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How To Describe Flashback Scenes In Writing

How To Describe Flashback Scenes In Writing (12 Steps You Need To Know)

Introducing readers to the art of describing flashback scenes in writing is akin to inviting them on a captivating journey through time within the pages of a story.

Flashbacks, those narrative windows into a character’s past, are potent tools that, when wielded skillfully, can breathe life into a narrative, deepen character development, and illuminate the story’s themes.

They are the cinematic moments within the written word, allowing readers to step back in time and witness events, emotions, and revelations that hold pivotal importance.

In this exploration, we will delve into the nuanced techniques and strategies that enable writers to craft flashback scenes with vividness, authenticity, and narrative impact, ensuring that the past seamlessly merges with the present, leaving an indelible mark on the reader’s literary experience.

Table of Contents

How To Describe Flashback Scenes In Writing

Describing a flashback in writing involves taking your readers back in time to provide context or background information. Here’s a step-by-step process to effectively incorporate a flashback into your writing:

Establish the Need

Determine why you need a flashback. Is it to reveal crucial backstory, explain a character’s motivation, or add depth to the plot? Ensure that the flashback serves a purpose and enhances the story.

Create a clear transition that signals the shift from the present to the past. This could be a sentence or phrase that indicates the change in time, such as “In the summer of 1995…” or “As she reminisced about her childhood…”

Set the Scene

Describe the setting and the characters in the flashback. Paint a vivid picture of where and when this memory takes place. Use sensory details to immerse the reader in the past.

Character Perspective

Make it clear whose perspective the flashback is from. Is it the protagonist’s memory, a secondary character’s recollection, or an omniscient narrator’s insight? Stay consistent with the point of view.

Action and Dialogue

Show events or conversations that are relevant to the story’s progression. Use dialogue and actions to reveal key information, character development, or plot points from the past.

Emotions and Reflection

Explore the emotions and thoughts of the character experiencing the flashback. What do they feel or think as they revisit this memory? How does it impact their present circumstances?

Keep the flashback concise. Readers should be able to return to the main storyline without feeling lost. A few paragraphs or pages are usually sufficient, depending on the significance of the memory.

Transition Back

After conveying the necessary information or emotions from the past, smoothly transition back to the present. Use a clear indicator like “Returning to the present…” or “Snap back to reality…”

Reflect on Impact

Allow the character or narrator to reflect briefly on the flashback’s significance and how it relates to their current situation or decision-making.

Integrate Seamlessly

Ensure that the flashback flows seamlessly within the narrative. Avoid abrupt shifts that may confuse the reader.

Edit and Revise

Review the passage containing the flashback. Make sure it serves its purpose effectively and doesn’t disrupt the overall pacing of your story. Edit for clarity, coherence, and relevance.

Beta Reader Feedback

If possible, have beta readers review the flashback section. Their feedback can help you gauge whether the flashback resonates with your audience and if any adjustments are needed.

Remember that not every story requires a flashback, and excessive use can hinder the narrative flow. Use flashbacks sparingly and purposefully to enhance your storytelling.

How To Describe Flashback Scenes In Writing

Pre-writing Preparation

Pre-writing preparation is like forging the very blueprint of your literary masterpiece, a symphony of anticipation before the first word ever graces the page.

It’s the sculptor’s contemplative gaze before the chisel meets marble, the alchemist’s moment of alight with possibilities before the potion brews.

It’s your treasure map in the uncharted territory of creativity, where understanding the narrative landscape, plotting the emotional terrain, and choosing the perfect moment to unveil your story’s secrets become your sacred rites.

Pre-writing preparation is where the author is both architect and archaeologist, shaping not just words but worlds.

Understand the narrative context

Understanding the narrative context is akin to deciphering the intricate threads of a story’s tapestry. It’s the compass that guides us through the labyrinth of words, ensuring that every twist and turn serves a purpose.

Just as a detective scrutinizes clues to solve a mystery, an author delves into the depths of their own creation to unravel the essence of their narrative.

This understanding allows writers to navigate the vast sea of possibilities, ensuring that characters, plotlines, and themes align seamlessly, creating a cohesive and engaging literary journey for the reader.

In this intricate dance between intention and execution, comprehending the narrative context is the foundation upon which the entire edifice of storytelling is built, and it is the hallmark of a masterful wordsmith.

The purpose of the flashback

The purpose of a flashback in storytelling is akin to a cinematic pause in time, a momentary deviation from the main narrative that carries profound significance.

It serves as a window into the past, a lens through which readers can explore the depths of a character’s history, motivations, and emotional landscape.

Flashbacks are the storyteller’s tool for unraveling mysteries, for revealing secrets long buried, or for shedding light on pivotal moments that continue to shape the present.

They add layers of complexity to characters and narratives, allowing readers to witness growth, transformation, or the haunting echoes of past traumas.

In essence, the purpose of a flashback is to enrich the storytelling experience by providing context, depth, and a deeper connection between the reader and the characters, ultimately enhancing the power and resonance of the entire narrative.

How To Describe Flashback Scenes In Writing

Setting the Stage

Setting the stage in writing is the poet’s palette, the composer’s overture, and the director’s grand opening scene all rolled into one.

It’s where the alchemy of words conjures entire worlds within the reader’s mind. From the gentle rustle of leaves in a serene forest glade to the electric hum of a futuristic metropolis, the stage is where the writer crafts an immersive experience that tantalizes the senses and awakens the imagination.

It’s not just about describing a place; it’s about breathing life into it, making the setting a character in its own right, one that dances alongside protagonists, weaves into their emotions, and orchestrates the unfolding drama of the narrative .

In the art of storytelling, setting the stage isn’t mere background; it’s a mesmerizing performance waiting to steal the show.

Establish a strong point of view

Establishing a strong point of view in writing is akin to donning a pair of bespoke glasses through which the reader views the world of the story.

It’s the lens that defines the narrative perspective, casting a unique hue on every character, event, and emotion. Whether it’s the intimate embrace of first-person, the omniscient gaze that peers into the souls of characters, or the selective insights of third-person limited, the chosen point of view is the narrative heartbeat.

It not only shapes whose thoughts we hear but also dictates how much we can truly know about them.

A strong point of view isn’t just a stylistic choice; it’s the voice that guides us through the literary labyrinth, grounding the reader in the story’s universe and ensuring a deeply immersive and unforgettable journey.

Describe the physical environment

Describing the physical environment in writing is akin to painting a masterpiece with words, where the setting becomes a living, breathing entity in the narrative. It’s about summoning landscapes that are not just backdrop, but a rich tapestry interwoven with the essence of the story.

From the towering skyscrapers of a bustling city to the serene, whispering woods of an ancient forest, the physical environment becomes more than just a backdrop; it’s a character in its own right, influencing moods, actions, and the very essence of the tale.

Through vivid, sensory details, the writer can transport readers to distant realms, evoke the pungent scent of rain-soaked earth or the icy chill of a desolate tundra.

In this way, the physical environment breathes life into the narrative, setting the stage for the unfolding drama and engaging the reader’s senses, ensuring that the story lingers in their mind long after the last page is turned.

Evoke the time period

Evolving the time period in writing is akin to conjuring a portal to a bygone era, where the past unfurls before the reader like a living tapestry of history.

It’s about more than just mentioning dates or historical events; it’s about immersing the reader in the sights, sounds, and ethos of a specific time.

Whether it’s the roaring twenties with its jazz-age exuberance or the smoky intrigue of a Victorian London fog, evoking the time period adds layers of authenticity and atmosphere to the narrative.

Through meticulous research and evocative prose, the writer can transport readers to another age, allowing them to taste the era’s flavors, breathe its air, and walk its cobbled streets.

In doing so, the time period becomes not just a backdrop but a dynamic force that shapes characters, influences their choices, and ultimately deepens the storytelling experience, leaving an indelible mark on the reader’s imagination.

Characterization

Characterization in writing is akin to the delicate art of crafting human souls from the fabric of words. It’s the alchemy that turns ink and paper into living, breathing individuals who dance upon the stage of imagination.

These characters aren’t just inked figures; they are the architects of empathy, the catalysts of emotions, and the guides through the labyrinthine landscapes of the story.

Writers, like master sculptors, chisel away the excess to reveal the inner workings of their creations—their fears, hopes, quirks, and dreams.

Through the nuances of their personalities and the subtleties of their interactions, characters become more than words; they become companions on a literary journey, leaving an indelible imprint on the reader’s heart and mind.

In the hands of a skilled writer, characterization transcends the page, weaving a tapestry of humanity that resonates long after the story’s end, a testament to the enduring power of storytelling.

Develop the flashback characters

Developing flashback characters is akin to breathing life into the echoes of the past, allowing them to walk the corridors of memory with purpose and authenticity.

These characters, though glimpsed through the hazy veil of time, should feel as vivid and complex as those in the present narrative. Just as an artist adds layers of detail to a canvas, the writer fleshes out these characters, endowing them with distinct personalities, desires, and motivations.

Through their actions, dialogue, and inner thoughts, they come alive, stepping from the shadows of history to illuminate the significance of the flashback.

The depth of their portrayal not only enriches the storytelling experience but also serves as a bridge connecting the past to the present, forging emotional bonds with the reader and bringing resonance to the narrative’s temporal dance.

Highlight the protagonist’s emotional state

Highlighting the protagonist’s emotional state in writing is akin to unveiling the heart’s innermost secrets , laying bare the raw, unfiltered essence of the character’s journey.

It’s the subtle tremor in their voice, the silent storm in their eyes, and the silent symphony of emotions that surge beneath the surface.

As writers, we become emotional archaeologists, excavating the layers of our protagonist’s soul, revealing the vulnerabilities, scars, and aspirations that define their humanity.

Through evocative prose and introspective narration, we offer readers an intimate glimpse into the protagonist’s emotional landscape, inviting empathy and connection.

These emotions, like the brushstrokes of a painter, infuse life into the narrative, fueling the character’s growth, choices, and ultimate transformation. In this delicate dance between character and reader, the protagonist’s emotional journey becomes a mirror reflecting the universal human experience, leaving an indelible mark on the hearts of those who embark on the literary voyage.

Create relatable relationships

Creating relatable relationships in writing is akin to weaving the intricate tapestry of human connection, where characters’ bonds resonate with readers on a deeply personal level.

These relationships are the emotional core of a story, reflecting the complexities of love, friendship, or conflict that we encounter in our own lives. Just as a composer orchestrates harmonies and discord, a writer crafts interactions that feel authentic, evoking empathy and recognition.

Whether it’s the enduring camaraderie between friends, the tumultuous dynamics of a family, or the electric chemistry of a romantic partnership, these connections breathe life into the narrative.

Through genuine dialogue, shared experiences, and the nuanced ebb and flow of emotions, relatable relationships draw readers into the story’s heart , allowing them to see themselves in the characters and forging a lasting emotional bond between page and reader.

