Image via Flickr Creative Commons, courtesy of Sally Jean

We have been discussing Deep POV, and yesterday I mentioned hating flashbacks with the power of a thousand suns and promised to explain why next post.

Yay! Here we are.

So you want to be a writer. Okay. I’ll be blunt because that’s my superpower. Check your conscience at the door keyboard. Writers are not civilized humans. In fact, we are the opposite. We are the reptilian brain to the power of a million. We probe and prod and poke the weak places.

Great storytellers are nothing short of sadists. We take a perfectly empathetic/likable person, toss their life in a Vita-Mix and blend, churning that mixture from Level 1-1000.

That is called conflict.

Stories are about people with problems to be solved. Everything else is a travel brochure.

One of the reasons I LOVE teaching craft is I get to see the work/stories of other writers. Last time I held my First Five Pages class (which there is a NEW ONE open *wink, wink*), I could hear the collective groans when I said, “NO FLASHBACKS. EVER.”

But, I am a benevolent dictator and instructed those submitting pages, that if they believed they positively-absolutely-must-have the flashback and had no idea how to extract it? Send it anyway.

One of my students sent her pages and they were the best example I have seen about WHY I hate flashbacks. Fabulous story and the flashbacks absolutely killed it.

***And, so you know the student was cool with me using this example and later fixed the story per my suggestions and it was successfully published.

HOOK

We’ve talked before about how to hook readers. It doesn’t have to be a bomb, a car chase, a murder. In fact, some of the best tension is in the everyday and it is even more intense because regular people can relate. Most of us can’t relate to a bomb ticking down but two words—Family Reunion. One word—WEDDING.

This writer’s story began with a poor wedding planner trying to herd badly hungover bridesmaids to a wedding (in Mexico). She is trying to repair dresses, cater to a prima donna maid of honor, and placate a bride who is passive and used to others walking over her.

Between trying to get enough outlets in a hundred-year-old church, bridesmaids barfing on their shoes, and a meddling mother of the bride, we have the perfect STEW of DRAMA and a FANTASTIC HOOK! Perfect understanding of in medias res.

We feel compassion for the poor wedding planner and worry if she will get these sick-half-drunk girls to the wedding without using a stun-gun on someone.

I was RIVETED…and then the author went back and explained how the wedding came to be held in Mexico.

ER????

NO, I WANT TO SEE A BRIDESMAID PUKE IN THE FLOWER ARRANGEMENTS!

This sample of writing was fantastic, but she did two things that undermined her piece.

NOTHING Should Work

Image via Flickr Creative Commons, courtesy of Juha-Matti Herrala.

When the wedding planner gives the bridesmaids Pepto, it makes them feel better. Okay, I will go with that. But to enhance this? It makes them feel better…moments before at least one of them (or ALL of them) barfs pink all over the wedding planner’s bag, or the bride’s veil, or the bouquet. Now, the problem isn’t only the sickly maids and bride, but how the heck can the wedding planner get out of THIS?

Character is demonstrated by solving (or not solving) problems REAL-TIME. We do not need to go back in time to explain or tell what kind of person the protagonist is. She didn’t need to go back and tell me about the protagonist’s character when she could easily show me in the current timeline.

Since wedding planner is the protagonist, maybe she has been through this before and just as the bride is about to have a breakdown because her veil is ruined? Wedding planner pulls out…a spare.

She always orders two after that wedding she put together in Oklahoma where the chain-smoking bride set fire to her own veil (showing she is calm and resourceful).

Whatever.

So when you put your characters in any scenario, ask, “Can I make it WORSE?” Then make it worse. Then ask that question again and again until you can’t make it worse without making it weird (I.e. sudden alien abduction in a Women’s Fiction).

Part of becoming a writer is to train out any human sensitivity. When we make life easier on our characters, we are doing it because WE feel tension and are seeking to alleviate that. Ah, but TENSION is the fuel of fiction, so do the opposite of what civilized humans would do and MAKE IT WORSE.

Flashback Fizzle

I could tell this writer was doing a SUPERB job of winding our nerves tighter than a Hollywood facelift. How? She backed off to explain…using a flashback.

