Constructing a narrative in reverse order—where the plot unfolds backwards from the ending to the beginning—is a complex yet rewarding exercise for writers. This technique, sometimes called "reverse chronology," can offer unique insights into character development, plot structure, and thematic resonance. Rather than revealing events in a linear sequence, the backward plot forces readers to confront the story's outcome immediately, creating a sense of inevitability that influences their understanding of earlier (or chronologically later) events. This approach has been employed in several notable works of literature and film, offering writers an alternative method of storytelling that challenges traditional narrative forms. For young writers, exploring this technique can deepen their understanding of narrative structure while providing an opportunity to experiment with new ways of engaging readers.
The primary challenge of constructing a backward plot lies in the writer’s ability to maintain tension and intrigue, even though the story's conclusion is revealed at the outset. Unlike a conventional plot where suspense is built by withholding information about the outcome, a backward plot begins with the resolution, forcing writers to think creatively about how to sustain the reader’s interest. This requires the careful management of pacing, character arcs, and thematic development. In essence, the writer’s task is to lead the reader through the chain of events that led to the conclusion, revealing important moments of causality while keeping the narrative compelling.
One of the most famous examples of reverse chronology in contemporary literature is Martin Amis’s Time’s Arrow (1991), a novel in which the protagonist’s life is experienced backwards, from death to birth ([Amis, 1991](https://www.penguinrandomhouse.com/books/12231/times-arrow-by-martin-amis/)). In Time’s Arrow, the reversed sequence of events highlights the horror and moral complexity of the protagonist’s past, which involves participation in Nazi war crimes. By telling the story backwards, Amis creates a disorienting effect that forces readers to reconsider the nature of time, memory, and responsibility. For young writers, this novel serves as a powerful example of how reverse chronology can be used to enhance thematic depth and challenge readers' perceptions.
To begin constructing a backward plot, writers must first consider the story’s endpoint. In traditional storytelling, the climax or resolution typically arrives near the conclusion of the narrative, but in a backward plot, these moments are positioned at the beginning. Writers must decide what outcome they want to reveal to the reader from the start and how this outcome will shape the reader’s understanding of the subsequent (or preceding) events. For example, a story might begin with a tragic death, and the narrative then traces the events leading up to this moment, gradually revealing the motivations and actions that caused it.
The next step in constructing a backward plot is to identify key moments of causality and decision-making that led to the story’s resolution. These moments should be carefully placed in reverse order, with each scene shedding new light on the previous (chronologically later) scene. It is essential for writers to maintain a clear sense of logic and causality, even when the events are presented in reverse. Each new scene must feel like a logical consequence of the one that follows it in the story’s timeline, even though it precedes it in the narrative. This approach helps to maintain the reader’s engagement, as they work to piece together the cause-and-effect relationships between events.
One of the advantages of a backward plot is that it allows writers to explore character development in unconventional ways. In a forward-moving plot, characters typically evolve as a result of the events they experience, with their emotional or psychological growth occurring over time. In a backward plot, however, the writer can present the character in their final, evolved state at the beginning of the story and then reveal how they arrived at that point. This can create a sense of dramatic irony, as the reader knows where the character will end up, but not how or why they changed. In Memento (2000), a film by Christopher Nolan that employs a reverse narrative structure, the protagonist’s psychological deterioration is revealed in reverse, offering a compelling exploration of memory and identity ([Nolan, 2000](https://www.imdb.com/title/tt0209144/)).
Writers constructing a backward plot must also be mindful of pacing. Because the reader already knows the outcome, the tension in the narrative must come from the gradual revelation of information about how the outcome was reached. Each scene should build on the previous one, providing new insights into the characters and plot while maintaining a sense of forward momentum (even though the narrative is moving backwards). The pacing must be carefully calibrated to ensure that the story does not feel repetitive or stagnant. This can be achieved by varying the types of scenes presented, alternating between moments of high drama and quieter, more introspective scenes that offer insight into the characters’ motivations.