Crafting Dialogue

Crafting dialogue in writing is akin to composing a symphony of voices, each note resonating with the power to captivate, amuse, or pierce the soul. It’s the art of imbuing words with life, transforming mere text into vibrant conversations that dance across the page.

Dialogue isn’t just characters speaking; it’s a portal into their minds and hearts, revealing their quirks, motivations, and secrets.

A masterful writer knows that dialogue is a delicate dance of nuance and subtext, where what is left unsaid can be just as powerful as spoken words.

It’s the banter that crackles with wit, the confessions that linger in the air like a promise, and the conflicts that sear like lightning. In this realm of dialogue, every word is a brushstroke on the canvas of character, and every exchange a glimpse into the human condition, making it an irreplaceable brush in the writer’s artistic palette.

Use authentic dialogue

Using authentic dialogue in writing is akin to capturing the cadence of real-life conversations, making the characters and their interactions feel genuine and relatable.

It’s about more than just words; it’s about imbuing dialogue with the unique rhythms and idiosyncrasies of each character’s voice.

Authentic dialogue isn’t a mirror of reality but a distilled essence, where every word serves a purpose, revealing character traits, advancing the plot, or conveying underlying emotions.

By paying attention to the subtleties of speech patterns, regional expressions, and the distinct personalities of characters, writers can create a symphony of voices that resonate with readers, drawing them deeper into the narrative.

In this way, authentic dialogue becomes a bridge between the fictional world and the reader’s own experiences, enriching the storytelling tapestry and creating connections that endure long after the final page is turned.

Balance dialogue with narrative

Balancing dialogue with narrative in writing is akin to orchestrating a harmonious duet between characters and the world they inhabit.

It’s the delicate art of interweaving spoken words with descriptive prose to create a seamless and immersive reading experience. Too much dialogue can feel like eavesdropping on a conversation without context, while an excess of narrative can drown out the voices that bring characters to life.

Striking the right equilibrium allows for character-driven revelations, the advancement of the plot, and a deeper understanding of the setting.

Narrative provides the stage, describing the tone, emotions, and physical surroundings, while dialogue injects vitality, revealing character motivations and interpersonal dynamics.

The dance between dialogue and narrative is where characters breathe, emotions resonate, and the story flourishes, ensuring readers are both spectators and participants in the unfolding drama, leading to a literary experience that lingers long after the book is closed.

Make dialogue purposeful

Making dialogue purposeful in writing is akin to crafting a symphony where every note contributes to the overarching melody of the narrative.

It’s about ensuring that spoken words are not mere chatter but essential components of character development, plot progression, or thematic exploration.

Purposeful dialogue is the art of revealing, concealing, or challenging ideas and emotions, pushing the story forward while adding depth to the characters. It allows readers to glean insights, empathize with conflicts, or uncover hidden motivations.

Writers sculpt conversations to carry weight, to spark change, or to underline the essence of a scene.

In this tapestry of words, every line spoken is a brushstroke of meaning, resonating with significance, and weaving a narrative that is not just heard but felt, leaving an indelible impression on the reader’s literary journey.

Flashback Narrative Structure

The flashback narrative structure is like a masterful illusionist’s sleight of hand, bending the very fabric of time to reveal hidden truths and secret chambers within the story.

It’s a literary wormhole where past and present collide in a mesmerizing dance, leaving readers breathless as they traverse the corridors of memory.

In this narrative feat, writers become architects of time, seamlessly transitioning between then and now, orchestrating revelations with the finesse of a conductor directing a symphony.

The flashback narrative structure is the art of constructing a literary time machine, inviting readers to witness the evolution of characters, the roots of conflict, and the unveiling of mysteries.

It’s the ultimate testament to the writer’s power to manipulate time, shaping a narrative that not only intrigues but immerses, making the past an inextricable part of the present, leaving readers forever entangled in its enigmatic embrace.

Emotional Resonance

Emotional resonance in storytelling is the ethereal heartbeat that transcends ink and paper, forging an unbreakable connection between the narrative and the reader’s soul.

It’s the indescribable shiver down the spine when words on a page evoke tears, laughter, or profound reflection. Like an alchemist’s elixir, it transforms characters’ joys and sorrows into universal emotions, allowing readers to see their own lives reflected in the mirror of fiction.

Emotional resonance isn’t just about empathy; it’s the symphony of shared humanity, where the written word becomes a bridge to our own experiences, memories, and aspirations.

In this enchanting dance between writer and reader, emotional resonance is the magic that turns storytelling into an unforgettable journey, leaving an indelible mark on the heart, and a whisper in the soul, long after the book is closed.

Build emotional tension

Building emotional tension in writing is akin to tightening the strings of a suspenseful melody, each note resonating with increasing intensity.

It’s the art of crafting a narrative that keeps readers on the edge of their seats, hearts racing, and emotions taut. Emotional tension is the suspenseful undertow that swirls beneath the surface of a story, compelling readers to turn the page, driven by a burning desire to uncover the characters’ fates.

It’s the intricate dance between hope and fear, desire and obstacles, love and conflict.

As writers, we are the puppeteers of emotions, pulling the strings to create a symphony of anticipation, and when the crescendo finally breaks, it leaves readers breathless, fulfilled, and forever bound to the characters and their journey.

Connect past and present emotions

Connecting past and present emotions in writing is akin to weaving a delicate thread through the tapestry of time, creating a profound resonance that lingers in the reader’s heart. It’s the art of showing how the echoes of bygone moments continue to reverberate in the present, shaping characters’ actions, thoughts, and relationships.

Past and present emotions are interwoven, like two dancers in an intricate duet, each step echoing the other.

This connection allows readers to witness the profound impact of history on the characters’ current lives, forging a deeper understanding of their motivations and vulnerabilities.

It’s through this emotional continuum that the story gains depth and complexity, drawing readers into a narrative where past and present are inextricably linked, and emotions are a bridge that spans the ages.

The reveal in storytelling is the literary equivalent of a magician unveiling a breathtaking illusion, a moment when the curtain of mystery is drawn back, leaving readers gasping in awe.

It’s the crescendo in the symphony of suspense, the climax of hidden truths emerging from the shadows, and the delicious satisfaction of unanswered questions finding their resolution.

Like a masterful stroke of the artist’s brush, the reveal adds intricate details to the narrative canvas, painting a picture that was previously shrouded in ambiguity.

It’s the narrative pivot where secrets are unmasked, alliances shattered, and the plot’s intricate puzzle pieces finally click into place.

The reveal is not just a narrative device; it’s an emotional rollercoaster that leaves readers exhilarated and hungry for more, reminding us that the magic of storytelling lies in the tantalizing power of revelation.

Use the flashback to reveal secrets or plot twists

Using a flashback to reveal secrets or plot twists in writing is akin to opening a long-buried treasure chest, the contents of which have the power to reshape the entire landscape of the story.

It’s the literary equivalent of a magician’s well-timed reveal, captivating readers with the allure of the unknown. A well-crafted flashback becomes the key that unlocks mysteries, unveils hidden motives, or exposes unexpected connections, sending shockwaves through the narrative.

Like a surgeon’s scalpel, it cuts through the fog of ambiguity, exposing the beating heart of the story’s enigma.

It’s the art of suspense, the thrill of discovery, and the moment when the narrative unfolds in a breathtaking twist, reminding us that in storytelling, the past holds the keys to the present, and buried secrets have the power to ignite the imagination and captivate readers until the very last page.

Reinforce the story’s themes

Reinforcing the story’s themes through flashback scenes in writing is akin to etching those themes into the reader’s memory with the precision of a master craftsman.

Flashbacks, like mirrors reflecting the past, offer writers the opportunity to revisit and reinforce the core ideas and messages woven into their narrative.

They allow themes to resonate through time, showcasing how they have shaped characters and influenced the unfolding drama.

Whether it’s love, resilience, redemption, or the inexorable passage of time, the flashback becomes a powerful lens through which readers can see the enduring relevance and impact of these themes.

It’s the subtle reminder that the story’s lessons are not just confined to the present but are threads woven into the very fabric of the characters’ pasts, offering a profound reflection on the timeless nature of human experiences and the enduring power of storytelling.

Revision and Polishing

Revision and polishing in writing are akin to the sculptor’s final strokes on a masterpiece, the jeweler’s last polish on a rare gem, and the conductor’s meticulous rehearsal before the grand performance.

It’s where the raw essence of a narrative is chiseled and refined into its most exquisite form. Revision is the process of seeing the story with fresh eyes, of cutting away excess, and polishing each word until it gleams with brilliance.

It’s the art of balancing prose, refining dialogue, and ensuring the pacing sings like a well-composed symphony.

It’s the relentless pursuit of perfection, knowing that every tweak and adjustment brings the story one step closer to its zenith.

In this alchemical process, writers transform rough drafts into literary treasures, each revision a labor of love that elevates the narrative into a work of art that not only satisfies the intellect but stirs the soul, ensuring the story shines with an enduring, unparalleled luminosity.

Ensure the flashback serves the story’s overall purpose

Ensuring that a flashback serves the story’s overall purpose is like the navigator’s role on a grand voyage, charting the course to a destination of narrative significance.

Flashbacks, as literary devices, are potent tools, but they must be wielded with precision. They are not mere detours into the past, but deliberate excavations of the narrative landscape.

Each glimpse into history should be a calculated step, revealing insights, deepening character development, or advancing the plot with purpose.

Writers must guard against the allure of nostalgia or overindulgence in backstory, ensuring that every flashback is a necessary thread woven into the story’s fabric.

By aligning these temporal glimpses with the overarching narrative goal, writers harness their storytelling power to create resonance, meaning, and a richer experience for readers, allowing the past to illuminate the present and fulfill the story’s ultimate purpose.

How To Describe Flashback Scenes In Writing

Final Thoughts

Final thoughts in the writing process are like the jeweler’s last admiring gaze at a meticulously crafted gemstone, a moment of reflection before unveiling the literary masterpiece to the world.

It’s the culmination of countless hours, a symphony of ideas, and a dance of words that have transformed the blank canvas into a vibrant tapestry of storytelling.

Final thoughts are where the writer stands at the precipice, acknowledging both the journey and the destination. It’s a moment of bittersweet parting, as characters and narratives take on lives of their own, yet remain forever tethered to the author’s heart.

It’s where the writer’s creative spirit takes a deep breath, ready to send their story out into the universe, hoping it will find a home in the hearts and minds of readers, ready to embark on its own adventure.

In these final moments, the writer is both creator and spectator, a witness to the magic of storytelling and the enduring power of the written word.

Reflect on the importance of well-crafted flashback scenes

Reflecting on the importance of well-crafted flashback scenes in writing is akin to gazing at the stars and realizing the constellations that connect the past to the present.

Flashbacks aren’t just narrative devices; they are the time capsules of storytelling, offering glimpses into the hidden layers of characters, the intricate threads of plot, and the thematic tapestry of a narrative.