When we feel the need to use a flashback and go back in time? Often we are reacting to tension we’ve successfully created and now y’all might see why I feel flashbacks are bad juju. Fiction is all about conflict. No conflict no story. No tension? Good place to stop reading.

How many of you have jerk friends, family or acquaintances? Or all of the above? Or maybe you’ve had a moment where you’ve shown your butt? I have all of the above. What do we do to ease others? To make them relax?

We explain.

Sorry about my Mom. She’s not been the same since my father died. 

Ok, so we leave out the part that Dad died 15 years ago. It works. It makes others give grace to Mom for acting like a horse’s behind.

I apologize for blowing up like that. I had a flat tire, migraine, no sleep, allergy medicine overdose, etc.

EXPLAINING is what civilized humans do to break the tension. STOP IT! CUT! CUT! CUT!

Original image via Flickr Commons courtesy of Mark Coggins

All of us will feel a NEED to explain why a character is moody, angry, broken, bawdy, whatever. DON’T. Resist the urge to EXPLAIN. In fact, if readers don’t know WHY, they will want to turn pages to find out WHY.

Frankly, as writers, we are GOD, so we really don’t have to explain ourselves anyway. Let the readers suffer until the very end, when you finally allow resolution. Suffering is good for readers (and book sales).

***And, like anything, I am sure someone somewhere used a flashback and it was AWESOME. Like any writing “rule” we can break this one, too. But, we have to know the rules to break the rules .***

Flashback Fodder in Real-Time Adds Mystery

When this writer flashed back to explain how the wedding ended up in Mexico instead of Mom’s choice (Napa Valley), she inadvertently missed two opportunities:

1) Increase tension.

2) Show character.

If she’d had this flashback information revealed real-time, Mom could have come in, seen the sea foam green bridesmaids (faces and dresses matching) and thrown a fit. “THIS is why I wanted to have this in Napa. It’s Montezuma’s Revenge. I told you wine country was a better choice. Why don’t you ever listen to me?”

The poor bride, who never stands up for herself is defeated and losing ground on what should be HER day. Wedding planner can come to the rescue and usher Mom out with the skill of an ambassador in a war zone (or try and fail). Either way, we LIKE her for trying.

THIS is “Show don’t tell.” Having critical information from a flashback in the current thread of time allows readers to see people act and react. It makes us wonder. It makes us tense. We want to ease the pressure and the only way to do that is to KEEP READING and HOPE it will eventually all turns out for the better.

Most Backstory CAN Be Told Real-Time…I Promise

One major reason new writers rely on flashbacks (aside from a possibly weak/flawed/nonexistent plot OR as a tension release) is that there is something that happened earlier the writer wants to share. Backstory.

A lot of writers don’t give readers enough credit. We believe we need to travel back in time to explain the backstory or the reader won’t “get” what’s going on. They will.

Let’s take a quick look at one of yesterday’s hastily assembled examples of Deep POV.

Fifi clutched the baby picture, the one her daughter had given her a week ago for Mother’s Day when they picked her up from rehab. Ninety days clean. At least that was the lie she’d packed along with her swimsuit and the hairspray can with the secret compartment and the only pills they hadn’t found.

The pills that were now gone.

They should have already been at the resort, the one staffed with eager friends willing to help her out. Friends with first names only who took cash and asked no questions.

Fifi scratched at her arms. Millions of insects boiled beneath her skin, invaded her nerve endings and chewed them to bleeding bits. Pain like lightning struck her spine, the section crushed then reconstructed. Pain like lightning spidered her brain, frying her thoughts. She glanced again at the baby picture, then at the fine young woman in back. Her daughter Gretchen.

What am I doing?

Maybe she would be okay. Maybe she hadn’t had enough pills to completely undo her. Maybe she could ride this out. And maybe I’m the Queen of England.

Gretchen bent between the seats and kissed her on the cheek. “I love you, Mom. You okay?”

Tears clotted her throat. She nodded. “Yes, I’m fine, Honey.”

“You mean it?”

She hesitated then smiled. “Yes. Yes I do.”

