and fun, but are prone to problems that kill their good qualities. So when should a story be told in a non-linear way?
Homecoming season 2 is a perfect example of why you shouldn’t rush a story, especially its ending.
Every writer knows a story needs conflict. Audiences and readers tend to agree, but sometimes conflict can go too far.
We say we want a well-written story, that perfectly balances theme, character development, and plot. But is that really what we want?
Writing a believable friendship is a must in a lot of fiction. From the classic ‘Strangers to Friends’ to the always fun ‘Enemies to Friends,’ characters who are initially suspicious of each other have the most interesting dynamics. But how can we get this transition to feel organic?
Be it the first chapter to a novel, or the opening scene of a screenplay, writing a good opening to a story is tough. What can Mr. Robot teach us about setting up a compelling narrative?