They serve as bridges between history and destiny, lending depth and resonance to the tale. In the hands of a skilled writer, well-crafted flashbacks become the anchors that tether readers to the emotional core of the story, making the past a vivid, indispensable companion on the literary journey.

They are the keys to unlocking secrets, to understanding motivations, and to reinforcing the enduring power of memory and its influence on the human experience. In this reflection, we celebrate the artistry of storytelling, where the past is not a distant echo but an ever-present force, reminding us of the profound impact of well-placed memories in the grand mosaic of narrative art.

Frequently Asked Questions (FAQ) about “how to describe flashback Scenes in writing “

What is a flashback in writing.

A flashback in writing is a literary device that transports readers to a previous time, allowing them to experience events, emotions, or memories from a character’s or narrator’s past. It provides context and depth to the story.

When should I use a flashback in my writing?

Use a flashback when it’s essential to reveal crucial backstory, explain a character’s motivations, or enhance the plot’s complexity. Make sure it serves a clear purpose in advancing the narrative.

How do I transition into a flashback smoothly?

Transition into a flashback by using a sentence or phrase that signals the shift in time, such as “In the summer of…” or “As she reminisced about…”. This helps readers understand that they are moving into the past.

What details should I include when describing the setting of a flashback?

When describing the setting of a flashback, provide vivid details about the time, place, and atmosphere. Use sensory descriptions to immerse readers in the past, just as you would when setting a scene in the present.

Can I use a different perspective in a flashback?

Yes, you can use a different perspective in a flashback if it serves your narrative. Make it clear whose perspective the flashback is from, whether it’s the protagonist’s memory, a secondary character’s recollection, or an omniscient narrator’s insight.

How long should a flashback be in my writing?

The length of a flashback should be proportionate to its significance in the story. Typically, they range from a few paragraphs to a few pages. It’s essential to keep them concise to maintain the story’s pacing.

How do I ensure a smooth transition back to the present from a flashback?

To transition back to the present smoothly, use clear indicators like “Returning to the present…” or “Snap back to reality…”. This helps readers easily follow the narrative timeline.

Should I reveal emotions and thoughts in a flashback?

Yes, conveying emotions and thoughts in a flashback is crucial. Explore how the character felt or what they thought during the memory. This adds depth to both the character and the flashback.

Can I use flashbacks frequently in my writing?

While flashbacks can be powerful storytelling tools, it’s best to use them sparingly. Frequent use can disrupt the narrative flow and may overwhelm readers. Reserve flashbacks for moments of high impact or necessity.

How can I make my flashbacks resonate with readers?

To make your flashbacks resonate, ensure they are relevant to the plot, characters, or themes. They should provide insight, raise questions, or contribute to the overall narrative, making readers feel more connected to the story.

What should I do if I’m unsure whether to include a flashback?

If you’re unsure about including a flashback, consider its relevance to the story’s overall goals. Seek feedback from beta readers or critique partners to help you decide whether the flashback adds value to your narrative.

Any tips for editing and revising flashbacks?

When editing flashbacks, focus on clarity, coherence, and relevance. Ensure they flow seamlessly within the narrative and serve their intended purpose effectively. Beta reader feedback can be invaluable during this process. Remember that the use of flashbacks in writing can vary greatly depending on the story and the author’s style, so adapt these guidelines to suit your specific narrative needs

In the realm of storytelling, the ability to describe flashback scenes with precision and artistry is nothing short of a narrative alchemy.

These glimpses into the past, when carefully crafted, become the keystones of a well-rounded narrative, allowing readers to traverse the intricate terrain of memory and emotion.

By understanding the narrative context, setting the stage, developing characters, and connecting past and present emotions, writers transform flashbacks from mere storytelling devices into evocative portals through which readers can explore the depth and richness of a narrative.

So, whether it’s a revelation that leaves us breathless or a poignant recollection that tugs at our heartstrings, the power of a well-described flashback scene lies in its capacity to transport us, to connect us, and ultimately, to resonate with us, echoing in our minds long after the final word has been read.

In the hands of a skilled writer, flashback scenes become a testament to the enduring magic of storytelling, where past and present converge to create a literary experience that is both timeless and unforgettable.

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How to write a flashback scene: 7 key steps

Writing flashbacks is an important skill to master if your novel cuts across time periods or strongly features characters’ memories. Here are 7 key steps for how to write a flashback scene:

  • Post author By Bridget McNulty
  • 12 Comments on How to write a flashback scene: 7 key steps

How to write a flashback scene: 7 steps | Now Novel

How to write flashbacks:

  • Know why your story needs a flashback
  • Look at flashback examples in fiction for insights
  • Choose your flashback’s time-frame
  • List details that will be different
  • Practice how to write flashbacks with consistent tense
  • Decide how you will transition to flashback scenes

To unpack each step a little:

1. Know why your story needs a flashback

7 steps for writing flashbacks

In many novels, the events of the story take place chronologically, in straightforward succession from scene to scene. However, in stories involving characters’ memories or large leaps in time, flashbacks are useful for showing formative or crucial moments that drive characters’ present-time psychologies and decisions.

What is a flashback in literature?

Flashbacks are scenes inserted into the present narrative time-frame from a time period that precedes the primary story arc. A flashback example: A female narrator in her 50s describes the day her younger sibling drowned on a family vacation.

The example above strikes at something important about flashbacks: Flashbacks typically recall a scene of emotional power. They show the memories that haunt characters, although they can also be intensely happy moments.

Deciding whether or not your narrative needs a flashback

As an alternative to writing flashbacks, you can substitute exposition. Your central character can recall the day a traumatic or wonderful event happened. Yet describing the scene as though your character is living and experiencing it for the first time can be much more emotionally affecting. This allows the reader to  see the pivotal story event with immediacy through your character’s eyes.

To decide whether an earlier event in your character’s backstory (e.g. witnessing a murder) needs a flashback scene, ask yourself:

  • What are the benefits of showing the reader the earlier scene through my character’s eyes?
  • Is the scene important enough to my central story arc to break from narrative continuity?
  • How will I convey to the reader that this is a flashback and not an event happening in the present time of the story?

Provided your flashback contains important clues or explanations for your characters’ personalities and/or actions, it will not make your story less cohesive. Provided that readers understand your scene is a flashback (and not present-time narration), the flashback won’t create confusion.

2. Look at flashback examples in fiction to get insights

Writing flashbacks is storytelling time travel. Getting it right can be hard. So research novels that use this narrative device and see how other authors approach flashbacks.

An excellent example of a flashback is the opening of F. Scott Fitzgerald’s The Great Gatsby , where the narrator Nick Carraway recalls formative advice given him by his father:

‘In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since. “Whenever you feel like criticizing any one,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.”’

From the outset, this flashback creates the impression of a character who is observant and self-aware. It also establishes one of the central themes of The Great Gatsby : How people react to their privilege or disadvantages.

This example is just a snippet of flashback. There are longer examples, too. For example, in J.K. Rowling’s Harry Potter and the Goblet of Fire, there is a scene in which Harry uses a memory-storing magical device called a ‘pensieve’ to view a court hearing that took place many years before . The hearing is crucial to understanding present narrative events .  Although the scene is not Harry’s own memory, it functions the same as a regular story flashback.

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3. Choose your flashback’s time-frame

When you write a flashback, it’s important to choose a reasonable time-frame for the scene. Typically, a flashback will consist of a single conversation or event that occurs over a single day. There’s nothing to say you can’t insert an entire week’s events in the middle of your story. Keeping the time frame of your flashback brief, however, will ensure the reader isn’t too distracted from the present arc of your story.

If you want to convey how an entire year in your character’s life was formative, for example, it is better to summarize this year in a few lines of expository narrative.

4. List any details that will be different during your character’s flashback

Times change. Because time isn’t static, remember to show how your characters and their circumstances are different during your flashback scene. For example, if a character living in 1999 recalls the 1960s, think about how slang, music and other cultural details differ.

A few small details (such as a song playing on the radio or a description of a period hairstyle) can signal that we’ve traveled back in narrative time. List the most significant differences between your character’s present life and their life during the time period of their flashback. Even if not all details make it into the story, it will help you strike an authentic note.

5. Learn how to write a flashback that has consistent tense

writing flashbacks - old radio

New authors especially struggle with tense. Your choices are multiple: you could write your flashback in the same tense as your present-time narrative, differentiating time periods with explicit reference to the year. For example:

‘It was November in 1960. The King’s ‘Are You Lonesome Tonight?’ was playing over the radio as we crowded around our mother’s kitchen.’

You could also write your flashback in a different tense to your main, present-time narrative. For example, if most of your novel is in recent past tense (‘The doorbell rang as I awoke’), you can switch to the present tense for your flashback scene:

‘It’s the 21st of November, 1960. The King’s ‘Are You Lonesome Tonight?’ is playing over the radio as we crowd around our mother’s kitchen.’

Whatever approach you choose, be consistent throughout your flashback scene. Pick a tense and stick with it.

6. Decide how you will transition to flashback scenes

Part of writing a successful flashback scene is knowing how and when to cut to the scene that lies outside of your story’s main chronology. Like all story scenes, your flashback scene should have good structure ( NB: You can download our free, concise eBook guide to crafting effective scene structure here ).

Some suggestions:

  • Instead of writing a short intro paragraph to a flashback, launch straight into your flashback at the start of a scene or chapter. This way the transition is less obvious – you can signal a change in time simply in narration, as in the example using reference to the year in section 5 above.
  • Try to insert flashback scenes after strong scenes in the present time of your story. This makes it easier for the reader to recall where the present-time narration left off once the flashback is over

7. Check that your flashback focuses on a single experience or event that supports your story arc

Once you’ve written your flashback scene, double-check that it is completely relevant to the later story. In a murder mystery novel, a flashback scene might provide an essential clue regarding the identity of the killer. In a character-driven family saga, it could show a formative familial relationship, conversation or confrontation that shapes your character’s outlook.

Make sure that your flashback scene draws your reader’s attention towards the key element that will deepen your reader’s understanding of key later scenes. This way, your story will feel cohesive even if the narrative does not follow a linear chronological path.

Do you want to improve your craft? Start getting helpful feedback on your flashbacks and other scenes from other writers.

Related Posts:

  • How to write a scene: Nailing purpose and structure
  • How to write an autobiography: 7 key steps
  • What will help me write a book? 7 steps
  • Tags how to write a flashback , narration , story structure

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12 replies on “How to write a flashback scene: 7 key steps”

I remember reading something by Samuel R. Delany (it might have been in _On Writing_). He gave good examples of when to start flashbacks and when not to. For example, if you start with a short setup to a scene and then immediately go to a flashback, you might as well just start with the previous scene.

A good pointer, Charles. Thanks for sharing!

In the movie “Bella” they had a flash forward, one of the few flash forwards in movies that I know of. It was a scene where the main character was imagining what would happen if she got an abortion, it worked quite well but it was also very ambiguous.

Interesting, Emily. I must look out for that movie. It can be quite ambiguous and confusing when the author jumps forward to some imagined place or time.

