| Flashbacks can usefully be employed to create | | | | With flashbacks the reader needs to be taken |
| suspense in a story, or develop a character. By | | | | into it so that they know it is an event in the past |
| interjecting something from the past that has a | | | | and when it's over taken out of it again and back |
| bearing on the present, tension and conflict can be | | | | into the present. |
| heightened. | | | | Often this can be done by having the character |
| Say you are writing a story and want to start, | | | | remember a past event as we saw with Becky |
| quite rightly, at the turning point in your hero's life, | | | | above. Perhaps we could say: |
| or the point where the action really takes off. | | | | "Becky was excited that she had been able to |
| Your problem is that some events have | | | | secure this job. It was just what she wanted. |
| happened leading up to this point, but you don't | | | | Now she felt, she could begin to fulfil the potential |
| want to lay them before the reader to begin with | | | | that she knew was in her. A movement caught |
| as he/she might begin to think 'What's all this | | | | her eye and she gazed out of the window still in a |
| about then?' or 'When is the story really going to | | | | state of happy euphoria. |
| start?' This background stuff, which should, of | | | | As her eyes focussed she sat bolt upright with |
| course, be vital to the present, can be neatly | | | | shock. The man getting into his car - it couldn't be |
| injected into the story line to quickly fill in what | | | | could it? But yes, it was. It was Graham. Her |
| went on before. | | | | Graham." |
| Suppose our heroine, Becky, is starting her new | | | | Similarly after the flashback, bring the action back |
| job which her fiance Matthew, who also works | | | | to the present. |
| for the firm, had helped her get. She arrives on | | | | "'A penny for your thoughts, Becky' Becky |
| her first day and after settling in looks out of the | | | | jumped guiltily and looked up at Mr Martin startled. |
| window and sees Graham. Oh no! This is the | | | | "Oh, sorry, I, I was just - miles away.' |
| Graham she was in love with before they split up | | | | "Not to worry. I've got a project I think you'll |
| and she met Matthew. | | | | enjoy, so when you're ready come to my office |
| "Suddenly Becky's mind was overwhelmed with | | | | will you?"' |
| half forgotten memories. The walks in the park | | | | After using a flashback it's good to introduce the |
| when the warm breeze had sent the Autumn | | | | next bit of action. In the example I've given the |
| leaves scurrying around their shoulders; the lazy | | | | action might be Becky getting her assignment. |
| boat trips on the river, the sunlight sparkling and | | | | Maybe it wasn't the kind of assignment she was |
| dancing on the quiet ripples. This was the man she | | | | expecting and she reacts to that. |
| had held in her arms and whispered 'I'll always love | | | | Maybe the action is more on the lines of the |
| you'. And the problem was she still did." | | | | steps she takes to try to resolve the conflict of |
| So in just a few lines we've filled in the | | | | emotions she has now been landed with. |
| background and set the scene for trouble ahead. | | | | Whatever it is it must be germain to the story |
| Some authors can make a flashback last a whole | | | | and move things along. |
| chapter and pull it off. Unless you're really | | | | The flashback can be a very useful technique as I |
| confident and know what you're doing it's | | | | hope I have explained, but do be careful not to |
| probably best not to go this far until you are. It | | | | make them too long, and remember to use them |
| has to be done with skill and care. | | | | sparingly. |