Were you paying close attention for clues during last night’s anticipated series premiere of How to Get Away with Murder? Did you manage to catch writer/creator Peter Nowalk’s object lesson in the simple art of murder?
It was easy enough to overlook. After all, Nowalk skillfully introduced multiple characters and mysteries in short order, creating—and holding his viewers in—the kind of edge-of-your-seat suspense that is the hallmark of the Whydunit genre (so modified from “Whodunit” because who, per Blake Snyder, is merely a conventional formality and ephemeral revelation—it’s the why that gives us the lasting insight into the dark side of human nature we crave from these stories). But, for students of the craft of screenwriting, consider yourself enrolled in How to Create a Fertile, Provocative Premise 101.
I mean, you could’ve sold this show right off the pitch (and maybe they did): The soapy, legal-thriller intrigue of Scandal (Shonda Rhimes serves as an executive producer on How to Get Away with Murder) crossed with the in-over-our-heads, youth-centric mystery of Pretty Little Liars. You certainly don’t need Rhimes’ pedigree to sell that—it’s got the magic criterion to prick up the ears of any half-attentive creative exec: familiar-but-different. Once you land on that, from there it’s all about execution. And televisional storytelling—even the high-concept kind, as I’ve discussed—is predicated, above all, on character.
To that end, Nowalk and Rhimes have stuck to the playbook that’s served them so well on Grey’s Anatomy and Scandal by arranging their new series’ attractive ensemble cast around a magnetic, multidimensional lead: criminal-defense attorney and university professor Annalise Keating, portrayed by Oscar-nominated Viola Davis. Now, if you weren’t quite sure what to make of Annalise after last night’s formal introduction, be certain this was by deliberate design. More on that in a moment…
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