Day 318

The use of flashbacks

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The Flashback Dilemma: Craft Tool or Narrative Crutch?

Ah, the flashback. That sudden warp in the narrative, pulling us from the present action into a scene from the past. For some readers, it’s a thrilling unravelling of mystery and character. For others, it’s a jarring interruption, a moment to sigh and wonder if the story will ever get back on track.

So, is the use of flashbacks good writing or bad writing? The short answer, like with most literary devices, is: it depends entirely on how it’s executed.

A flashback, by its very nature, is a pause in the forward momentum of your story. This pause can be a powerful strategic move, deepening the reader’s understanding and enriching the narrative tapestry. Or, it can be a clumsy misstep that derails the plot and tests your reader’s patience.

Let’s break down the difference between a lazily written and a well-constructed flashback.

The Pitfalls of a Lazily Written Flashback

A lazy flashback is often a symptom of one of two things: a writer struggling to convey information, or a writer avoiding present conflict.

1. The Information Dump: This is perhaps the most common offender. The writer needs to inform the reader about a character’s past, a world detail, or a previous event, but instead of weaving it organically into the current narrative, they simply stop the action and insert a lengthy, undigested chunk of backstory.
   • How it feels to the reader: “Why am I being told this now? Does this really matter? Can we get back to what was happening?” It breaks immersion and feels like exposition masquerading as a scene.
   • Example: A character is about to face a dragon, and suddenly, we get three pages detailing their entire childhood trauma with kittens, completely unrelated to dragons or their immediate fear.
2. Avoiding Present Conflict: Sometimes a writer introduces a flashback not because it’s crucial to the immediate scene, but because they’re unsure how to resolve or advance the current plot point. It’s a way to hit the “pause” button on a difficult scene.
   • How it feels to the reader: Frustrating. It feels like the story is treading water, or deliberately holding back for no good reason. The tension dissipates.
3. Lacks a Clear Trigger or Purpose: A lazy flashback often appears out of nowhere, without a clear sensory trigger (a smell, a song, a phrase) or a strong narrative reason tied to the present moment. It just… happens.
4. Telling, Not Showing: These flashbacks often recount events rather than immersing the reader in them. They summarise, rather than allow the reader to experience the past as if it were happening now.

The Art of a Well-Constructed Flashback

A well-constructed flashback is a precision tool, used sparingly and with surgical intent. It doesn’t halt the story; it deepens it, providing vital context that reshapes the reader’s understanding of the present.

Here’s what makes a flashback effective:

1. Purpose-Driven and Relevant: Every successful flashback serves a clear, immediate purpose for the current narrative.
   • Context: It provides a crucial piece of information that makes the current events, character motivations, or mystery suddenly click into place.
   • Character Development: It reveals the origins of a character’s present fears, desires, strengths, or flaws, adding layers to their personality. Instead of telling us a character is brave, we see a past event that forged that bravery.
   • Mystery/Suspense: It offers a tantalising clue, a half-remembered moment that hints at a larger secret, building tension and propelling the reader forward to discover more.
   • Dramatic Irony: The reader gains knowledge that the present-day characters don’t have, intensifying the stakes.
2. Seamless Integration and Clear Transitions: An excellent flashback is often triggered organically. A scent, a sound, a familiar face, a particular phrase – something in the present moment pulls the character (and the reader) back to the past. The transition should be clear, too, whether through distinct paragraph breaks, italics, or a narrative device.
3. Concise and Focused: Like any good scene, a flashback should only include what’s absolutely necessary. It’s not an excuse for extraneous detail. It’s a snapshot, not a whole album.
4. Impact on the Present: The most crucial element: a good flashback changes the reader’s perception of the present story. When the flashback ends, the reader should return to the main narrative with new information, a deeper emotional connection, or a shifted perspective that makes the current events more resonant. It should propel the story forward, not bog it down.
5. Engaging as a Scene: Treat your flashback like any other critical scene. It should have its own mini-arc, vivid details, sensory descriptions, and emotional resonance. It shouldn’t feel like a summary.

Conclusion: A Tool for the Master, Not the Apprentice

Flashbacks are neither inherently good nor bad writing. They are a powerful, but dangerous, narrative device. In the hands of a skilled writer, they can unlock profound understanding, build unbearable tension, and imbue characters with incredible depth. In the hands of a novice, they can be a clunky, confusing obstacle.

Before you insert a flashback, ask yourself:

• Why now? Why can’t this information be revealed through dialogue, internal thought, or action in the present?
• What vital purpose does this serve for the current story?
• Will it clarify or confuse?
• Will it deepen character or merely delay plot?

If you can answer these questions with conviction, then by all means, employ the flashback. Just ensure it’s a finely crafted key, not a blunt instrument, to unlock the true potential of your story.

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What are your thoughts on flashbacks? Do you have a favourite example of a story that uses them masterfully, or one that fumbled the ball? Share your insights in the comments below!