She tucked the baby picture in her shirt pocket, close to her heart and opened the van door. She needed air. She also needed to change their plans. Visit somewhere with no friends. With no one who took cash.

Look at ALL the stuff we learn without having to go back in time. We learn the time of year. That Mother’s Day was a week ago. That the family picked up Fifi from rehab. We learn she has an addiction to pills that is bad enough she has special drug-hiding containers. We later realize she has suffered a serious injury that crushed part of her spine.

You guys get the idea. We don’t need to go back to her being picked up from rehab. We don’t need to go back to the car accident or the fall or the ambush by ninjas wielding large sticks to see HOW Fifi was hurt. None of that is salient to the current story problem aside from fleshing out the character.

In fact, if I have my addict stranded with a broken down car and STOP and rewind to explain how she injured her back? Odds are it would just confuse you.

The story is about a family breaking down on the way to a vacation destination. Taking side trips back in time is distracting, redundant, confusing and makes the conflict fizzle.

Now y’all know why I take away your flashbacks. I am being mean, but it’s good for you. Flashbacks will ease your nerves, but is it worth losing the reader? And we often don’t recognize we are doing this. Even I have to go back through my writing and hunt for places I backed off the throttle because I was uncomfortable.

We will talk more about flashbacks in the coming posts because, as I mentioned yesterday, often what folks believe is a flashback is actually unorthodox plotting (I.e. parallel timelines).

What are your thoughts? What makes you tense? Do you find you fall in love with your characters and go too easy on them?

Before we go, y’all asked for it so here goes. I have two classes coming up. The class on log-lines Your Story in a Sentence—Crafting Your Log-Line is $35 and as a BONUS, the first ten sign-ups get to be victims. IF YOU ARE QUERYING AN AGENT, YOU NEED A PITCH. I will pull apart and torture your log-line until it is agent-ready for FREE. 

Beyond the first ten folks? We will work out something super affordable as a bonus for being in the class so don’t fret. I’ll take good care of you. AND, it is two hours and on a Saturday (June 27th) and recorded so no excuses .

I am also running Hooking the Reader–Your First Five Pages.  Class is on June 30th so let’s make Tuesdays interesting. General Admission is $40 and Gold Level is $55 but with Gold Level, you get the class, the recording and I look at your first five and give detailed edit.

Our first five pages are essential for trying to attract an agent or even selling BOOKS. Readers give us a page…maybe five. Can we hook them enough to part with cold hard CASH? Also, I can generally tell all bad habits in 5 pages so probably can save you a ton in content edit.

I LOVE hearing from you!

To prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Remember, for MORE chances to win and better ODDS, also comment over at Dojo Diva. I am blogging for my home dojo and it will help the blog gain traction.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook. 

The post Why Flashbacks Ruin Fiction appeared first on Kristen Lamb.

Image vis Flickr Creative Commons, courtesy of Yuya Sekiguchi.

This week we have been discussing flashbacks. What are they? Why do readers, agents, editors generally want to stab them in the face? Is it truly a flashback or is the writer employing an unorthodox plotting structure (The Green Mile or The English Patient)? Shifting time IS a legitimate literary device, but like ALL literary devices, it has strengths and weaknesses.

Theme is wonderful. But if we lay it on too thick, we can turn off readers because our story comes across as preachy or lecturing. Symbolism? Love it! But overdo this and readers can get irritated. Can the drapes JUST BE BLUE? Deus ex machina IS a legitimate literary device. Feel free to use it. I wouldn’t recommend it, but knock yourself out.

As I like to say, Have fun storming the castle! *waves and grins*

Deus ex machina hasn’t been used much since, oh, Odysseus, but hey. It might work. *cough Neverending Story* Anything can work. Don’t let me stop you.

All righty. Today, I’d like to talk about WHY flashbacks can be red flags for me as a teacher/editor. I feel I can speak to this because when I started writing I was CLUELESS. My first novel is being used in GITMO because it is more effective than water boarding.

So, why might too many flashbacks make people like me twitchy?