Wow! Amazing info. Thanks for sharing your knowledge, was really useful.

Thanks, Miguel! Happy you found this useful. Happy New Year!

[…] was not sure what a lot of it added. Perhaps that is why there was not much written as flashback, unlike Kaladin’s flashbacks in The Way of […]

Hey just wondering is this a good flashback. This is a flashback from a book I am making: Darkstar kicks Shadow Storm back. Lillian runs and throws three Weapons at The Shadow Conqueror. The Shadow Conqueror blocks it. Shadow Storm and Darkstar clash swords. Shadow Storm is seen to be the better fighter. Shadow Storm kicks Darkstar back. Suddenly an explosion sends everyone back. Everyone looks up. It takes everyone including The Shadow Conqueror a moment to realize its Rodan’s greatest hero ever.

“Ash Stone?” Asked Shadow Storm. Shadow Storm suddenly has a flash back. It was when he was little. A figure is there. The same figure as now. “Mom? Who is that?” Asked Shadow Storm. His mom looks over. “I need to protect you!” Said the figure.

“Never!” Yelled his mother. His mother uses a Weapon and breaks the ceiling. The ceiling falls with a clash on the figure. The figure gets up. Suddenly Lily enters the room. She gets in front of them. Lily is younger and not as wise.

“Let me take you! She’s your enemy” said Lily. “Listen here. I can save you from Lily. I am part of Rodan! Lily is planning a war against the Rodan” said the figure. Lily suddenly turns to the figure. “Then I will kill your mother” said the figure.

There is a massive explosion from the figure and Lily runs to save them. Shadow Storms flashback ends. Shadow Storm looks horrified. The figure walks from out of the dust. Shadow Storm is in absolute shock.

“Oh great. Forgot about this” said The Shadow Conqueror to himself. Shadow Storm takes a few steps back in fear and confusion. Lillian looks around confused as well. She teleports off. “Ash Stone?” Asked Shadow Storm again. The figure is now seen as the dust, and everything clears. Shadow Storm looks in absolute fear. Everyone was silent.

No one wanted to speak. Not even The Shadow Conqueror. They just keep looking at each other. The silence that grows around them made them feel off and eerie. “WHO ARE YOU?” Asked Shadow Storm breaking the silence. “The figure from your flashback” said the voice.

Hi James, a few things could make this stronger:

  • Subtler flashback transitions: Saying ‘Shadow Storm suddenly has a flashback’ draws the reader’s attention to the use of the flashback device. I’d suggest something subtler such as, ‘Ash Stone?” Asked Shadow Storm. There was no answer. Everything around him had changed. He was… [further, brief description of the change of location/situation to re-anchor the reader within the flashback].
  • Stable tense: There are many tense shifts between present and past tense which makes this challenging to read. Since the scene starts in present tense, all events within the same timeline/scene should be in present tense too (so, for example, ‘“Ash Stone?” asks Shadow Storm).
  • Clarity and pace: In the flashback, a lot of dramatic action and dialogue happens all at once, without much setup of who is where in the scene. Introductions read as though the reader knows who each character is (for example, ‘Suddenly Lily enters the room. She gets in front of them. Lily is younger and not as wise’). Who is Lily? Has her identity already been established in the story at this point? What is their relation to the other characters? It is advisable to slow the pace down enough so that conflict makes sense and is properly contextualized.

This is just to start, but I would say the highest-level issue is confusing tense and erratic clarity/specificity. Keep going.

[…] Writing flashbacks is a tricky thing, but this article has some good tips and tricks for doing it correctly: https://www.nownovel.com/blog/incorporate-flashbacks-into-a-story/ […]

So what do you do if you’ve got a lot of scenes (like the better part of a novella) that need to be told, but happen to a character the reader doesn’t have a reason to care about until several books after they happened?

That’s a tough one, Wendy. Can you somehow move the action closer, so the character becomes more important earlier on? If the readers don’t care upfront this could be really difficult. Can you tell me more?

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How to Write a Flashback

Last Updated: January 26, 2024 Fact Checked

This article was reviewed by Gerald Posner and by wikiHow staff writer, Megaera Lorenz, PhD . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 42,704 times.

A flashback in a story or a film is a way to show action that took place prior to the main events of the story. Flashbacks can be useful for giving the reader or viewer background information or shedding light on a character’s motivations. For a flashback to be effective, it must move the story forward in some way, feel immersive and interesting, and be clearly recognizable to the reader or viewer as a flashback.

Writing a Flashback in Prose Fiction

Paper outlining ways that flashbacks are useful.

  • Provide information about a character’s past that sheds light on their current actions, beliefs, or attitudes (such as revealing a past trauma or other formative experience in the character’s life).
  • Give context or information about events that are happening during the present plot (such as an important clue to a mystery plot).
  • Helping the world of the story feel deeper and richer (e.g., providing historical background for the setting of a fantasy story).

Step 2 Place the flashback at a point where it won’t disrupt the flow of the story.

  • If you feel you must provide past information in order for the start of the story to make sense, simply begin the story at a past point in time and then skip forward to the main timeframe.
  • Avoid using flashbacks during intense action scenes, since they can slow down the action and make it feel choppy.

Step 3 Choose a consistent tense for the flashback.

  • Don’t feel confined to writing your flashback in the past tense. If your main timeframe is written in the simple past, you might make the flashback feel more immediate and engaging by putting it in the present tense.
  • For example: “Harold lifted the perfume bottle to his nose, feeling the brittle paper of the label beneath his fingers. That smell . . . It’s 1922. His mother sits at her vanity, brushing her hair. The room smells faintly of oranges and vanilla.”

Step 4 Select an event for your flashback to focus on.

  • Maybe you want to show how your character came to pursue their current career. Instead of giving a lengthy account of how their interests developed, show a single moment that inspired them.
  • For example, if your character is an archaeologist, your flashback might describe them visiting a museum as a child and being awed and captivated by a particular artifact.

Step 5 Define the timeframe of your flashback.

  • For example, instead of setting a flashback at some vague point during your character’s childhood, you might set it in August, a few days before their 6th birthday.
  • It can also help to think about how specific details might differ between your flashback and the present day. Do your characters look, act, or speak differently? How has the setting changed? Is the cultural context different? [5] X Research source

Step 6 Use textual cues to clarify where the flashback begins and ends.

  • Specify the date of your flashback (e.g., “It was a warm August night in 1979.”)
  • Set the flashback apart by using a different tense from the main narrative (e.g., past perfect instead of simple past—“He had been eating far too much chocolate, and his stomach had begun to ache.”)
  • State overtly in the text that your point-of-view character is remembering a past event. (E.g., “Harold was suddenly gripped by a memory—he saw his father silhouetted in the doorway, holding the cat in his arms.”)

Step 7 Set your flashback apart with different formatting if you wish.

  • For example: “At the sound of Wilfred’s voice, Bob froze. It was all coming back to him. Wilfred was standing beside him on the corner of 59th and Strauss. An icy, driving rain was falling, and neither of them had an umbrella. ”
  • For longer works, such as novels, you can also separate flashbacks into their own chapters, alternating with chapters set in the present timeline.

Step 8 Show, don’t tell

  • For example, instead of saying, “Bertha remembered the time when she fell off her bike going down a hill,” you could write, “Bertha remembered the feeling of her blood rushing to her temples, the tightness in the pit of her stomach. One moment she was flying down the hill at what felt like an impossible speed. The next, she was in the air, and the hard asphalt was rushing up to meet her.”

Step 9 Avoid using too many flashbacks.

Using Flashbacks in Screenplays

Step 1 Choose a powerful, important moment as the focus of your flashback.

  • For example, maybe your character is afraid of water. You could flash back to a terrifying moment a few years earlier when she nearly drowned.
  • A flashback can also reveal key information about the plot. For example, perhaps your character is a detective at a crime scene. She might see a key piece of evidence, such as a hat left behind by the suspect, and then flash back to a memory of seeing a man wearing the same hat.

Step 2 Pinpoint when the flashback takes place.

  • Even if it’s not spelled out explicitly for the audience, you can indicate when the flashback takes place in the script (e.g., after the scene heading, you might say, “It is 10 years earlier. Julio is 17.”)

Step 3 Label your flashback clearly in the script.

  • For example, you might start the flashback with a scene heading like: “FLASHBACK—EXT. SIGMUND’S CHILDHOOD HOME, DAY.”
  • Label the end of the flashback, too. You could use a scene heading such as “BACK TO PRESENT DAY—INT. SIGMUND’S DINING ROOM, NIGHT.”

Step 4 Use visual cues or other devices to set the flashback apart.

  • Include superimposed text to appear on the screen that clarifies the timeframe of the flashback (e.g., “SUPER: Esmond’s 30th birthday, 10 years earlier.”).
  • Describe differences in the appearance of the characters and/or setting that indicate the passage of time. For example, if the main action takes place in summer, a snowy backdrop will clearly indicate that the flashback takes place in a different season.

Step 5 Establish a clear transition into the flashback.

  • For example, your character might see a trout on ice in the grocery store and stop to look at it. The scene then transitions to a memory of a fishing trip where she caught a gigantic trout.

Step 6 Make a smooth transition out of your flashback as well.

  • “Martha puts the trout into her cooler. She stares at the gigantic fish on the ice, awed by her catch. Faintly, she hears someone say, ‘May I help you, ma’am?’” BACK TO PRESENT DAY—INT. GROCERY STORE. Martha looks up from the fish on ice behind the glass of the display counter. The GROCER is smiling at her, waiting for an answer.”

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  • ↑ https://self-publishingschool.com/flashbacks/
  • ↑ https://www.writermag.com/improve-your-writing/fiction/dos-donts-flashback/
  • ↑ https://www.youtube.com/watch?v=NqHs2UkXufA
  • ↑ https://literaryterms.net/flashback/
  • ↑ https://www.pala.ac.uk/uploads/2/5/1/0/25105678/rong2011.pdf
  • ↑ http://www.scriptologist.com/Magazine/Formatting/Flashbacks/flashbacks.html
  • ↑ https://scriptmag.com/screenplays/ask-the-expert-all-about-flashbacks

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How to Write Epic Flashbacks: 13 Powerful Writing Tips

Embark on a thrilling journey through time as you master the art of crafting epic flashbacks in your stories. Unleash the power of the past to captivate your readers, evoke emotions, and reveal hidden truths. Are you ready to discover the secrets behind creating seamless, immersive, and impactful flashbacks that will leave your readers spellbound? Dive in and let the adventure begin!

What is a Flashback in a Story?

A flashback is a scene or sequence in a story that transports the reader back in time to reveal important information about a character or event. Flashbacks can be a powerful tool for deepening your story, provide backstory, or reveal pivotal moments from a character’s past.

