Category Archives: flashback

Flashback Words of Wisdom

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Flashbacks. Some claim you should never use them, and urge instead that you take the information/background/emotional backstory etc. contained in a flashback and find ways to include it in the present time of your story. At the same time others point out flashbacks can be a very powerful technique when used effectively.

Today’s words of wisdom flashes back to three posts about this potentially controversial topic. Joe Moore, James Scott Bell and Kay DiBianca provide insightful advice on how and when to use flashbacks.

Flashback is a writing technique that allows the author to convey backstory (events from the past) while remaining in the present. It usually involves a situation in which something in a current scene causes a character to reminisce or ponder a previous event. The reason to create a flashback is to build character or advance the plot, or both. The secret to successfully employing this technique is to construct a smooth transition into and out of the flashback so as not to confuse the reader.

One of the easiest ways to enter a flashback is with the word “had”.

As Jim walked through his old neighborhood, a distant dog barking reminded him of the day he and his friends had skipped school to . . .

In addition, you want to shift the time progression from simple past tense (As Jim walked) to the past perfect tense (his friends had decided). Once you’ve entered the flashback and established the “past”, you can then revert back to simple past tense. At the conclusion of the flashback, use “had” again to transition back to current time.

Jim climbed the steps of his childhood home knowing those summer days with his friends had been the best times of his life. 

In addition to transitions in and out of the flashback, it’s also important that the timeframe in which the flashback covers somewhat matches the real-time in which it’s experienced by the character. For instance, a flashback that covers the highs and lows of a woman’s previous marriage cannot be experienced during her stroll from the kitchen to the bedroom. But it would be an acceptable timeframe if she poured a glass of wine, strolled out onto her back porch and experienced it while sitting and watching the sun set and night fall. The reader must accept that the past and present timeframes are not unreasonably out of sync.

One final thought about flashbacks: it’s not a good idea to use one in the first couple of chapters. They can be quite confusing if thrown at the reader too soon. Wait until your reader has established at least a basic relationship with a character before taking them on a leap into the past. Flashbacks should be used sparingly. Better yet, use other techniques to relay backstory and avoid flashbacks altogether if possible.

Joe Moore—November 11, 2015

 

The Placing of Flashbacks

My advice here is simple:

Not too early. Get your story rolling with action. Get your readers invested in the characters. Then when you drop in the flashback it will have more impact.

Not too late. With your story hurtling toward the climax, the last thing we need is a scene that whips us into the past.

After the Door Slams. The plot is fully engaged only after the Lead passes through The Doorway of No Return—which should occur no later than 1/5 into the book. My counsel is to place a full flashback scene somewhere just before or just after the middle. (For a full treatment of structure, I humbly recommend my book.)

Getting In and Getting Out

Sure, you can start a flashback by telling us something like, Wendy remembered when she was sixteen…

And you can tell us when it’s over: Wendy stopped herself from thinking any more about it.

But here is a more elegant technique that works every time. When you’re about to go to flashback, put in a strong, sensory detail that triggers the memory in the POV character:

Wendy looked at the wall and saw a spider making its way toward a fly caught in a web. It moved slowly, purposely toward its prey. The way Lester had moved on Wendy all those years ago.

She was sixteen and Lester was the big man on campus. “Hey,” he called to her one day at the lockers. “You want to see a movie?”

We are in the flashback now. Write it out as a dramatic scene.

And how do we get out of it? By returning to the sensory detail (sight in this case) of the spider. The reader will remember that and know we’re back in the present:

Lester made his move in the back of the car. “This won’t take long, baby.”

The spider was at the web now. A wave of nausea hit Wendy as she watched it cover the fly.

But she could not look away.

The Backflash

A full flashback scene is not the only way to deliver backstory information. There’s also what I call the backflash. These are short bursts in which you drop info about the past within a present moment scene. The two primary methods are dialogue and thoughts.

Dialogue

           “Hey, don’t I know you?”

           “No.”

           “Yeah, yeah. You were in the newspapers, what, ten years ago? The kid who killed his parents in that cabin.”

           “You’re wrong.”

           “Chester A. Arthur! You were named after the president. I remember that in the story.”

Chester’s troubled background has come out in a flash of dialogue. This is also a good way for shocking information from the past, or a dark secret, to be revealed at a tense moment in the story.