Our WIP can feel a little like THIS…

We Don’t Have a Core Story Problem 

Most new writers cannot tell you what their book is about in ONE sentence, yet that is all we should need. Three, MAX, but one is better. I don’t care how complicated or long the work, it should have a simple core.

Lord of the Rings

A naive, sheltered race must leave home for the first time and toss an evil ring in a volcano before darkness destroys their world and all they love.

Simple. Ah, but simple is not always easy. And while Lord of the Rings is EPIC in length, with mind-bending description and layers and symbols and sub-plots and invented languages…the core is simple. Destroy The Ring of Power before Sauron casts the world in darkness and destroys everyone.

Many new writers don’t know how to plot or believe plotting means writing will be formulaic (which us UNTRUE). Or they have no idea how to whittle all the shiny fabulous ideas in their heads and pick ONE. Thus, flashbacks become a way that we explore different stories and ideas, but since there is no skeleton, we have a gelatinous mess only we love or understand.

Whether a pantser (write by the seat of your pants) or a plotter or a mixture of both (me) we need to know what our story is ABOUT. 

This is often why, when I challenge writers to write the ending first?

*BOOM! Brain matter all over the walls*

But, if we KNOW our story problem, the ending should be there (or at least AN ending). In the LOTR, we know if they don’t toss the ring in the volcano, they lose. We know the story ends somewhere near….wait for it….a volcano.

Same in literary fiction. In The Joy Luck Club if June Mei isn’t on that boat to China in the end, she has failed to break the cycles of the past. In The Road if Man and Boy resort to snacking on people to reach the ocean, they fail. There is still a goal and there has to be a goal in order to generate true dramatic tension.

Thus, flashbacks are often a way of us trying to figure out what the story is really about. While this is a good exercise, it is a loooong and arduous way to write books.

Back to the future, then past then future…

We Don’t Yet Know Our Characters

Often flashbacks (particularly for the new pre-published writer) are a way we use to get to know who we are writing about. Maybe we aren’t comfortable with a character background sheet. It feels too… “Fill in the Blank.” I was that way and still am. This is why, when I do a character background, I write their life stories first. Then I can pick what is salient and have a developed character who is three-dimensional.

We Have Chosen the WRONG Protagonist

Writers are weird ducks, but y’all know that *quack quack*. We have to be ruthless almost to the point of sociopathy, but on the flip side, we must be intimate and vulnerable in a way mere mortals can’t be. In the beginning, being vulnerable is hard. It might always be hard. But for those of you who’ve had a work that had a ton of flashbacks, I’d like to ask this.

Did you begin your work thinking the story was about one character, only to find out you were telling the wrong story? That you’d unwittingly cast the wrong person?

Image via Flickr Creative Commons courtesy of Robert Ellsworth Tyler

When we are new, we are insecure. Mainly because our family might be more supportive if we’d chosen to join a cult. Our protagonist is often US or at least a reflection, and, since we feel insecure, we often end up with a perfect protagonist, which is code for “dull as dirt.” Why? We can’t be vulnerable. 

Ah, but supporting characters are different. We don’t have the same armor on with those guys…which is often why people love them more and they often stage a story coup and take over.

We Have Chosen the Wrong Beginning

Sometimes flashbacks occur because our subconscious senses we aren’t starting in the correct place. We have gone too far into the action and our subconscious is dragging us back.

The flip side of this is everything is cause and effect. We sometimes just have to pick a point and start THERE. My first book in the trilogy I’m working on is a good example (and an easy one for the moment).

Romi is broke and without a job because her ex-fiance pulled an ENRON, stole a half a billion dollars, cleaned out all her accounts, and left her the FBI’s prime suspect…even though she IS an innocent victim.

I had to make a choice. Begin the book when she is down and out and blackballed OR start the story when she gets out of college and lands a dream job and dream fiancé (who will both turn into nightmares). Either would have worked. I picked starting after the $#%^ hit the fan.

Just because a set of events made a character a certain way doesn’t mean this information is salient to the plot problem. We all have a background and are all a collection of our experiences. And we could look for causation ad infinitum and go back thousands of years to figure out why. But that makes a LONG book and is therapy not fiction.