Types of Flashbacks

Flashbacks come in various forms and structures, each with its unique function and effect on the story. Understanding these different types of flashbacks can help writers select the most suitable approach for their narrative. The following are some of the most common types:

  • Straight Break Flashback: This type of flashback involves a sudden shift from the present timeline to a past event. The scene transition is often marked by a line break, a change in formatting, or a clear signal in the text that the story is moving to a different time.
  • Dream Sequences: Dream sequences are flashbacks that occur within a character’s dreams or nightmares. They can reveal significant events or emotions from the past, providing readers with a deeper understanding of the character’s psyche.
  • Memories: Memories are triggered by a character’s thoughts or conversations. As characters reflect on their past experiences or share stories with others, readers gain insights into the characters’ backgrounds and motivations.
  • Foreshadowing Flashbacks: These are brief glimpses of past events that serve to hint at future occurrences in the story. By offering subtle clues about what’s to come, foreshadowing flashbacks can create suspense and intrigue, keeping readers engaged.
  • Framed Narratives: In a framed narrative, a character within the story shares a past event or anecdote, effectively creating a story within a story. This technique allows the author to present flashbacks as firsthand accounts from characters, offering an additional layer of perspective to the narrative.
  • Epistolary Flashbacks: Epistolary flashbacks use letters, diary entries, or other written documents to reveal events from the past. This can provide readers with an intimate and personal look into a character’s thoughts, emotions, and experiences.

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Why Use Flashbacks in Your Story?

Flashbacks serve as a powerful narrative tool, enabling writers to enrich their stories in various ways. By incorporating them, authors can achieve multiple objectives, such as enhancing character development, revealing important information, building suspense, and strengthening the overall narrative structure .

How to Write an Epic Flashback

Crafting an epic flashback requires careful planning and a thoughtful approach to ensure it adds value to the story and engages the reader. Following these tips can help you create a powerful and effective flashback:

1. Pinpoint the Perfect Trigger

Select a suitable trigger in the present timeline to initiate the flashback. This can be a sensory cue, an object, or an event that reminds the character of a past experience and smoothly transitions the reader into the past.

2. Add Sensory Details

Incorporate sensory details to make the flashback vivid and immersive. By engaging the reader’s senses, you create a more memorable and emotionally resonant experience.

3. Make it Relevant & Necessary

Ensure the flashback is relevant to the main narrative and adds value to the story. The information revealed should be essential to the reader’s understanding or contribute to character development

4. Reveal Backstory

Use flashbacks to reveal important backstory elements that enrich the main narrative and provide context for the reader.

5. Develop Characters

Flashbacks can offer insights into a character’s motivations, relationships, and personal growth, deepening the reader’s connection to the story.

6. Unleash the Power of Dialogues

Incorporate dialogue to bring the flashback to life and create dynamic interactions between the characters within it.

7. Set Up Foreshadowing

Strategically use flashbacks to foreshadow future events, building suspense and intrigue in the story.

8. Keep It Brief

Maintain the flashback’s brevity, focusing on essential details and avoiding unnecessary information that might disrupt the main narrative’s pacing.

9. Choose a Consistent Tense

Maintain a consistent tense throughout the flashback, ensuring a smooth and coherent reading experience.

10. Use a Distinct Narrative Voice

Differentiate the flashback from the main narrative by employing a distinct voice or style, making it easy for readers to distinguish between past and present.

11. Ensuring Chronological Clarity

Clarify the flashback’s timeline to avoid confusion, particularly when multiple flashbacks are involved.

12. Avoid the Info Dumping

Reveal information gradually and organically, rather than overwhelming the reader with excessive backstory at once.

13. Balance Your Flashback Frequency

Utilize flashbacks sparingly and strategically to prevent disrupting the flow of the main narrative.

How Do You Start a Flashback?

Starting a flashback effectively is essential to ensure a smooth transition for the reader from the present narrative to the past. First, you will have to identify an appropriate trigger that naturally reminds the character of a past event. This can be a sensory experience, an object, or a specific incident in the story . Make sure to establish a clear connection between the trigger and the flashback, so readers can easily follow the shift in time.

What Words Signal the Start of the Flashback?

Using words or phrases that signal the beginning of a flashback can help alert readers to the shift in time, allowing them to prepare for the transition mentally. Here are ten example words and phrases that can be used to signal the start of a flashback:

  • As if transported back in time…
  • Reminiscent of…
  • Memories flooded back…
  • It all came rushing back…
  • In an instant, she was back…
  • She couldn’t help but remember…
  • The past resurfaced…
  • Once upon a time…

Incorporating these words and phrases into your writing can help create a seamless transition into the flashback, ensuring a smooth and engaging reading experience for your audience.

3 Great Flashback Examples

Literary works abound with masterfully crafted flashbacks that enhance the narrative and captivate readers. The following examples showcase the power of flashbacks in storytelling, inspiring writers to explore the potential of this narrative device in their own work.

Harry Potter and the Prisoner of Azkaban , by J.K. Rowling

In the third installment of the beloved Harry Potter series, Rowling employs flashbacks through the Pensieve, a magical object that allows characters to relive memories. These flashbacks unveil crucial plot points, offer insights into the enigmatic Sirius Black, and reveal hidden layers of the wizarding world. Rowling’s skillful use of flashbacks not only adds depth to the narrative but also enhances the emotional impact of the story. ( Learn More )

To Kill a Mockingbird , by Harper Lee

Harper Lee’s classic novel takes the reader on an emotional journey into the past, as Scout Finch reminisces about her childhood experiences in the racially divided town of Maycomb. Through a series of evocative flashbacks, Lee explores themes of injustice, prejudice, and moral growth. These flashbacks serve to deepen the reader’s connection to the characters and underscore the novel’s timeless messages. ( Learn More )

The Great Gatsby , by F. Scott Fitzgerald

F. Scott Fitzgerald’s iconic work, The Great Gatsby , utilizes flashbacks to unravel the enigmatic figure of Jay Gatsby and his tumultuous past. Through these glimpses into Gatsby’s history, Fitzgerald reveals the character’s dreams, obsessions, and ultimate downfall. The flashbacks serve to heighten the emotional resonance of the story, making Gatsby’s tragic fate all the more poignant for the reader. ( Learn More )

7 Common Mistakes When Using Flashbacks

Incorporating flashbacks into your narrative can be a powerful storytelling tool, but it’s essential to avoid common pitfalls. Here are some frequent flashback mistakes and how to steer clear of them:

1. Overusing Flashbacks

  • Mistake: Excessive use of flashbacks can disrupt the flow of your narrative, making it confusing or tedious for the reader.
  • Solution: Use them sparingly and ensure each one of them serves a specific purpose, such as character development or revealing crucial information.

2. Poor Transitions

  • Mistake: Abrupt or unclear transitions between the present and past can leave readers disoriented.
  • Solution: Smoothly transition in and out of characters’ memories by using clear signals, such as specific words, phrases, or formatting changes.

3. Lengthy Flashbacks

  • Mistake: Overly long flashbacks can disrupt the pacing of your main narrative, potentially losing the reader’s interest.
  • Solution: Keep flashbacks concise, focusing on essential details and avoiding unnecessary information that might weigh down the story.

4. Lacking Integration with the Main Narrative

  • Mistake: Introducing flashbacks that feel disjointed from the main narrative, resulting in a fractured and disconnected story.
  • Solution: Seamlessly weave flashbacks into the story by ensuring they are well-placed, relevant, and enhance the overall narrative structure.

5. Complex or Confusing Structure

  • Mistake: Presenting flashbacks in a convoluted or confusing manner, making it difficult for readers to follow the story.
  • Solution: Simplify their structure and maintain a clear, linear progression within the flashback itself. If using multiple flashbacks, ensure they are easy to follow and differentiate.

6. Using Flashbacks as an Expository Crutch

  • Mistake: Relying on flashbacks to reveal excessive backstory or explain plot points, rather than integrating this information organically into the main narrative.
  • Solution: Use them to supplement the main narrative, and avoid overloading them with information. Instead, reveal backstory and plot details through a combination of dialogue, action, and description.

7. Lack of Emotional Impact

  • Mistake: Writing flashbacks that lack emotional depth or fail to evoke a strong response from readers.
  • Solution: Focus on the emotional aspects of the character’s past experiences, using sensory details and strong character reactions to create an immersive and emotionally resonant journey for the reader.

By being mindful of these common flashback mistakes, you can ensure your use of this narrative device is effective and contributes to a compelling, engaging story.

How Long Should a Flashback Be?

The length of a flashback can vary depending on the purpose it serves in your story and the pacing of your narrative. However, it’s crucial to avoid overly lengthy flashbacks that could disrupt the flow of your story.

Generally, a flashback should not be longer than about 300 to 600 words , which is approximately 1 to 2 pages. This range allows for enough detail to convey its purpose while maintaining reader engagement and preserving the momentum of the main narrative.

How to Format a Flashback?

Formatting flashbacks consistently and clearly can help readers easily identify when they’re transitioning between the present and past. Here are some general formatting guidelines and suggestions for flashbacks:

  • Line breaks or separators: Insert a line break, an empty line, or a visual separator (e.g., three asterisks) before and after the flashback to indicate a shift in time.
  • Italics: Some writers choose to italicize the entire flashback to differentiate it from the main narrative. However, this can be challenging for readers if the flashback is lengthy, as italics are usually a bit harder to read than regular fonts. Use this technique sparingly and only for short memories.
  • Transition words or phrases: Use words or phrases that signal the beginning and end of a flashback, such as “remembered,” “long ago,” or “back in time.”
  • Tense changes: Maintain a consistent tense within the narration of the past events (typically past perfect), and switch back to the main narrative tense when the flashback ends.

Frequently Asked Questions

When to use a flashback.

Use a flashback when you need to reveal important information from the past, develop a character, or create suspense.

Can I Start My Story With a Flashback?

Yes, you can start your story with a flashback, but make sure it serves a clear purpose and engages the reader from the beginning.

Can You Write a Flashback Within a Flashback?

While it’s possible to write a flashback within a flashback, it can be confusing for the reader. Use this technique sparingly and ensure clarity in your narrative.

Flashback vs. Backstory: What’s the Difference?

A flashback is a scene or sequence that transports the reader back in time, while backstory refers to a character’s history or events that occurred prior to the main narrative. Flashbacks are one way to reveal backstory in a story.

Can I Use a Flashback to Reveal Information?

Yes, they can be an effective way to reveal information, as long as the information is relevant and contributes to the development of the story or its characters.

Can I Use a Flashback in Any Genre of Writing?

Flashbacks can be used in virtually any genre of writing, from literary fiction to science fiction, mystery, and romance. The key is to ensure this technique is appropriate for the story and contributes to its overall development.

Final Thoughts

As our voyage through the realm of flashbacks comes to an end, you are now equipped with the knowledge and skills to weave captivating and powerful memories into your stories. Carry these 13 potent writing tips with you, and watch your characters come to life as their pasts unfold before your readers’ eyes.

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How to write a flashback.

March 11, 2018 by Randy Ingermanson 13 Comments

in Craft , Fiction Writing

How do you write a flashback without confusing your reader? Aren’t flashbacks bad? Don’t they screw up your story? Or can they make your story better?

