 | 12 Oct 06 |
Stephen King thinks flashbacks are weak writing.
(Oh, and speaking of King, he’s the recipient of the 2007 Grand Master award from Mystery Writers of America. Read more on my blog here.)
When I read that, in his book ON WRITING, I was hurt. Why? Because I had just written THE HUNT and I’d included lots and lots of flashbacks. I didn’t want to think that I was a weak writer relying on worn plot devices to tell my story.
Then I thought about the story, my story, and realized that using flashbacks made the book better, the story stronger and more immediate.
I’m sure there are those who disagree with me. Fine, they’re entitled to their opinion. And flashbacks don’t always work, just like prologues. But when done right, they add a dimension to the story that wouldn’t be there if you recount particular scenes simply by retelling or remembering them through the character.
I like flashbacks because they bring immediacy to the storyline when showing a past event. It’s one thing for Miranda in THE HUNT to tell Quinn how she was hurt by him throwing her out of the FBI academy; it’s quite another to show the actual scene of him telling her she has to leave. Far more powerful, especially when other past scenes show her trust and faith in Quinn and the system, and his worry that she isn’t ready, but not wanting to hurt her by telling her that.
I also used flashbacks to show what Miranda had gone through as a captive of the Butcher, how she escaped, how she felt during her escape. To me, that was more powerful than having her “remember” through narrative her fear. Because Miranda twelve years ago is a different person than Miranda today.
Flashbacks work when they have a purpose and relate directly to the current story. My favorite flashback scene was in THE PREY. Rowan methodically, coldly, tells John the facts about what happened when her little sister was killed. But that is juxtaposed against her memory, told in italics to show that it was her reliving the event.
LOST effectively uses flashbacks. Now, some people don’t like them. Flashbacks can be confusing if there isn’t an obvious line. I picked up on LOST’s method so it didn’t confuse me.
Why do I love it? The flashbacks relate to the current episode. Without knowing the Sawyer hid under his bed while his father killed his mother, we would hate Sawyer and not see any way that he could be redeemed. We wouldn’t understand his character. But he wouldn’t just tell information to someone else. And Jack? See his life unfold, his conflict with his father, how he married–and divorced. All this goes to his personality, his motivation, his conflicts, his goals. Ha, ha . . .GMC. Sound familiar? But we wouldn’t know ANY of it because when you’re lost and stranded on an island, you don’t just sit around the campfire talking about yourself.
LOST does flashbacks better than anyone. But the STORY needs them. In DEADWOOD, flashbacks wouldn’t work as well. There’s a lot of information we get through hints in the storyline. But if we KNEW the information in the form of the flashback, we wouldn’t have those “aha” moments. Take Swearingen. We need to see him hard and “bad” at the beginning. We know he took in a handicapped woman to clean his floors and he verbally abuses her. (He verbally abuses EVERONE.) But the history between those to is gradually revealed. The writers WANT us to hate Swearingen at the beginning–the story demands it–but to feed us these tidbits that show that Swearingen isn’t ALL bad.
Maybe that’s why I love flashbacks. They are an effective way of showing GMC without resorting to have I think of as worn tricks–conversations with best friends, long narrative, introspection. All of which have a place in stories, but not at the expense of the story.
It all goes back to the story. Write what works.
My guidelines for flashbacks:
1) If the story works better showing a pivotal moment in the characters lives, or an event, in order to show CHARACTER–and if it immediately lends itself to the current story–flashbacks are okay.
2) If the flashback, no matter how well it shows character, isn’t revelent to the current story, dump it.
New York Times and USA Today bestselling and award winning author Allison Brennan has published fourteen romantic thrillers with Ballantine, plus a novella and four short stories. She lives near Sacramento, California with her husband and five children. Recently, RT Book Reviews said, “A master of suspense, Brennan does another outstanding job uniting horrifying action, procedural drama and the birth of a romance — a prime example of why she’s tops in the genre.” For fun Allison enjoys wine tasting, swimming, playing video games, and—of course–reading. Her most recent release is CARNAL SIN, the second book in the Seven Deadly Sins supernatural romantic suspense series. Her Lucy Kincaid series will launch in January, 2011 with LOVE ME TO DEATH.
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Key words: “Write what works.”
I’ve heard the flashback thing many times over the years, along with “never use prologues.” For some reason, there’s a lot of writing advice which includes the word “never.” (Or if it doesn’t, it might as well because of how vitriolic said person is against the subject.)
The reason people advise against using such devices is because they are frequently mishandled and unneccesary. I remember one book I tossed aside in disgust because there were something like seven flashbacks in the first chapter alone, and I couldn’t, for the life of me, figure out what the hell was going on. With prologues, well, if you browse through the fantasy section, you’ll see lots of books (particularly older ones) with “All About My World” prologues that have nothing to do with the main plot.
Because of this, people get told to “never” use them, especially in works targeted towards beginning and intermediate writers, and that’s fallacious advice. There are times when it’s just the right thing to do… the key is in knowing when and how to do them.
Honestly, for almost every “rule,” I can point out a book or situation in which said rule was effectively broken. Don’t let them get you down. Write what the story requires.
by Nonny October 12th, 2006 at 5:51 amIf each and every writer in the world followed all of the writing “rules” all of the time, our bookshelves would be full of muck. Static and predictable and boring muck.
Not what the publishers are looking for, I hear.
