Hello everyone in the Stage 32 community!
I want to open this space for debate regarding a challenge and a strategy I implemented while adapting my dark thriller trilogy, Suplicio, from the literary format into a feature screenplay.
As many of you know, when writing a novel in this genre, context is everything. In the first book, out of narrative necessity, I must dedicate a good portion of the beginning to introducing the protagonist: his family environment, his financial hardships and needs, his trade, and the conflicts surrounding him. However, this carries a huge risk on a first impression: the story runs the risk of "putting the audience to sleep," since the real action and the deployment of the character's abilities happen at a more advanced point in the plot.
For the screenplay adaptation, I made a structural choice that I want to submit to your criteria:
- The Opening Hook (In Medias Res): I decided to start the first chapter with a high-tension, pure suspense climax scene, showing the protagonist at the absolute limit of what he is capable of doing.
- The Time Jump: Immediately after, I jump back 3 months prior to explain all the context, shortcomings, and development that led him to that breaking point—but with the viewer already "hooked" and knowing that raw intensity is coming.
Additional note: For parts 2 and 3 of the trilogy, this issue practically disappears because both the audience and the protagonist already know the rules of the game, the acquired skills, and the direction of the story.
Question for the writers and professionals in the room:
Do you consider this structure of breaking the timeline in the first act to be an effective strategy to instantly capture viewers when introducing a thriller for the first time? How do you manage the balance between the necessary character exposition and the need for immediate screen action?
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Time jump can work but you really need to make sure the viewers follow you and understand what is going on and what you are doing.
As about having a lot of information to provide, sometimes it’s better to be simple about it. If she has financial troubles, instead of showing how and how deep, just have the protagonist doing a gesture only people with low money would do like asking for discount or putting back something not that expensive can provides all the information needed quickly. Same for if she has lost someone important. Just looking at a picture and being sad could tell she is mourning that person. It’s all in the images.
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Yes, this is a well-established technique, particularly in thrillers, and it can be very effective. By showing us where the protagonist is ultimately headed, you create a question that can carry us through the earlier character development: How does this person become the person we just saw?
The one caution I’d offer is that the flash-forward can’t do all the work. Once you jump back three months, those scenes still need conflict, tension and forward momentum of their own. The family situation, financial hardship, etc. should ideally be dramatized through active problems and choices rather than presented simply as context we need to absorb.
And I wouldn’t worry about delivering immediate “action” so much as immediate dramatic tension. If the audience is invested in what the protagonist wants, what’s going wrong and where we know this is ultimately heading, you can absolutely take some time building the character and his world.
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Nicolas Lavoie Hi Nicholas,
Thank you for this valuable feedback! You made a great point about visual economy. Moving from literature to screenwriting definitely required me to shift from "explaining" a crisis to "showing" it through small, powerful actions—like the subtle gestures you mentioned.
Keeping the timeline clear for the viewer is priority number one, ensuring the transition back feels continuous rather than confusing. I really appreciate your perspective!
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Katrina Wolfe Hi Katrina,
Spot on! "How does this person become who we just saw?" is exactly the psychological hook I wanted to plant in the reader's mind.
Your distinction between physical action and dramatic tension is crucial. I completely agree that even when stepping back 3 months, the scene cannot just be informational background—it must have immediate conflict, small choices, and emotional stakes that push the story forward.
Knowing how deeply you understand this genre, I honestly think you would love the story of Suplicio.
Thank you for such an insightful breakdown!
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hi EMILIO
I think it can work really well, especially for a thriller. Starting with a high tension moment can give the audience a reason to care about the character before you slow down and explain how they got there.For me, the important part would be making sure the time jump adds questions instead of just delaying the story. If the audience is thinking, “How did we get here?” then you already have them hooked
I’m still learning screenwriting myself, but I’ve found that keeping the character and mystery moving while giving the exposition is probably the hardest balance to get right.
by the way Great question!
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Bliss Ganza Hi Bliss,
Thank you so much! You hit the nail on the head: the key is making sure the time jump raises compelling questions rather than feeling like a delay.
Asking the audience "How did we get here?" turns the background context into an active search for answers, keeping the momentum alive. Balancing character depth with pacing is definitely a continuous learning curve for all of us, but framing it around mystery makes all the difference.
I really appreciate your perspective—best of luck with your screenwriting journey as well!
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Emilio Briceño, thank you very much and am glad to share my perspective, best of luck too in journey
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Funny, I had a similar issue adapting a book I wrote into a screenplay. I found that 'showing' tension and using visuals became a solution for me. My book opens with a lot of exposition and character development that doesn't have to happen on screen. With some visuals, and even adding some pieces to explore the world, fixed my problem; and to be honest I absolutely love how my screenplay opens and dives into the story without losing the character development piece I love in my book. Good luck!!