Alexa posted this question  on my “ Ask A Question For My Blog ” page:

How can I write a flashback scene of my protagonist without the reader getting lost?Thanks in advance

Randy sez: Knowing how to write a flashback is crucial for every novelist. But knowing why to write a flashback may be even more important.

Aren’t Flashbacks Bad?

Some people say that flashbacks are bad and you shouldn’t write them. It’s worth asking why anyone would say that.

A flashback is a scene that you show in your story in real-time, but which happened in the past. The fact that it’s shown in real-time is good. You’re not showing it in narrative summary or exposition. You’re playing it out like a movie in your reader’s head.

So where’s the harm? Why would anyone complain about that?

The only real issue is that a flashback is part of the back-story of your novel. So you’re stopping your front-story cold so you can tell some other story that happened in the past.

That’s a problem if your reader doesn’t yet care about the front-story. Then you run the risk of boring your reader. She might close your book. She might never pick it up again. Then she loses out on finishing your story. And you lose out on a reader.

But if your reader does care about the front-story, it’s a whole different game. When your reader cares about the front-story, she’s willing to stay with you through a bit of back-story, as long as it’s directly relevant to the front-story.

And back-story is often very relevant to your front-story. Your characters don’t just plop into the world on page 1 without any history. They’ve spent their whole lives preparing to live this story you’re telling. They’ve learned things. They’ve built up a personality. And they’ve been damaged by other people.

Any of those could be relevant to your front-story.

A flashback gives you, the author, the opportunity to let your reader experience that back-story in the same way that your character can experience it at any time—as a memory.

So a flashback is good , and it’s often the very best way to inject that back-story into your reader’s brain.

But you just want to be careful to make sure your reader is truly hooked on the front-story before you spring a flashback on her. A common rule of thumb is to not show any backstory in the first fifty pages of your novel, although you can violate that rule if you’re good enough.

So How Do You Write That Flashback?

A flashback has three parts:

  • The segue out of the present and into the past
  • The backstory scene itself
  • The segue out of the backstory and into the present

Those two segues are the key to solving the problem Alexa asked about. You’ll confuse your reader for sure if you just switch straight to the backstory with no explanation.

You have a lot of options on how to do that segue. In the Harry Potter books, for example, Harry experiences a number of flashbacks involving other characters when he looks into the Pensieve, a magical device that holds people’s memories. The Pensieve is the link on the way into the flashback and on the way back out. That was a very effective way to do it.

The more usual way to do it is to have the character begin remembering something. Then have a scene break and switch to showing the memory as a flashback. At the end of the flashback, have another scene break and return to the character.

As an example , here’s how Ken Follett starts a flashback in The Man From St. Petersburg , a historical suspense novel about a Russian anarchist in the summer of 1914 who’s been sent to London to kill a Russian envoy. He knows that the envoy is negotiating an alliance between England and Russia that will drag Mother Russia into the coming war, and he wants to prevent it.

Our hero is Feliks , and we meet him about twenty pages into the novel. He’s on a train to London, admiring the view. Feliks has loads of attitude, and we pick up that attitude quickly. And then we segue smoothly into a flashback from a few weeks earlier:

And in Geneva, he had made the decision which brought him to England. He recalled the meeting. He had almost missed it…

There’s a scene break , and then the flashback begins with the phrase: He almost missed the meeting.

The flashback tells about a meeting of anarchists who’ve learned that Prince Orlov has been sent to England to negotiate an alliance that will get millions of Russian peasants killed in a stupid and senseless war. The meeting goes on for quite a while, with all sorts of suggestions. At the end of it, Feliks tells the group he knows how to prevent the war. He’s going to London and he’s going to kill Orlov.

The scene ends , and in the next chapter, Feliks is in London. Ken Follett doesn’t even need to segue back to the present, because the end of the chapter signals the end of the flashback. There’s no confusion.

The key phrase  is the two-sentence transition just before the flashback: He recalled the meeting. He had almost missed it…

Those two sentences , plus the scene break, tell the reader to expect a flashback.

This flashback is very recent and it’s critical to the story. It explains why Feliks has come to London. And it radically reorients the story…

The first twenty pages of the novel have introduced us to Lord Walden, the Englishman who will be hosting Prince Orlov and negotiating for the English. So up till the point where we meet Feliks, we’ve had a rather conventional story about a dull political negotiation. Once we meet Feliks and see his flashback, we have a much more interesting story, because we see that this dull political negotiation is about to get millions of innocent people killed. And the only man who can stop it is a Russian anarchist. That’s a nice twist and it makes a great story. It becomes an even better story when you learn that Feliks knows the wife of Lord Walden. Or rather, he knew her when she was a young and wild Russian aristocrat growing up in St. Petersburg. He knew her very, very well, until the night he was arrested and she was married off to an Englishman. All of which the reader will learn through a series of vivid flashbacks.

So if you need a flashback, it’s simple:  Write a sentence or two of transition, then do a scene break, then write the flashback, and then do another scene break. If you need another short transition to get back into the present, write one.

If you’ve got a question  you’d like me to answer in public on this blog, hop on over to my “ Ask A Question For My Blog ” page and submit your question. I’ll answer the ones I can, but no guarantees. There are only so many hours in the day.

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March 12, 2018 at 12:39 pm

Thank you for this post. It’s most helpful because I deal with a LOT of characters, coming and going, and they all have a history. Much of it relevant to the book present. I struggle with keeping it to necessary flashbacks, though I’d not exactly thought to do what you suggest. This is great! The best part is it won’t become an info dump to leave me with hours of cleanup…Well, maybe only a few minutes of work? Much nicer.

Randy, as an artist I can’t resist the idea of a triangle-to-snowflake visual, so I’ll designing one as a mindmap of sorts for the series I’m working on, to mat and hang on my office wall. It’s challenge and you are an incredible inspiration.

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October 4, 2020 at 6:38 am

My main character arrives at law school. After 2 pages of solid introduction and description of him, I want the reader to know that he used to be homeless but a famous lawyer helped him get off the street and into law school. What do you think about using a flashback to show how this came about after only 2 pages? Thanks, stay safe.

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October 4, 2020 at 11:41 am

A flashback so early in the book is almost certainly doomed to lose your reader, unless you have unusually spectacular skills as a novelist. If you do, then go ahead and do it. I never say no to a genius.

If you’re not certain you are that one-in-a-million author who can pull it off, then I’d recommend you communicate this information in dialogue. There are billions of ways to do it, and you can easily find one that will keep your reader engaged.

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December 2, 2020 at 8:58 pm

My female protagonist is about to meet the male protagonist. But she won’t really know that she already knows him from childhood. I thought to start off my book with the female protagonist walking around and having a flash back of someone she used to know… Do you think it’s good idea to have a flash back like on the first page? Because, I think it will help the readers understand a little bit more of where both the protagonists stand.. What do you say?

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June 25, 2021 at 9:12 am

Ah finally how to do it instead of the usual articles saying “Flashback BAD don’t do it.” Or even worse “Flash back back no kinda good here’s how bla-bla (never shows how just says why they suck again.)”

Seriously frustrating. It’s another tool and should be treated as such. Thank you for our help, I did a merge of what was shown here and had it first start with them talking (the main pov finally deciding to trust her new friends more.)

——————-

A soft whiff of pine and mountain air came through the screens, it for the moment felt so much like home. She clutched the fabric, the memories hidden away for so long… I can’t put this off any longer. Trust, just have to jump in. She pulled in two deep breaths and began.

Mommy and Daddy always had that scent lingering on them when they came back from their missions. It wasn’t fair.

And I end it with:

Someone screamed followed by footfalls. A soft touch of a blanket, as it wrapped around.

A soft furry touch on her back. “It’s me.” Han had come over the soft fur of his arm around her back.

I think it still needs work but am tying to make damn sure readers know it’s a flashback and trying like hell to make it seamless.

(I didn’t do the whole flash back in that chapter a few paragraphs then found a stopping point as they need to get moving.) I’m thinking next time i find a natural rest break in the story to give a little here and there in dialoge and then another short backstory. I don’t want to slow things down to much or ack.. jar readers out of the book.

Still I’ve read a lot of big name author books and never had a problem with any backstory as the writer waits a while before putting any in.

Slightly off topic:

It really irks me when articles are all cookie cutter and can’t even try thinking about backstory but instead bash the hell out of them with out even thinking about all the books they’ve read. I’m on a few online writing platforms and the reality is readers want back story (just not in huge blocks) the only thing that seems to set them off is when a writer fails with the plot, makes boring characters, bad grammar or flat dialogue. Backstory? They get ticked if there isn’t any!

I feel that the writing articles are really out of touch and should offer both options (Backstory usually suck this is why! Backstory can be done -if you’re careful- here’s how…) sure new writers are going to much things up, GOOD then they learn… just give the rest of us and damn guide.

Anyway. thank you I really appreciated the help.

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June 26, 2021 at 2:22 pm

Thank you! So I’m writing this book but I want a flashback in it (it’s not really a flashback it happened like two seconds ago) but this is still only the introduction to the book. Ex: He stared at his bloody hands, how did this happen? Where did it all go wrong? Perhaps… it was when he first started going to his new school. Yeah, that was it. Idk if I should put that in though… thoughts?

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August 2, 2022 at 3:14 am

Thank you for this post. It’s most helpful because I deal with a LOT of characters, coming and going, and they all have a history. Much of it relevant to the book present. I struggle with keeping it to necessary flashbacks, though I’d not exactly thought to do what you suggest. This is great! The best part is it won’t become an info dump to leave me with hours of cleanup…Well, maybe only a few minutes of work? Much nicer.

Randy, as an artist I can’t resist the idea of a triangle-to-snowflake visual, so I’ll designing one as a mindmap of sorts for the series I’m working on, to mat and hang on my office wall. It’s challenge and you are an incredible inspiration.

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August 29, 2022 at 10:21 am

I’m into a memoir as a baby boomer growing up in the sixties. My dad suffers with World War Two stresses and copes with alcohol. I want use flashbacks of my dad’s past to explain our conflicts. The flashbacks occur before my boyhood understanding. Example: he is a newspaper editor. The family takes him breakfast after he has worked all night. He was asleep with his head on his typewriter. I was 8. I now know he was pasted out. I don’t want to make him evil in our many conflicts now that I understand.

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September 12, 2023 at 12:25 pm

I’ve got this character, Chase, who is arguably the most important character in my multi-book team story. The problem is, while his personal inciting incident (a car/meteor crash that’s significant to the master plotline) happens in book #2, his story doesn’t dovetail with the team (and therefore give the reader a reason to care about him) until he begins interacting with the team (and eventually replaces their heroic suicide) in book #4 or #5. Not only is this flirting with novella length, but Chase is the only one who was physically there thru the whole thing, and large chunks of his memory are lost due to the crash trauma or unformed in the first place due to drugged stupor/being unconscious.