Yes, we need to write well and be grammatically correct and follow *those* rules, but all the other techniques of our craft are in our toolboxes for a reason. To be pulled out and used when necessary. Part of our job as writers is to recognize the when and the what.
I have no problems with flashbacks, though, I must admit, I’ve yet to write one. However, that doesn’t mean I don’t enjoy reading them.
by Meretta October 12th, 2006 at 6:02 amAnd we’re worried about what Stephen King says why?
It’s not as if his books (popular as they are) are really all that well written. And talk about relying on tired, hackneyed devices, can anyone out there say “And then the aliens arrived?”
by Kalen Hughes October 12th, 2006 at 6:54 amThe reason (IMHO) flashbacks work, is because the author has well laid the foundation to support the need for flashbacks. We know little hints of the vital past long before the flashback answers our questions. A well tended manuscript weaves past and present into a solid piece of literature.
I remember reading a manuscript a few years ago in three different forms as the writer decided how to lay her chapters out. Regardless of how she laid out the story worked well. One worked the best for most people and it is the road she took, the story thrived.
Flashbacks out of the blue are a cheap – get me out of this mess – tool used by the writer. The writer has not laid the foundations, has not done their home work, and doesn’t respect the process, their story, their potential readers. I once worked on a manuscript that began with the end, the entire book was a flash back that ended with the end. It didn’t work for me… and apparently not for any publishing houses either. It remains (despite awesome possiblities) unsold.
by Cele October 12th, 2006 at 7:29 amI like Cele’s reply. If the framework is there, it will support the flashback. If a character is so one-way about something, we need a glimpse back to see why. Humans are curious creatures, we need an answer to ‘why’.
by Amanda October 12th, 2006 at 8:14 amAllison, flashbacks have a purpose, just as you said. I don’t even remember that being in Stephen King’s book ON WRITNG, which shows how little I pay attention to stuff like that. The simple fact is that when I’m reading a good book, I don’t give a rat’s patootie for the mechanics–if the story is working I just keep reading, prologues, flashbacks and all!
by Jen October 12th, 2006 at 9:23 amI’m with Jen. I just think that you USE what the story needs, and ignore the rest. Again, Allison, very interesting subject!
by Natalie October 12th, 2006 at 11:20 amI think it’s all in the pacing and the transitions.
The king of flashback use (not skill) is Dan Brown. When I read the Da Vinci Code, I would be two or three paragraphs into a flashback before I realized a few new people hadn’t suddenly materialized, and that we were in a flashback. Then I’d have to go back and re-read again to understand it.
On other hand, Dan Brown’s flashbacks dumped such fascinating information, that I couldn’t put the book down.
I’m looking forward to your flashbacks, Allison! You’re right, watching the action is much better than hearing it summarized later.
by spyscribbler October 12th, 2006 at 11:21 amAllison, the flashbacks in The Hunt worked so well. I really loved the way you used that, and I agree, if the story needs it, use it.
by Michelle Diener October 12th, 2006 at 11:37 amI’ll echo sentiment here. If it works *use it*. I’m really beginning to believe that many writers, published and unpublished are too fixated on the ‘rules’. Who makes up the ‘rules’ anyway? The concentration shouldn’t be on the ‘rules’ but the craft of writing. Craft a riveting story and they will read.
by Karin October 12th, 2006 at 11:49 amThe rules! What rules? Didn’t someone say – and I’m paraphrasing – there are three rules to writing a great book and nobody knows what they are.
That said. It really does depend upon the story. If a flashback holds up the story too much, dump it. Otherwise I have no objection to flashbacks. Allison, I’m not sure how you would have told the story in The Hunt without flashbacks. Something to ponder I guess.
That said. I’ve read a couple of books where the flashbacks were better than the current story. Not good, I’m thinking.
Mo
by Maureen October 12th, 2006 at 12:13 pmKalen, you crack me up
I’m so glad everyone agrees with me. We been talking about “rules” on one of the published author loops I’m on and no one likes them, so I really want to know how they got started.
Meretta, you’re so right about the toolbox! (something King also discusses). We need to know what we can use and use them properly.
by Allison October 12th, 2006 at 1:59 pmAllison,
by Monica M. October 12th, 2006 at 4:04 pmI also love flashbacks. To me they can give real poignancy to a scene and intensify the emotion. But like everything else, they have to be done well. (Like yours!). I’ve also used them in what I hope is an effective manner.
I don’t think “the rules” actually exist as such. I think that a lot of aspiring writers are searching for that magic key that will open the gate to publication and they’ve codified ADVICE from their idols and somehow created an urban legend that is THE RULES.
by Kalen Hughes October 13th, 2006 at 7:28 amI haven’t ever written a flashback, and saying that probably means I’ll be writing another one in the next few days–my muse, my muse, he be quite contrary.
I do think that they run a higher risk of causing the book to lag, but that’s about it. It’s in the execution people.
by May October 13th, 2006 at 10:47 amI’ve already commented on my view of flashbacks. Mostly I like them, however, I read a book about a year ago. I can’t remember the title. I didn’t actually finish the book. Here’s why.
I was involved in the story. Then, about 50 pages in came a long flashback. When I say long, I mean about 15 pages. It was good. But I got so involved in the flashback, which had a teaser ending, that when I got back to the main story, I was irritated. So I read the last chapter and dumped the book in my library-sale bag.
It’s possible to have too much of a good thing.
Mo
by Maureen October 13th, 2006 at 11:45 am