Three storylines in a feature - where one is a reverse flashback line

[twilight]

Questioning about having a flashback line told in reverse. Is that impossible to make good? How to make it more clear?

We are developing a narrative about a protagonist who is driven to locate her kidnapped brother in a dystopian future, in a desperate bid to reach the safety of a bunker before an impending climate disaster strikes.

The brother's disappearance serves as the catalyst, compelling the main character to form an unlikely alliance with another girl whom she despises. However, this girl possesses crucial knowledge regarding the brother's potential whereabouts, and their reluctant partnership is key to the plot.

Our feature has three distinct yet interwoven storylines. The first follows the protagonist and her antagonistic ally on a perilous 'road trip' in search of the missing brother. The second reveals the brother's struggles to free himself from his captors. In essence, these intertwined narratives draw parallels with "Finding Nemo."

The third storyline centers on the relationship between the two siblings, told uniquely: it unfolds in reverse. As the story progresses, this unusual approach provides a deeper understanding of their characters and their relationship, shedding light on why they've become who they are, even in opposition to each other.

I'm not looking for an opinion on the plot itself; I realize it may currently seem rather generic. Instead, my question pertains to the feasibility of executing the third, reverse-told storyline effectively.

We have drafted a preliminary version, which requires substantial refinement. A viewpoint we've encountered suggests eliminating this reverse narrative, advocating instead for a simpler, singular storyline, claiming that the reverse component is virtually unworkable.

Personally, I am drawn to this unconventional storytelling style where the reversed flashbacks gradually reveal the underlying mystery like a puzzle. I acknowledge that this narrative style requires immense effort in writing and fine-tuning for clarity. The reverse storyline might also demand a greater degree of attentiveness from the readers.

But, is a script of this nature intrinsically more challenging to comprehend, requiring undivided focus from the reader? I'm curious about your thoughts on this.

[twilight]

Any thoughts about having one storyline that is told in reverse?

[Bono]

We don’t have all the details but why the hell can’t you do that? Movies have done it before. Go for it.

[twilight]

We don’t have all the details, but why can’t you do that? Movies have done it before. Go for it.

I know the details are less. I just wanted to hear your thoughts about a story like Finding Nemo with the A-Story - Find the Son and the B-Story - Nemo wants to escape but in this case, also a C- Story where we see a flashback line between the siblings, but told backward in time.

And why I ask because we got some feedback that we should take away the flashback line. But we want the flashback line because we want to show the relationship between the siblings, which would be impossible when they aren't together in the story. We tried to make it more like a storyline for the flashback told In backward so we see the wound later in the story.

I agree with you that it's strange that people say we shouldn't, And I agree. Why shouldn't we be able to do this?

[Bono]

Are you making this film yourselves? I don't know who the WE is in the scenario... my favorite TV show of all time LOST was heavy on flashbacks and out of order storytelling. It's a popular way to go. I don't think you are breaking new ground.

Listen, I don't have the feature in front of me -- so maybe the feedback is it's not working and taking away from the rest of the story. Because often flashbacks can do that if used wrong to me... they often don't work. Along with VO, I find more than not it's trying to fix a problem with a story, a bandaid. So maybe that's the note they are really giving you.

So to me it's not SHOULDN'T DO something. You can DO ANYTHING you want. But maybe the note is THIS DOESN'T HELP THIS STORY you're telling.

[twilight]

Are you making this film yourselves? I don't know who the WE is in the scenario... my favorite TV show of all time LOST was heavy on flashbacks and out of order storytelling. It's a popular way to go. I don't think you are breaking new ground.

Listen, I don't have the feature in front of me -- so maybe the feedback is it's not working and taking away from the rest of the story. Because often flashbacks can do that if used wrong to me... they often don't work. Along with VO, I find more than not it's trying to fix a problem with a story, a bandaid. So maybe that's the note they are really giving you.

So to me it's not SHOULDN'T DO something. You can DO ANYTHING you want. But maybe the note is THIS DOESN'T HELP THIS STORY you're telling.

Yes, you're properly right. It can mean - We need more work on this (with we is me and my writing partner, together with a producer.). Yes, I know it's no new way but it seems for this person. But yes I think you properly are totally correct.

[Bono]

Yes, you're properly right. It can mean - We need more work on this (with we is me and my writing partner, together with a producer.). Yes, I know it's no new way but it seems for this person. But yes I think you properly are totally correct.

So you're getting the note from 1 person -- is that person the producer? We've all been there.

[finalact4]

I like it. It's ambitious. Bold.

Have you seen Memento? It's a really great example of using a reverse storytelling device. It's surprising how well it works.

So, if someone is suggesting you remove the third storyline, it's probably because the execution isn't delivering the vision you have in your mind.

I think the challenge will be that by the end of the story all three storylines will need to converge somehow, the brother-sister connection has to be an indelible part of the narrative. It has to be written in a way, that if you remove all those scenes the story falls apart, right? They must hold some kind of enlightenment or revelation(s).

If you can remove them and still tell the story, they are not necessary. They might appear to be self-indulgent rather than necessary, right?

That's the key.