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Dive Into The Soul Of Storytelling With Deep Point Of View

creative writing describing flashback

How To Write A PTSD Flashback In Deep POV

creative writing describing flashback

Flashbacks are super popular among writers, but less popular among editors and agents. Partly because some writers call info dumps and backstory “a flashback.” If you’re interested in diving deep into writing flashbacks caused by trauma and PTSD, read on because I have some good tips for you!

Quick Recap: What Is Deep Point Of View?

Deep point of view is a stylistic choice to remove the perceived distance between the reader and the point of view character. This technique puts the reader IN the story as it’s happening. The reader knows everything the point of view character knows/sees/hears/etc. but that’s all they know.

If you’re not sure if you’re writing in deep point of view or not, check out this guest post I did at Writers In The Storm and then come back here and learn more about writing flashbacks in deep pov .

creative writing describing flashback

What Is A Flashback?

In my online classes, I often get asked for help in writing two kinds of flashbacks. One kind of flashback is the idea of a glimpse into a character’s past, basically a cut scene to something’s that happened before. This is usually written as a dream or as backstory. These are really hard to do well in deep pov because much of the time they come across as author intrusion.

Be objective about whether the reader needs to know ALL of that info in one place. My personal rule for backstory is to answer one question for the reader and leave them with two more. To drip in the backstory a sentence, a phrase, at a time. If you’ve got a paragraph, two paragraphs, a whole chapter — that’s just a look at the past, for the sake of looking at the past, “kill your darlings.” Yes, other authors use them, and they’re not wrong per se, but there’s a great post here by K.M. Weiland about writing this type of flashbacks .

Flashbacks As A Symptom Of Past Trauma

I’ve written before about writing trauma backstories and even writing PTSD in deep pov . So, let’s dig a little deeper into flashbacks as a symptom of PTSD as a storytelling device.

First, please do some research into PTSD before tritely using flashbacks. According to Psychiatry.com PTSD occurs in 7%-8% of the population and is twice as likely in women as men. PTSD makes a great source of internal conflict in fiction especially as general awareness of the condition grows, but don’t be a source of mis-information. Don’t cheat your reader! **climbs off soapbox**

We want to show and not tell, but deep pov takes this to all new levels. So, how do we show a flashback so readers know that’s what’s happening without TELLING them it’s a flashback?

Here’s the thing: a flashback is your body reliving the worst event of your life over and over without any warning or control to stop it from happening. It’s more like a nightmare than a memory, because it can be completely immersive and block out all sense of time and place.

Think about that for a moment. How would that daily reality affect you? If you’re using flashbacks, be sure to learn about all of the other symptoms of living with PTSD: hyper-vigilance, inability to sleep (not always insomnia), nightmares, avoidance, exhaustion, heightened startle reflex, trust issues, inability to concentrate, irritability, physical pain, sweating, etc.

creative writing describing flashback

Actors use this trick called Emotive Memory – they are able to recall an event from their past with such intensity they can relive that emotion. When you’re writing flashbacks, think about the absolute worst thing that’s ever happened to you, really let it well up and overwhelm you (stay safe), and recapture how that felt. How did your body respond? Now, imagine those feelings amplified by a life or death consequence to that event. Now, imagine living with the constant reality of having that memory pouncing on you like a starving lion at any moment. And knowing that people will think you’re insane if they find out what’s really going on with you.

Fight, Flight And Freeze Responses

Many are familiar with the fight or flight responses. Anger and violence are common responses to PTSD flashbacks. Leaving immediately, without explanation, or avoiding any situation that could trigger a flashback is also common. The survival response fewer know about is Freeze.

For those who experienced a trauma where they couldn’t escape, they were literally overpowered. They couldn’t fight back because the perpetrator was too strong (physically, or because of a power imbalance). The brain turns to the last option available to it in order to survive – dissassociation. They go numb. Their mind goes blank, or they disconnect mentally from what’s happening to their bodies. They comply.

These survival instincts will all trigger a similar physical response – increased heart rate, sweating, tidal wave of adrenaline, you breathe heavily. The processes not needed to help you take quick action are turned off or un-prioritized – like thinking. Unlike a general anxiety attack, you can’t think your way out of a PTSD flashback or attack. All you can do is remove yourself from the perceived threat.

creative writing describing flashback

Here’s the thing about a fear response. When faced with a real life-threatening situation, your body will act without you thinking about it. It’s an instinctual response right, like being startled. Most of the time, when faced with an imaginary fear (such as public speaking, where there’s no real physical threat), we struggle with indecision, second guess ourselves, etc. Do you see the difference?

Flashbacks Should Be An Individual Response

Flashbacks come in various severities, so do some research into them. At its most severe, a flashback can cause you to lose all connection with your current reality, like a nightmare you can’t wake up from.

“…When discussing the topic of flashbacks with friends and family, most assume it’s just a memory, like remembering your first kiss or your first time at Disneyland. However, that’s not what it’s like at all. For most people, myself included, flashbacks are an intense re-experience of a traumatic event, which feels like it’s happening now and involves all your senses. In effect, it feels like being re-traumatized, even though you are not actually experiencing the event for real…” Read the whole post here.

There are emotional flashbacks, where you remain conscious of where you are and whether you’re physically safe, but your body is convinced you’re in imminent danger and that emotional response tangibly controls you.

“…Because most emotional flashbacks do not have a visual or memory component to them, the triggered individual rarely realizes that she is re-experiencing a traumatic time from childhood…” Read the whole post here.

Don’t Cheat Readers On The Consequences Of Flashbacks

Flashbacks, particularly if they sneak up on you, are exhausting. Like, bone weary, sleep for a week and still be tired, exhausted. There will be heightened vigilance following a flashback, because the character will want to make sure that doesn’t happen again. There may be actual consequences because of their behavior. You can’t randomly run out of a board meeting without explanation and there not be social or professional consequences. Most people don’t want others to know they’re struggling, so do some research into the coping mechanisms used.

Writing Internal Dialogue During A Flashback

The internal dialogue is what most people tend to struggle with. Remember, in deep pov, internal dialogue must be written as though the character is alone in their own heads. They won’t explain to themselves what the traumatic event was, when it happened, who hurt them. You’ll have to strategically build in the necessary backstory for readers, one drip at a time, over the course of the story.

Do you have any questions about flashbacks in deep pov? Is this a device that you’re using? Where are you struggling?

Been told you should learn Deep Point Of View? Had an editor or critique partner tell you to “go deeper” with the emotions in your fiction? Looking for a community of writers seeking to create emotional connections with readers? Check out the Free Resource Hub and then join the Going Deeper With Emotions In Fiction Facebook group.

Comments (9)

This is a fantastic post and really helpful for me as a historical romance writer. I tend to torture my characters – not because I dislike them, but because I want a sense of realism to the time period. I found the information here to be immensely helpful when it came to writing about period specific events.

Great! Glad it was helpful. I’ve never regretted digging deeper into the emotions of a character.

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Do you have a scene example for a flashback? Do I include images or focus on the feelings?

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Everything You Need To Know About Writing Flashbacks

When it comes to writing flashbacks, there are a number of pitfalls that writers can fall into. But if done well, this storytelling device can work wonders for your story, revealing backstories, intricate moments, and flashes of memories. In this guide, we’ll take a look at how to write a flashback scene in fiction.

Despite the controversy surrounding their use, flashbacks are a powerful tool for writers. As we’ll see below, you can use them to convey information in an interesting way. 

In this guide, we’ll take a look at the different ways that you could use a flashback. We’ll also explore some examples, and consider how to use them in short stories as well as novels. 

You can jump straight to the section you’re most interested in by clicking below. 

Choose A Chapter

What is a flashback, why do writers use flashbacks, how to write a flashback, dialogue and flashbacks, how to write a flashback using a character’s thoughts, key questions to ask when writing flashbacks, how to introduce a flashback in a story, flashback writing examples, quick tips on writing flashback scenes, how to write a flashback scene in the third person, how to write a flashback in a short story, more guides on writing scenes.

A flashback is a literary device used to present a scene or event from a character’s past within the context of a present-time story.

It is a way to provide background information or insight into a character’s thoughts, feelings, and motivations.

Flashbacks can be used to reveal information that was previously unknown to the reader or to provide a deeper understanding of a character’s actions or decisions. They can also be used to create tension , suspense , or emotional impact.

The scene in the flashback is usually in the past tense, while the surrounding story is in the present tense. It’s a powerful tool for writers to give readers a glimpse into the past and connect past and present events to make sense of the current story.

Are Flashbacks Bad?

Flashbacks are a powerful storytelling device used by authors and screenwriters to delve deeper into a character’s past, reveal key plot points , and develop themes .

While some may argue that flashbacks can disrupt the narrative flow of a story, they are not inherently “bad.” In fact, when used effectively, they can enhance the reader or viewer’s experience and create a more immersive story.

As author Janice Hardy says in her article “5 Tips for Using Flashbacks in Your Fiction,” flashbacks can serve multiple purposes, including “to provide information, reveal character, create tension, and explore themes.”

Flashbacks can also be used to show how past events have shaped a character’s present circumstances or to reveal previously unknown information that adds depth and complexity to a story.

In his book “ The Anatomy of Story ,” screenwriter John Truby argues that flashbacks are an essential tool in crafting a compelling narrative. He writes, “ The flashback is a simple technique, yet it has a profound effect on story… It is one of the few devices that can move us from the objective story to the subjective story and back again. Flashbacks also give you the opportunity to withhold information and then reveal it in a powerful way.”

However, it’s important to use flashbacks judiciously and to ensure they serve a purpose in advancing the story. As literary agent, Donald Maass notes in his book “ The Emotional Craft of Fiction ,” “flashbacks are a tricky device, always threatening to take the reader out of the moment.” Maass suggests that authors should only use flashbacks when they are necessary and when they can be seamlessly integrated into the narrative.

In your writing career, you may have been told to avoid flashbacks like the Black Death. It’s a piece of advice handed down by Stephen King in On Writing. Not long after reading his memoir on the craft, I happened to pick up The Dark Tower: Volume One and there, not long into the story, was a flashback.

But it was a good flashback. In fact, it’s one of the scenes I remember most from that book.

So why the hostility toward flashback scenes? If done well, they work. But done badly, they break the reader’s experience and hold up the progression of the plot and character development .

“If we are enthralled, we don’t want to be interrupted.” Sol Stein

The trick, it seems, is to use flashback scenes as unobtrusively as possible . That’s easier said than done, however.

To help you, we’ll look at why writers use flashbacks, when they could be used, before looking at some examples too.

Flashbacks are a terrific tool that we can employ to reveal new information, locked away in the past.

We can explore key moments, perhaps the ones that hold the answers to the questions raging in your story. Or maybe they show us what happened in a character’s life that made them why they are.

If done well, a flashback can also be used to tell an entire story— The Name Of The Wind by Patrick Rothfuss is arguably one big flashback, with the story following a thread set in the present day, with the main protagonist, Kote, retelling his story. It’s brilliantly done and well worth checking out.

