[Today we're reading Ch. 29 The Non-Lienar Soul of Quentin Tarantino, the Movie Won’t Either, from Aristotle's Poetics for Screenwriters, by Michael Tierno (2002).]
The author writes: “The chronological shuffling must work to create MEANING, & jolts in the movie's time line must call attention to themselves (& better be used for a good reason!)” P. 139.
Many people have tried to copy Tarantino's Pulp Fiction timeline construction. However, I think he split the middle & stuck it in the beginning & end to emphasize what is the new 'middle.' I don't think imitators quite have his flair of how and why to juxtapose scenes.
WHAT I’VE LEARNED: The only reason to play with chronology is if it will dramatically increase conflict. Otherwise, leave it alone.
[DISCLAIMER: I have not been asked, nor paid, to read or comment on this book.]