Image via Frank Selmo WANA Commons

Emotional Distancing

As I’ve shown in examples over this week, flashbacks can be a symptom that we are doing something right. We ramped up the tension to the point of shredding nerves (GOOD), but then, to ease our own anxiety, we flashed back to explain. Remember great fiction is totally counterintuitive to what normal humans do. Fiction is the path of greatest resistance.

We might be avoiding a storyline or casting a certain character because it hits too close to home.

I did this with my first novel The Past Never Dies (does the title tell you anything?)

In this book I was “attempting” to run two parallel timelines. Vivi was the outgoing world traveler and her friend, Eileen, she left behind was trapped by paralyzing OCD. The friend was living vicariously through gifts and letters and journals (I KNOW. I told y’all I’ve done all this, too).

But what was really fascinating to me was people didn’t care for Vivi (a character I projected as me at the time). She was too perfect and thus a caricature. Eileen, on the other hand, had the far more interesting story.

In the beginning, Eileen is trapped by OCD and a survivor of religious abuse. She grew up with an OLD SCHOOL Pentacostal preacher for a father who hated women, and a mother who’s too browbeaten to fight back. To compound this trauma, she was tormented in school because her father insisted she wear homemade long dresses, no makeup or jewelry and never cut her hair (in the sweltering heat of Florida).

In fact, this is how Vivi and her became friends. Vivi took on the bullies.

I tell that all in many, many….*sigh* many flashbacks.

Eileen has a routine and is borderline Aspergers. Her routine must be as precise as a Swiss watch or she short-circuits. She breaks free of Dad and explores her passion for art. Just as she is opening up, she’s the victim of a cruel and public prank at her workplace.

For the first time, she bolts. Instead of turning inward, she finally blows outward. She burns her paintings and literally walks away from her life in a very Thelma & Louise way. She rebels.

This parallel story (and the one I believed to be lesser of the two stories) arcs from Eileen being repressed, bullied and enslaved to facing those demons and finally experiencing liberation and actualization.

Vivi? A travel brochure and manufactured drama. Every poor family member who read my TOME loved Eileen’s story and was bored to tears by Vivi’s.

Why?

I wanted to be Vivi. I was Eileen. I could be vulnerable with Eileen because, in my mind, I was Vivi not Eileen.

At the time I wrote the book, I was a slave to OCD and had crippling panic attacks and social anxiety. I would shop at three in the morning so I didn’t run into people. I was terrified of the outside world and others…and that is why Eileen was far more authentic and REAL. She was deeply and profoundly flawed yet overcame it.

I have seen this same phenomena time and time and time again with writers I’ve worked with. They will believe wholeheartedly their story is about Such-and-Such, but it is really about a character they “thought” was in the supporting cast.

Summing Up

Can you use flashbacks? Yes. But if we are using too many, ask the hard questions:

1. Do I have a CORE story problem I can articulate in three sentences or less?

2. Do I truly know my characters?

3. Have I chosen the wrong protagonist?

4. Am I starting in the correct spot?

5. Am I failing to choose a certain spot because I fear commitment or failure so I keep digging back in time to avoid moving forward? The past is set, the future not. Ground is given, sky is scary.

6. Am I using the flashback to emotionally distance from a story, an event or even a character?

7. If I am afraid of this thread or this character, is that perhaps the better direction to go?

In the BBT Gold class is we talk, a lot. I am more of a Book Therapist than Doctor. Often writers know the story they yearn to tell. What I do is listen to all the ideas and characters and dramas and say, “I hear all of this, but what I am hearing is your story is really about X.” I don’t have a magic ball, just good listening skills that can peel away a bunch of stuff I’m not attached to (but the writer is).

This class is designed to save a LOT of time, money and fruitless revisions. Everyone walks away with their story on a sentence, a basic plot and a very clear idea of what their novel truly is about.

Six hours or less can save you six years or more .

Like couples therapy. You and your WIP. You think it’s about the toothpaste lid being left off alien invasion and her childhood when it isn’t. An outside professional can help you go deeper to what’s at the heart of the matter/story, whether that is me, a good editor, a great critique partner or group.