A backward plot also offers unique opportunities for thematic exploration. By starting with the conclusion and working backwards, writers can emphasize the inevitability of certain outcomes, raising questions about fate, free will, and the consequences of actions. This technique allows writers to explore how seemingly minor decisions or events can have far-reaching consequences, creating a sense of tragic inevitability. For instance, in Harold Pinter’s play Betrayal (1978), which unfolds in reverse chronological order, the audience witnesses the dissolution of a romantic relationship, with each scene revealing the small betrayals and misunderstandings that ultimately led to its downfall ([Pinter, 1978](https://www.penguinrandomhouse.com/books/598294/betrayal-by-harold-pinter/)). The reverse structure emphasizes the complexity of human relationships and the accumulation of emotional wounds over time.
Writers should also consider the emotional impact of a backward plot. Because the resolution is revealed at the beginning, the emotional arc of the story will differ from that of a traditional narrative. Instead of building towards a climactic moment of resolution, the emotional tension in a backward plot often comes from the reader’s growing understanding of the characters’ internal struggles and the inevitability of their fate. This can create a sense of poignancy or tragic irony, as the reader becomes more deeply invested in the characters even as they know the outcome of their story. In Sarah Waters’ novel The Night Watch (2006), which is structured in reverse, the emotional lives of the characters are gradually revealed, creating a powerful sense of loss and regret ([Waters, 2006](https://www.penguinrandomhouse.com/books/290011/the-night-watch-by-sarah-waters/)).
Another challenge in constructing a backward plot is maintaining coherence and clarity. Because the events are presented out of their natural chronological order, it is easy for the narrative to become confusing or disjointed. Writers must ensure that each scene is clearly connected to the others, with the relationships between characters and events consistently reinforced throughout the story. This can be achieved through the use of recurring motifs, symbols, or dialogue that links different moments in the narrative. Additionally, writers should consider how to use foreshadowing (or in this case, reverse foreshadowing) to hint at events that will be revealed later in the story’s timeline.
One way to practice constructing a backward plot is through a writing exercise where the writer begins with a predetermined ending and works backward to construct the rest of the story. For example, a writer might start with a scene in which a character is sitting in a hospital waiting room, and then work backwards to reveal the events that led to this moment—perhaps an accident, a medical diagnosis, or a family conflict. This exercise forces the writer to think carefully about causality and character motivation, as each scene must logically lead to the one that follows it in the narrative.
For young writers, constructing a backward plot can also be a valuable exercise in developing narrative discipline. Because the structure is more complex than a traditional linear plot, it requires careful planning and organization. Writers must map out the entire story before beginning to write, ensuring that each event is placed in the correct order and that the connections between scenes are clear. This approach encourages writers to think critically about plot structure and the mechanics of storytelling, skills that are essential for any successful narrative.
Finally, writers should remember that a backward plot is not just a technical exercise—it is an opportunity to engage readers in new and unexpected ways. By challenging traditional narrative conventions, a backward plot invites readers to think differently about time, causality, and character development. It encourages them to actively engage with the story, piecing together the connections between events and reflecting on the larger themes at play. For young writers, this technique offers a chance to experiment with narrative form while deepening their understanding of storytelling as a craft.
In conclusion, constructing a backward plot is a challenging but rewarding exercise for writers. It requires careful attention to structure, pacing, and character development, as well as a deep understanding of the thematic and emotional impact of the story. By revealing the resolution at the outset and working backwards, writers can create narratives that are rich in tension, complexity, and thematic depth. For young writers, this technique offers a unique opportunity to experiment with narrative form while honing their skills as storytellers.
References:
- Amis, M. (1991). Time’s Arrow. Retrieved from https://www.penguinrandomhouse.com/books/12231/times-arrow-by-martin-amis/
- Nolan, C. (2000). Memento. Retrieved from https://www.imdb.com/title/tt0209144/
- Pinter, H. (1978). Betrayal. Retrieved from https://www.penguinrandomhouse.com/books/598294/betrayal-by-harold-pinter/
- Waters, S. (2006). The Night Watch. Retrieved from https://www.penguinrandomhouse.com/books/290011/the-night-watch-by-sarah-waters/