Thoughts

“Hey, don’t I know you?”

“No.” Did he? Did the guy recognize him? Would everybody in town find out he was Chet Arthur, parent killer?

“Yeah, yeah. You were in the newspapers, what, ten years ago?”

It was twelve years ago, and this guy had him pegged. Lousy press, saying he killed his parents because he was high on drugs. They didn’t care about the abuse, did they? And this guy wouldn’t, either.

The nice thing about backflashes is they create mystery. You don’t give all the info at once, leaving the reader wanting to know more. You make them wait until the next backflash, and the next…as they feverishly turn the pages!

James Scott Bell—June 5, 2022

 

What is a flashback scene?

Smartblogger.com defines a flashback as

“a literary device where a story breaks away from the present narrative to delve into the past, by showing us a past event or a scene from the past.”

 According to novelist James Hynes in his Great Courses lectures entitled Writing Great Fiction,

“One of the fundamental principles of plotting is the withholding of information.…  A plot is the mechanism by which the writer decides what information to withhold, what information to reveal, and in what order.”

If the reader knows there was some disturbance in the protagonist’s past, but doesn’t know the full story, he/she will be compelled to keep reading to find out. When the author decides to reveal that fact, it may be effective to use a flashback scene.

The Power of a Flashback Scene

According to writingmastery.com,

“The beauty of flashbacks is that they give writers the freedom to fully show instead of tell the details of a traumatic or significant event in a character’s history, at the moment when it will be most powerful.”

 How to move from the present to the past

Transitioning to a flashback scene can be achieved by a character remembering something from his/her past. Or it can be a break in the story that presents some important background information that is crucial to the narrative. In either case, it’s important that the reader understand where he/she is in the story. To that end, transition can be accomplished in several ways:

A change in verb tense: If the story is written in the past tense, switching to past perfect will clue the reader in.

The use of italics: Although some readers don’t like long passages in italics, I’ve seen this device used and found it effective.

A specific date: A flashback can be a separate chapter or scene that is clearly dated to indicate a previous time.

However you decide to handle a flashback, it’s a device that can add strength to your story.

A Word of Caution

In his book Plot & Structure, James Scott Bell warns us about the overuse of this plotting device.

“There is an inherent plot problem when you use flashbacks—the forward momentum is stopped for a trip to the past…. If such information can be dropped in during a present-moment scene, that’s always a better choice.”

But if you feel the flashback scene is necessary, then JSB advises to make sure it works as a scene.

“Write it as a unit of dramatic action, not as an information dump.”

Kay DiBianca—January 15, 2024

***

How do you feel about flashbacks in fiction? Do you use them in your own fiction? Any advice on using them or, if you don’t, incorporating what they might contain in the present time of a novel?

The Flashback Quagmire

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Today’s entry in the first page critique roundtable brings up the issue of flashbacks. Let’s have a look, and then we’ll talk.
***
Bobby was at a dead sprint when the first bullet hit him in the kidney. He went down hard face first on the concrete and fought to catch his breath. He’d never been in so much pain, but the adrenaline coursing through him forced him to his knees and back to his feet. He was bleeding badly, and his breath came in ragged gasps. He knew he was about to die but couldn’t bring himself to stop running.
The rotted corpse of Holy Cross High School, vacant for decades, loomed in front of him. If he could reach the school he might be able to hide from the men hunting him and die in relative peace. God only knew what they had in mind for him if they caught him.
Another shot was fired, but didn’t hit him. He knew he’d be easy to track with the amount of blood he was losing. He was growing light headed and his vision was clouding. He was struck by a sudden sadness at the thought of never seeing his family again, and wished he’d listened to his father when he told him to stay the hell out of New Orleans.
Hours earlier, Bobby was laughing and drinking beer in Johnny White’s bar on Bourbon Street. A natural extrovert, he did his best to keep a low profile but he couldn’t help chatting up some of the more attractive clientele. He never even noticed the young guy with a buzz cut watching him from across the bar.
The buzz cut didn’t miss a trick. He watched Bobby drink several beers, make time with a couple of vacationing coeds, and then settle his tab with a Kennedy half dollar. He made a note of the bartender’s name, and debated whether to include it in his After Action Report. It was handy to know who did business with freebooters in New Orleans, after all.
As Bobby was leaving the bar, the buzz cut bumped into him and apologized. It never occurred to Bobby that the stranger who bumped him planted an infrared tracking device on him. From then it was just a matter of time.
***

