ABSTRACT
In the last chapter, I introduced the notion that there is a tradition of nonlinear storytelling
and that the technological shift to nonlinear editing has accelerated the consideration that
this alternative approach to story is a viable option. As an option, however, it proceeds differently regarding shot selection and pace principally because the audience no longer experi-
ences the narrative through a single main character; nor is the audience following the
experience of that character from crisis to resolution.1 Indeed, we may be following multiple main characters, and there may or may not be a resolution. The conventional story arc, with
its implications for editing, may simply not be relevant in the nonlinear narrative.