I hope at the end of these posts you can see why I am not really being mean when I challenge you to lose flashbacks. My goal is for you guys to tell the story you were born to tell, but sometimes we are our own worst enemy.

What are your thoughts?

For those who’ve relied on too many flashbacks, does this help? Maybe you’ve picked the wrong point in time or are scared of your true story? Have you cast the wrong character before? Maybe handed your work to others and they ask, “Why aren’t you writing about HER?” Are you going backward because you fear going forward, or maybe don’t know how to?

I LOVE hearing from you!

To prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

If you want more help with plot problems, antagonists, structure, beginnings, then I have a FANTASTIC class coming up to help you!

CLASS COMES WITH HANDOUTS AND FREE RECORDING.

Understanding the Antagonist

If you are struggling with plot or have a book that seems to be in the Never-Ending Hole of Chasing Your Tail or maybe you’d like to learn how to plot a series, I am also teaching my ever-popular Understanding the Antagonist Class on May 10th from NOON to 2:00 P.M. (A SATURDAY). This is a fabulous class for understanding all the different types of antagonists and how to use them to maintain and increase story tension.

Remember, a story is only as strong as its problem . This is a GREAT class for streamlining a story and making it pitch-ready.

Additionally, why pay thousands for an editor or hundreds for a book doctor? This is a VERY affordable way to make sure your entire story is clear and interesting. Also, it will help you learn to plot far faster and cleaner in the future.

Again, use WANA10 for $10 off.

I’ll be running the First Five Pages again at the end of May, so stay tuned.

And, if you need help building a brand, social media platform, please check out my latest best-selling book, Rise of the Machines—Human Authors in a Digital World.

The post Why Too Many Flashbacks Might Be a Warning of Deeper Story Problems appeared first on Kristen Lamb.

Pirate Code=Writing Rules. Clearer now?

Yesterday’s post stirred quite the debate and flurry of panic attacks, so today, we will delve a bit further into Le Mystique of Le Flashback. First of all, for future reference, I need to ignore all Facebook comments that begin with, “I haven’t read your post, but completely disagree…” Er? Ok. Here’s the thing. I play dictator on my blog, because it’s my blog and it’s FUN.

I’m a realist and I KNOW there is some writer out there who has broken every rule there is. But, bringing up every last exception is a confusing way to teach and a fabulous way to make your heads explode.

It’s like the “I before E Except After C (except for when you run a feisty heist on a weird beige foreign neighbor) Rule.”

If I give you guys the BASICS and explain WHY editors, agents and readers almost always dislike flashbacks, you know what is distressing about a flashback so you can avoid the pitfalls if you choose to employ a flashback.

…but still avoid them. Ok, I’ll shut up now.

Defining a Flashback

When is a flashback a literary device? Hint: Rhymes with…NEVER.

Oh, before y’all get your panties in a bunch, let me expound.

One thing that jumped out at me yesterday is that we don’t seem to all define the flashback in the same way. I see this with the term “antagonist” ALL THE TIME, which is why I have an entire class dedicated to un-confusing you. Yes, un-confusing is a word :P.

For instance, many writers use villain and antagonist interchangeably, but they aren’t interchangeable. A villain is only ONE TYPE of many variations of antagonists. Antagonists are not always bad and often they are the protagonist’s allies.

This is like saying an orange is a fruit, thus all fruits are oranges. Logical fallacy.

Flashbacks, to me, are when a writer either breaks a scene and jumps back in time to explain (and thus alleviate tension as in yesterday’s example). OR, a flashback is when another scene serves ONLY to explain another scene (thus again, alleviating present tension).

In the first type, we have a scene, which is action. Protagonist has a goal, but then X happens. The point of the scene is to make the reader wonder if the protagonist will reach the goal or fail. The more roadblocks, the better.

To Flashback to Yesterday’s Post…

In yesterday’s example, we had this GREAT, TENSE scene where a wedding planner is trying (rather unsuccessfully) to herd hungover bridesmaids to the wedding on time. Nothing is going well for the poor planner. WE LOVE IT. We are HOOKED! Yet, with no warning or a clear scene break, suddenly *screeching of tires* we are  hurled back into an earlier conversation in a different place and time with totally different people when the bride-to-be decided to move the location from Napa to Mexico.