Let me say a couple of things about the first three paragraphs.
Our POV character in this scene is Bobby. And he’s been shot. He’s on the run. We have a chance, then, to become bonded to Bobby and his plight right away.
That’s why I need to feel a bit more of the pain and fear in Bobby. Right now I’m a little “outside” the action. Part of that is do to this passive construction: Another shot was fired, but didn’t hit him. We need to be in Bobby’s head. He heard another crack. Asphalt splattered in front of him. Etc.
It’s not enough to have an action opening. It’s what the action feels like to the character that’s essential. 
You’ve got a potentially arresting hook here, but for it work to the max we need that POV “heat.” See John G.’s post on Friday. Play the scene in your mind several times as if you were Bobby, then re-write it.
Okay, so now you’ve got this guy being shot at, chased and then . . . flashback!
Ahhhh!
Don’t do this. I know it feels like a little “teaser” but to the reader it’s more like a “cheater.” It’s too obvious you’re manipulating them by inserting a flashback to create an artificial cliffhanger.
So here’s a rule (even for people who say there are no rules in writing): No flashbacks in the first fifty pages! When you put in a flashback too soon it stops the action cold and jars the reader. It pulls them right out of the fictive dream you’ve been weaving. (Note, I am not talking here about a “frame story,” where we begin in the present then have the bulk of the book take place in the past. That’s another matter entirely.)
Also, you’re using an omniscient POV in the flashback. If Bobby never even noticed the young guy with the buzz cut, the only one who can see him is the author. This removes us further from Bobby. Keep the POV “hot” even in flashback scenes.
Now, what about flashbacks later in your fiction? Remember, by definition they stop the action, so you’d better have a very good reason for using one (e.g., essential character background info that is so crucial you need to dramatize it).
And if you do use a flashback it needs to stand alone as a scene, with all the sensory description and intensity of a scene from the main plot line.
Flashbacks. Handle with care. But in the opening chapters, don’t handle them at all.
***
Speaking of getting more emotional heat into your characters, that will part of My “Sell Your Novel and Screenplay Intensive” coming up June 4 & 5 in Los Angeles. 

Flashback to the future

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By Joe Moore

Flashback is a writing technique that allows the author to convey backstory while remaining in the present. It usually involves a situation in which something in a  current scene causes a character to reminisce or ponder a past event. The reason to create a flashback is to build character or advance the plot, or both. The secret to successfully employing this technique is to construct a smooth transition into and out of the flashback so as not to confuse the reader.

One of the easiest ways to enter a flashback is with the word “had”.

As Jim walked through his old neighborhood, a distant dog barking reminded him of the day he and his friends had skipped school to . . .

In addition, you want to shift the time progression from simple past tense (As Jim walked) to the past perfect tense (his friends had decided). Once you’ve entered the flashback and established the “past”, you can then revert back to simple past tense. At the conclusion of the flashback, use “had” again to transition back to current time.

Jim climbed the steps of his childhood home knowing those summer days with his friends had been the best times of his life.

In addition to transitions in and out of the flashback, it’s also important that the timeframe in which the flashback covers somewhat matches the real-time in which it’s experienced by the character. For instance, a flashback that covers the highs and lows of a woman’s previous marriage cannot be experienced during her stroll from the kitchen to the bedroom. But it would be an acceptable timeframe if she poured a glass of wine, strolled out onto her back porch and experienced it while sitting and watching the sun set and night fall. The reader must accept that the past and present timeframes are not unreasonably out of sync.

One final thought about flashbacks: it’s not a good idea to use one in the first few chapters. They can be quite confusing if thrown at the reader too soon. Wait until your reader has established at least a basic relationship with a character before taking them on a leap into the past. Flashbacks should be used sparingly. Better yet, use other techniques to relay backstory and avoid flashbacks altogether.

What do you think about flashbacks? Do you use them in your writing? As a reader, do they work for you? Are flashbacks a necessary evil or a solid writing tool?