Shonda Rhimes' production company, Shondaland, is known for producing some of the most addictive television shows in modern history, and 'How to Get Away with Murder' (2014-2020) is no exception.
As a result, this article will analyze the How to Get Away with Murder pilot, breaking down its structure, character development, dialogue, and storytelling techniques to understand what makes it an excellent example of TV writing.
Still from 'How To Get Away With Murder'. Photo credit: ABC
The Structure of the Pilot
The pilot is structured around two primary timelines:
● The present-day timeline is where a group of law students attempts to cover up a murder.
● The past timeline follows the beginning of their law school semester and their introduction to the formidable Professor Annalise Keating.
This dual-timeline structure immediately hooks the audience by creating an intriguing mystery. The cold open presents a murder cover-up in the present, then shifts back in time to show how these characters got to this point.
This method is the hallmark of successful TV dramas, including some of my favorites. It keeps viewers engaged while gradually revealing essential details.
Character Introductions and Development
One of the greatest strengths of the pilot is how quickly it establishes its characters. Each central character is introduced with clarity and purpose:
Annalise Keating (Viola Davis) is immediately depicted as powerful, intimidating, and highly intelligent. Her commanding presence in the classroom demonstrates her dominance and no-nonsense attitude, setting up her role as a morally ambiguous mentor.
Wes Gibbins (Alfred Enoch) is positioned as the audience surrogate; Wes is the underdog–accepted into law school at the last minute. His bewilderment at Annalise’s ruthless teaching methods and his involvement in the murder plot create an instant connection with the audience.
Michaela Pratt (Aja Naomi King), Connor Walsh (Jack Falahee), Asher Millstone (Matt McGorry), and Laurel Castillo (Karla Souza) are given a distinct personality and motivations. Michaela is ambitious and eager to please, Connor is a confident manipulator, Asher is privileged and brash, and Laurel is intelligent but reserved.
Frank Delfino (Charlie Weber) & Bonnie Winterbottom (Liza Weil) are Annalise’s trusted associates. Frank and Bonnie add layers of mystery to the story. Their interactions suggest hidden agendas and complex relationships that will unfold over time.
The Role of Dialogue
Always remember that screenwriting is a visual medium. Character actions and what unfolds on the screen should be your primary storytelling tools, with dialogue supplementing them.
Think of a silent film–dialogue cards are only used when the story can’t be conveyed through visuals alone. The same principle applies to modern films: even with sound, the best storytelling still relies on what we see, not just what’s said.
'How to Get Away With Murder' understands this and demonstrates dialogue for the following purposes. For example:
● Move the story forward
● Reveal something about the character
● Be funny (if you’re writing a comedy)
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Ideally, your dialogue should accomplish all three. A well-paced script keeps the story moving; prolonged comedic detours can disrupt that momentum.
Themes and Moral Ambiguity
At first glance, the crime mystery series 'How to Get Away with Murder' follows the familiar formula of American legal dramas. However, with our central character, the enigmatic Professor Annalise Keating, we get a complex heroine whose morality is anything but straightforward. It quickly becomes evident that a more ambitious story lies beneath the surface.
This theme is reinforced by the first case Annalise presents in class, which is a murder trial where she defends a woman accused of poisoning her lover. How our character strategizes to win the case demonstrates the blurred lines between justice and deceit, demonstrating the central conflict amidst the story.
Flashbacks and Pacing
The pilot takes a bold storytelling approach by incorporating both flashbacks and flash-forwards. These techniques are usually avoided in pilots due to their potential to confuse audiences. However, in this case, they become a defining stylistic choice for the show, which makes it separate from its show.
Moreover, TV shows typically avoid using flash-forwards early on, instead introducing them once the series is more established. When they do appear, they often serve as a hook–starting with a dramatic moment to grab the audience’s attention before backtracking to tell the story from the beginning after a commercial break. While not always my favorite storytelling device, flash-forwards can be an effective way to build intrigue.
When executed well, powerful narrative tools add depth and intrigue while driving the story forward. But when misused, they risk becoming mere exposition or causing unnecessary confusion.
One of the biggest challenges with flashbacks is maintaining pacing. Some stories weave them seamlessly, while others rely on other strengths to compensate for the disruption.
The key question is: How essential is this flashback or flashforward to your story? If it provides a crucial backstory—such as the main villain’s motivations—it may warrant a more extended flashback, even if the timing isn’t ideal. But if it’s a character moment with little plot relevance, it should be brief and strategically placed between story arcs rather than interrupting one.
Mystery and Cliffhangers
A key element of 'How to Get Away with Murder'’s success is its use of mystery. The pilot sets up multiple questions:
● Who was murdered in the flash-forwards?
● How did the students get involved?
● What are Annalise’s true motivations?
By the end of the episode, the audience knows just enough to be intrigued but is left with numerous unresolved plotlines. The final reveal—that the body the students are trying to dispose of is Annalise’s husband, Sam Keating—delivers a shocking twist that hooks the audience for future episodes.
'How to Get Away with Murder' uses a parallel storyline structure, with each episode flash-forwarding to a pivotal big event while creating suspense for the next episode. This creates a countdown effect–viewers know what’s coming but are left anticipating how the main storyline will catch up. While it may not be a traditional cliffhanger, it’s a compelling narrative device that keeps you eager to see how everything unfolds.
Final Thoughts
'How to Get Away with Murder' is an excellent demonstration of utilizing flashforwards and flashbacks without confusing or taking away from the central story. Shows like this are imperative for us writers to analyze, especially if you want to craft a show of your own.