| The book started with an attention grabbing first | | | | a flashback. If the story is written in present |
| paragraph and continued showing the reader what | | | | tense, then a flashback should be in past tense. If |
| happened and how. The writer brought me into | | | | the story is written in past tense, then starting |
| the story and held me captured. Then suddenly I | | | | the flashback in past perfect tense, then moving |
| was confused, lost, and wondering what I had | | | | into simple past tense, then finishing the last few |
| missed. The author used a flashback without | | | | verbs in past perfect will give verbal signals to the |
| warning, transition, or notice. He continued to | | | | reader. |
| commit the same error throughout the book: | | | | 4. Avoid jumping from one flashback into another. |
| disrupting the unity, the flow of the story. If | | | | In fact, more than one flashback in a short story |
| flashbacks used incorrectly in a novel can disrupt | | | | may be too much. |
| the unity, the flow, the focus of the story, just | | | | The most effective flashbacks have a catalyst |
| image what incorrectly used flashbacks can do to | | | | such as a song, place, person, an aroma, a sight, |
| a short story. Flashbacks can be effective in | | | | a sound, or an event that causes a memory for |
| novels, when used correctly, but long flashbacks | | | | a character. The flashback needs to be integrated |
| aren’t recommended in short fiction and, if | | | | into the plot while adding to an issue or character. |
| used, should be used carefully. | | | | The flashback must be related to the present |
| Perhaps we should discuss flashbacks first. These | | | | action. |
| are brief scenes of past occurrences, before the | | | | Remember that since flashbacks stop the story, |
| main action of the story, that are inserted to | | | | use them rarely and then with smooth transition. |
| explain motivations, character histories, | | | | The plot, characters, and conflict should be |
| background influences or information that cannot | | | | thoroughly introduced before using a flashback. Be |
| told during the chronological sequence of a story. | | | | brief. Illustrate the information before quickly |
| Edgar Allen Poe believed the unity of focus in a | | | | returning to the story. |
| short story was paramount. Flashbacks interrupt | | | | Certain places in a story should never include a |
| the unity of a story. Therefore, if one is | | | | flashback: never in the middle of an emotional or |
| absolutely needed, it should be short and with | | | | eventful action; never in climatic scenes. Also |
| smooth transitions. | | | | don’t use flashbacks to characterize and |
| In novels, prologues can be used to “set | | | | replace dramatic scenes. |
| the stage” with information that | | | | A final note, an emphasis actually, remember to |
| won’t fit into the story line but which is | | | | use smooth, clear transitions and use flashbacks |
| needed for the reader to understand certain | | | | only when absolutely necessary. As James V. |
| elements of the book. Short stories don’t | | | | Smith wrote: “When you reach a moment |
| have that option. However, according to Nancy | | | | of truth in such a story, you realize that that |
| Kress, in “...And My Whole Life Flashed | | | | literary instant results from a confluence of a |
| Before My Eyes...” Writers’ Digest, | | | | hundred facts and circumstances you’ve |
| October 2000, The advantages of flashbacks can | | | | read earlier in the story. Every iota is a related, |
| be maximized by following a few guidelines: | | | | orderly part of a whole that cannot be taken out |
| 1. Flashbacks should follow a strong scene. They | | | | without damaging the overall structure. When you |
| should never be the first scene or even a second | | | | read a work that gives you this feeling, you know |
| scene after an introductory scene. The flashback | | | | it was written by a master of transition.” |
| should also show, not tell. It needs to be a vivid | | | | Sources: |
| action scene in active voice. Dialogue is a good | | | | 1. ©Fall, 2003, Dory Lynch Page location: |
| tool to use in flashbacks. | | | | 2. Nancy Kress, Writers’ Digest, October |
| 2. Smooth, clear transitions are a must. Readers | | | | 2000 |
| should never have to stop and decide where a | | | | 3. [ |
| flashback begins or ends. Letting the reader know | | | | 4. Jessica Page Morrell, [ |
| who, what, and when helps keep him or her from | | | | 5. |
| becoming lost. | | | | 6. |
| 3. Using verb tenses wisely helps the transition of | | | | |