Huh?

What this did was:

1. Break the forward timeline.

2. Make the reader have to reorient to a new time/goal.

3. Introduced a new cast of characters and dialogue that had to do with a TOTALLY different goal that had nothing to do with herding half-drunk bridesmaids to a chapel on time (and also had me floundering to keep up with 10 names).

The going back in time did nothing for the plot except break the tension by explaining and add a bunch of characters who weren’t even in the present scene. There was no information in that minor flashback that could not have been done BETTER in forward gear.

We know Mom gave in and let the bride have the wedding in Mexico, because…we began the story IN MEXICO!

In fact, putting the flashback real-time actually raises the tension through the roof. Nothing like having Mom wag a finger and say I told you so to make a nervous bride’s hangover improve :P.

Another example.

I’m working on a trilogy. Any book within a series should be able to stand alone. In series, however, it can be very tempting to explain in case someone hasn’t read the earlier book(s). Don’t.

Romi (my protagonist) is shot in the first book. In Book Two, this is page ONE when my protagonist meets with a character from Book One:

“Romi Lachlann,” he said close to my ear then leaned back, studying me. “You look different.” 

“I’d hope so.” I absently rubbed the scar on my ribs from the gunshot wound and poured myself a cup of black coffee from a large carafe.

Then, I continue the story. Sally forth!

Romi’s goal is to find out why, after 18 months of silence, someone from her past suddenly needs to see her. Yes, there is this teasing of the past, but I don’t stop and explain who shot her. I don’t lurch back to the final Big Boss Battle in Book One when she is on the floor begging for her life. I let the reader wonder.

Er? Gunshot wound? WTH happened?

If I stop mid-scene to explain, I confuse the reader and dilute the wondering. If I indulge in another scene back from when Romi was shot, I shoot myself in the foot.

Why would anyone 1) bother reading the first book or 2) keep turning pages to figure out what happened and how/why she was shot?

Additionally, my Book Two Romi is so paranoid she’s three steps away from wearing a tin-foil hat. If I go back and tell WHY, the story fizzles. Yet, by revealing details from what happened earlier in real-time (and when relevant to the current story problem), the reader eventually comes to understand the full depth of what Romi survived.

In fact, if I do my job properly, part of what will keep the new reader engaged is finding out what on earth transpired that tipped Romi off the deep end. For those who (hopefully) read Book One, her behavior is just an organic growth of the character/story they already know.

Also, if some people have read the first book, then I’m not trapping myself in an “As You Know, Bob Syndrome” when I withhold information. Why repeat details some readers already know and that would ruin tension for those who don’t yet have answers?

Flashbacks and Parallel Timelines are TWO Different Creatures

Flashbacks disorient, diffuse tension and can be cut without harming the story. All the information in the flashback can be explained in narrative or dialogue at a later point. No need to hit the “Reverse.” Your protagonist’s conflict isn’t in the past, but the present and future. The past has already happened, so readers CAN’T WORRY.

In my book, the reader knows Romi survives being shot. She’s drinking coffee and NOT a ghost. Flashing back to a bunch of pain, suffering, betrayal is self-indulgent melodrama.  Her conflict is in the current problem—the large bounty for her head (literally).

A Parallel Timeline is NOT a Flashback

Image via Amy Tan’s, “The Joy Luck Club.”

Just because some scenes are set in an earlier time, doesn’t mean they are flashbacks. If we pull past and present apart then set the scenes side-by-side, we will see they exhibit three-act structure and eventually converge with the present in the final scenes of the story. Some examples are Fried Green Tomatoes, The Joy Luck Club, The Divine Secrets of the Ya-Ya Sisterhood, The Notebook and The Green Mile. 

For instance, I love the example of Stephen King’s The Green Mile not only because it is a great story and superb example of what we are discussing, but the book and movie are very close. This movie would be a great study if you are so bold as to try parallel timelines. They are tricky and I am not so brave.

