I noticed lots a people dislike flashbacks. Personally, I never really cared. In fact I really love a good flashback when reading. A series like Lost (I know it's TV but it still tells a tale) is a place where flashbacks thrive.
Years ago before I attempted writing and was just an avid reader of SF&F, I marveled at the flashbacks in Blood of Amber. Zelazny ended a chapter of a cliffhanger, and then the next was an entire chapter of flashbacks. Each one was prefaced with the word Power. Power. Flashback. Power. Flashback. And then the next chapter, bam, back in the action. I marveled at it. I thought it a terrific chapter.
Of course, I'm pretty flexible as long as the tale's good.
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The unintentional stirrer of controversy.
I would be glad if you assumed this role from me. As it seems to me that I've unintentionally stirred a bit of late.
I like flashbacks, but I think it depends on when they happen and they should happen for a reason. I also like it when the beginning of a chapter brings up a relevant thing from the past and then it's expanded on later in the chapter. It helps to clear up character motivations.
But I don't like whole chapters of flashbacks. Too jarring and I'm almost always more interested in what is going to happen than something that has already happened. Yet, some writers can even pull this off amazingly well.
I don't love flashbacks, but I think they're ok. I've seen some very well-used and well-timed flashbacks and those I like. As with many things in writing, it depends.
I do, however, actively abhore flashbacks that occur too close to the beginning of a story. I think I knew this all along, but OSC put it into words for me in "How to Write Scifi and fantasy." You see, when a flashback is too close to the beginning of a story you are expecting the reader to care about something in the past when you havent't gained their sympathy for the present, or even grounded them in it. A general rule of thumb I've heard is that a flashback should be twice as far into a story as it's length. So, if you have a one page flashback it should be at least two pages in.
Now I will simply advise caution with flashbacks placed anywhere else. Their overuse makes things confusing and disjointed, particularly when you keep flashing at andom. I hated Pulp Fiction, one of today's most popular movies, in large part because of the disjointed flashing. I couldn't follow it and didn't want to try that hard. (It might have helped if the characters were sympathetic...I would have tried harder...Quintin Tara...never mind, I don't know how to spell it...anyway, that director isn't exactly known for likable heroes.)
I've seen flashbacks in novels that happen every other chapter that work. Setups in which we are in the now and some disaster happened twenty years ago and then the next chapter is told from the same character's POV twenty years ago as the disaster approaches.
in the novel that i've planned carefully, i have several interludes in which i think that some things are either made more clear or i've (hopefully *crosses fingers*) created a depth to central mysteries.
the only reason why i'm doing this is because the narrative is in first-person. i think that adding interludes... or a break away from the main character and allowing another character to speak... is better than if i left it alone.
i feel the same way about carefully used flashbacks. it can add to the depth of the story, and create heightened anticipation.
i must admit that this is my very first time visiting the board, and i'm starting to feel very nervous. i've written a prologue (which happens to be a flashforward), the book is in first person, and i've created interludes.
i'm going to be the Worst Writer Ever! YES!!
E
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i'm going to be the Worst Writer Ever! YES!!
As long as you simultaneously believe that you are the best writer ever, you've got it made.
[This message has been edited by Christine (edited January 31, 2005).]
I try to avoid long flashbacks myself, but that is the way I like to write.
my prologue is a flash forward into a future far beyond the current story, and i have interludes throughout where i break into that same future... of course, there is a very definite reason for it, i am actually writing two stories at once. the historical story (current) and the future story of the descendant of a certain set of protagonist's reactions...
i say that i'm the worst writer in the world for coming up with a story requiring such an arrangement, but i also think that once i pull it off it will make me into one of the worlds best :P
In this type of flashback, the POV character is, in the present moment of the story, thinking back to something that happened in the past of the story. When properly grounded in the present of the story, this type of flashback doesn't interfere with continuity at all, because it consists of the thoughts and memories the POV is experiencing at the moment.
Another good thing about this kind of flashback is that (if you're doing your POV correctly) it occurs for some kind of character reason. The detective picks up a glass from the table, and remembers that on the night before the murder it contained milk rather than orange juice. Okay, goofy example, but the point is that a good flashback follows the rule of all good text, it gives the reader information that the reader wants at that point in the story.
This is the primary reason that flashbacks very early in a story are bad. As Christine has noted, 13 lines into the story, you're still trying to get the reader interested in the present moment of your story, you haven't set up a reason for the reader to want information that could be made available through a flashback. I'm not fond of the rule of thumb mentioned, but if it helps, use it. My rule is that you cannot flashback until the reader wants a flashback, and you must end the flashback before the reader looses interest. I, as the reader, will be the judge of when that is
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Main Entry: flash·back
Pronunciation: 'flash-"bak
Function: noun
1 : a recession of flame to an unwanted position (as into a blowpipe)
2 a : interruption of chronological sequence (as in a film or literary work) by interjection of events of earlier occurrence; also : an instance of flashback b : a past incident recurring vividly in the mind
I think the key to a flashback is that it is a vivid recurence, so that one sentence things are bits of exposition, and frankly probably so are one paragraphs. Basically, if you *tell* us about it, it's not a flashback. If you stop the action, step back in time, and *show* it to us, it's a flashback.
I am not sure if they really are flashbacks or not, but those sort of moments peppered through a story really lifts it for me, if (the common caveat) it is done well. They may fall into the 'letter' category mentioned above, but personal moments like these show experience.
(Oh I didn't realise his dad used to yell at him like that.)
Seriously:
When I rub my thumb and first two fingers together, (like I'm feeling fabric or oil on my fingers or something like that) I feel like my Dad; but not when he was happy; when he was mad. Is that sort of thing a flashback?
[This message has been edited by hoptoad (edited February 02, 2005).]