The Green Mile begins in 1999 with Paul Edgecomb in a Louisiana nursing home. Paul begins to cry while watching the movie Top Hat. When his elderly friend Elaine shows concern, he confesses the movie reminded him of his time as a prison guard in charge of the death row inmates at Cold Mountain Penitentiary during the summer of 1935.

Old Paul Edgecomb.

Young Paul Edgecomb.

One timeline follows Young Paul as a prison guard and his miraculous encounter with John Coffee. The other timeline follows Old Paul and his trials in the nursing home. It isn’t until the end that anyone bothers doing the math and sees HOW these two timelines converge. In fact, the timelines converging is essential to the core of the story. What happened to Young Paul has altered Old Paul forever.

Also, note that Young Paul Edgecomb was a jailer who held the power over the powerless, yet used his authority for good. As an elderly man in a home, Paul comes to experience what the inmates in his care might have felt like under the sociopath Percy Wetmore. Old Paul is no longer in a position of power and is at the mercy of a sadistic care giver (a present-day ghost of Percy Wetmore).

Or is he?

Percy Wetmore in “The Green Mile.”

Not All Story Timelines Have to Be Completely Linear

Some stories will begin with a tragic event in the beginning, then we see something like TWO DAYS EARLIER. This is not a flashback. This is merely a different way of plotting and a solid literary device. Though these types of stories might begin in a future moment, once the timeline goes back, it often stays there. Time then keeps pressing forward until the two points in time meet. There is no back-and-forth psychic whiplash.

Can these rules be broken? Sure. Pulp Fiction.

From the Quentin Tarantino film, “Pulp Fiction.”

But, I might add that Pulp Fiction ticked off as many people as who loved it (and this was a movie and visual so easier on the gray matter). Yet, even in Pulp Fiction (or The English Patient) eventually the jaunty timelines converged for those of us who’d gutted through being tossed all over the place.

***Note: I wanted to set The English Patient ON FIRE….but someone beat me.

But let me point out something interesting. If we snipped the scenes in either of these stories apart, we could set them side-by-side into a completely linear story with no spare parts.

Tomorrow, we will discuss why misused flashbacks can be a symptom of bigger issues/problems. But, I hope this helps you guys understand what I mean when referring to “a flashback” and the difference between a flashback versus parallel or non-linear timelines. Unorthodox plotting can be a literary device that enhances tension. Flashbacks, however, diffuse tension…and this is why they should be killed without pity.

I’m right.

It’s science :P.

What are your thoughts? Unless your thoughts are, but “But Kristen! Rules can be broken! Such-and-Scuh used flashbacks every page and now bathes in diamonds!” I know. And everyone hates her so I hope her money makes her happy. All rules can be broken and broken well.

Other thoughts than that? Did this help you guys see the difference in the “flashback” that irritates readers, editors and agents versus a parallel timeline or non-traditional plot structure?

I LOVE hearing from you!

To prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

If you want more help with plot problems, antagonists, structure, beginnings, then I have a FANTASTIC class coming up to help you!

CLASS COMES WITH HANDOUTS AND FREE RECORDING.

Understanding the Antagonist

If you are struggling with plot or have a book that seems to be in the Never-Ending Hole of Chasing Your Tail or maybe you’d like to learn how to plot a series, I am also teaching my ever-popular Understanding the Antagonist Class on May 10th from NOON to 2:00 P.M. (A SATURDAY). This is a fabulous class for understanding all the different types of antagonists and how to use them to maintain and increase story tension.

Remember, a story is only as strong as its problem . This is a GREAT class for streamlining a story and making it pitch-ready.

Additionally, why pay thousands for an editor or hundreds for a book doctor? This is a VERY affordable way to make sure your entire story is clear and interesting. Also, it will help you learn to plot far faster and cleaner in the future.

Again, use WANA10 for $10 off.

I’ll be running the First Five Pages again at the end of May, so stay tuned.

And, if you need help building a brand, social media platform, please check out my latest best-selling book, Rise of the Machines—Human Authors in a Digital World.

The post Pirate Codes & Writing Rules—When is a Flashback a Literary Device? appeared first on Kristen Lamb.