So let’s take a look at how to write a flashback.

how to write a flashback

Let’s take a look at how to write a flashback.

As we know, a flashback is a scene that occurred before the present story began, usually featuring some kind of conflict. It ought to shed more light on the present story in an important and relevant way. Otherwise, it’s a waste of words.

Before you embark upon a flashback, Sol Stein in his own book called On Writing provides a helpful set of questions to ask yourself:

  • If the flashback is necessary, can the reader see the action as if it were happening in the present?
  • Is the opening of the flashback as interesting or compelling as the beginning of a novel or story?
  • Does the flashback enhance the reader’s experience of the story as a whole?

One potential pitfall of the flashback is delivering it in a passive, telling way, regurgitation of information the writer thinks the reader needs to know.

How do we deliver that information in the right way?

The answer: bring the past into the present . Make it immediate. 

How Do You Write A Good Flashback Scene?

The technical aspects of writing a flashback scene often stump writers. The stereotypical structure of a flashback would involve a character thinking of something and drifting off into the past.

There may be a line break as the reader is transported into times of old. This break from the narrative could span pages at a time, and by the end, it may leave the reader wanting to hurl the book through their window, especially if the flashback fails to advance the story.

So when we look at writing these cut scenes, it can help to bear the following in mind:

Think about small breaks in the narrative, such as a character recalling what a smell reminds them of in a brief sentence, perhaps transporting the reader back to that fleeting moment in time. If you want to have a more in-depth flashback scene, it’s important that this advances and progresses the story in some way. This is to avoid any reader frustration.

A useful tool to make scenes more immediate is dialogue . All forms of dialogue create an immediate scene. Action is taking place before our eyes.

Using dialogue early on in a flashback can help create that sense of immediacy. You almost forget it’s a flashback at all. It can also be used in short sequences of flashbacks , such as when a character is reflecting on a past conversation with another character. Let’s look at an example:

Flashback Example

Leo could still picture her face. The softness of her voice. The scent of her perfume.

            “Do you like my dress?” she asked.

            “Beautiful. Yellow suits you.”

That day seemed like yesterday.

In this example, we’re unobtrusively given a flashback about a character dear to Leo. It’s a great tool to have if you’re looking to learn how to write a flashback in a cunning and natural way.

We’re forever interrupted by our thoughts. When we see, hear, smell, touch, or taste it brings back memories.

The same is true of your characters. They have a history before your story began and in using flashback thoughts you can help to reveal it. It’s a wonderful way of developing your characters.

Let’s look at an example from Sol Stein’s novel, Living Room. Notice how thoughts are interspersed with thoughts from the past.

“Through the gaps in the clouds drifting across the charcoal sky, she made out the moon. As a child, she could always decipher its face; now it seemed to have only a scarred surface, crags and mottled ground where instruments had been implanted, sending messages, even now.”

See how the past is drawn into the present by merely looking at the moon. Here’s another from the next paragraph:

“Suddenly she thought of the unwashed dish with the remains of the cottage cheese and fruit. She should have rinsed it off, stuck it in the dishwasher, left things neat.”

These flashback thoughts allow the reader to get to know a character more. It creates empathy, sharing thoughts the reader may relate to. We begin to care about the character, which is important. To quote Stein: “You have to know about the people in the car before you see the crash.”

Flashback thoughts are quick and require no breaking away from the present story. They sit nicely within the immediate scene, causing no disruption to the reader.

  The experts say the flashback ought to be avoided and we should take this on board. Whenever you consider using one, ask yourself these questions:

  • Does the flashback reinforce the story in an important way?
  • Is it absolutely essential? If not, think of another way to introduce the information.
  • Can the reader witness what’s happening in the flashback? If not, can you make it into an immediate, active scene?
  • Is the opening of the flashback compelling and interesting?
  • Is the reader’s experience enhanced by the flashback or does it intrude?
  • Has the flashback helped to characterise? Does it help the reader empathise with the character?

All of these questions have helped me when it comes to learning how to write a flashback.

It can be quite tricky to find the most natural way of introducing a flashback in a story. However, they do exist, and here’s a list:

  • Natural thought – if your story is pretty character-driven as opposed to plot-focused , a great way to slip naturally into a flashback is through a character’s thoughts and introspections. For example, a character may see somebody they know from when they were younger and recalls memories—small flashbacks.
  • Through the triggering of memories through the 5 senses – similar to the first point, one of the most powerful thing about the 5 senses is their ability to trigger memories. Smells remind us of places—countries, cities or restaurants, for instance. They have the power to transport us back to times past.
  • Dialogue – in other words, a character telling a story. As we’ll see in the next section, this is a common way of naturally introducing a flashback in a story. Picture a wise old woman sat beside a fire, recounting a tale from her youth to the youngsters sitting at her feet. This is a flashback and one that can be delivered in a natural way. Mastering dialogue is tough, however, but this guide offers some very useufl tips.

Here’s a video with some very handy tips on knowing the best way to add a flashback scene into a story:

There are lots of examples of flashbacks in writing, but I want to focus on one here in particular. A book I’ve already mentioned— The Name of The Wind.

Now I’m not sure if Patrick Rothfuss would agree with me when I say it’s arguably a story of flashbacks, but to me, that’s what it is. A character in the present telling a chronicler of his youth. But it’s done so well. And I think that comes down to the characterisation. Kote is charistmatic and interesting. We want to know more about his past, his upbringing, his struggles and his achievements. And that’s what the story essentially is, the reader trawling through the past of Kote to see how he arrived at this very moment.

As writers, we can take an important lesson away from this. That characterisation can be a key ingredient to the success of a flashback. If we create a character that’s interesting and intriguing, readers will want to know more about them. They’ll crave a flashback, thank you for it even.

Here are some easily digestible tips and advice on writing flashback scenes.

  • Understand the function of a flashback scene and the impact it could have on your story
  • Try to limit the time spent in the past, away from the immediate story
  • when writing a flashback scene, pick a tense and stick with it.
  • Introduce a natural way to cut to the flashback scene
  • Determine the purpose of the flashback – is it relevant and does it develop the plot or character?

When we delve back into time, it’s natural for our voice to change too. We revert to the past tense, as per all of those English lessons in school!

Writing a flashback in the third person feels the much more accessible form. But that’s not to stop you from experimenting. For example, if it’s clear from the structure of the story that a scene is a flashback, you could experiment with using the first person. This would make that scene much more gripping and immersive.

Using the first person could also be a good way of changing tense in a way that doesn’t jar with the reader too much either. From a storytelling perspective too, if you wanted to bring the reader closer to that particular character, this is a good way to do so.

So when it comes to knowing how to write a flashback scene in the third person, go for what feels natural. 

To write a flashback in a short story, you can use a variety of techniques. One common method is to use transition words or phrases such as “earlier,” “before,” or “in the past,” to indicate to the reader that the story is shifting to a different time period.

Another method is to use a sentence or a paragraph that starts with a line of dialogue or a piece of action that sets the scene for the flashback. It’s important to use clear and descriptive language when writing the flashback to help the reader understand the context and significance of the events being described.

Above all, it’s a good idea to make sure the flashback is relevant to the story and adds to the overall narrative.

There are a few things you can do to make sure your flashback in a short story is the best it can possibly be:

  • Pick a compelling catalyst for the flashback. A memory triggered by one of the 5 senses , for example, can create a natural segue way into a flashback.
  • With words at a premium, it’s important not to indulge too much in the flashback. Dip in and dip out. Less is more, a rule often spoken about in writing circles, is a good one to keep in mind here.
  • The flashback ought to advance or contribute to the story in some way. With short stories we don’t need to go into lots of detail about a character’s background or the reasons behind why they’re doing what they’re doing, so don’t frustrate the reader by failing to progress the present story.
  • Refrain from including too many flashbacks in a story. By this I mean the cut-away flashbacks that leave the present moment altogether. They can really jar the flow.

Writing a flashback scene is tricky, especially when it comes to short stories.

Thanks for checking out this writing guide. Below, I’ve included some other related writing guides you may find useful.

  • What Is A Flashback? – A detailed guide on writing flashbacks from Oregon State University.
  • Great Examples Of The 5 Senses In Writing – My guide on making your stories more immersive by using the five senses.
  • How To Write Great Prose – Another one of my writing guides exploring the two main types of prose—Orwellian prose and the stained glass window.
  • How To Write Fight Scenes – A look at how to write another technical scene—battles and one vs one fights.

Thank you for checking out this guide on how to write a flashback scene in fiction.

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12 thoughts on “Everything You Need To Know About Writing Flashbacks”

creative writing describing flashback

I finished a book a couple of months ago that used flashbacks regularly and it ended up creating two mysteries within the book. 1)What happened back then that caused the relationship to be how it is now and 2) what was occurring currently in their lives. I guess this falls under your “Flashbacks and suspense” suggestion. I loved it and thought it was quite clever.

creative writing describing flashback

I like that idea a lot. Very cunning indeed! Thanks for reading!

creative writing describing flashback

I agree with your points – nothing but sensible advice! But for some reason, the word “flashback” keeps bugging me. Maybe because it feels borrowed from cinema? Playing around with temporality has always been a staple technique of literature, and comes easier to writing than to film, I feel. Maybe “flashback” suggests too much to me the adoption of film techniques into writing – an analogue which may work for some, but which I’ve found constricting. The same with “fight scene”. Thoughts? Borrowing across art forms can be fruitful, but are we occasionally thinking too much through the lens of visual entertainment?

I like your angle. It’s easy to be led along certain paths when we introduce ideas from other art forms, only then to become frustrated when things don’t pan out quite as hoped. You’re absolutely right. Shall we make up our own version of the flashback?

Haha, why not! Not that there’s anything inherently wrong with the concept. And with writers who also do screenwriting, the flashback is probably a very natural thing. Say, have you read Gene Wolfe’s “The Knight”?

I haven’t Would you recommend it?

Definitely, if you can stomach Wolfe’s foibles! 😀 I mention it, because I feel it illustrates beautifully some related principles, namely the use of the frame story, elisions, non-linear storytelling, and temporal tricks. In my mind, definitely a storybook – a thing hard to translate into cinematic language.

creative writing describing flashback

What I’ve found is that anything can work as long as it’s well done.

creative writing describing flashback

Funny thing about Stephen King is that his early works seem to violate every rule in “On Writing.” It appears it took King a long time to learn those rules. In the case of flashbacks, “IT” is just full of them, and they often come at the worst times, breaking up the action. I don’t think flashbacks are necessarily a bad thing, but they are difficult to due well. In one of my books, I set the first scene of a chapter as a flashback, but this was used to introduce a new character and the scene itself was a mini story, with an arc and lots of action, which made it more engaging. Anyway, thanks for the great tips! 😀

creative writing describing flashback

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creative writing describing flashback

Most excellent read, sir! I don’t use the flashback myself, and now that I type that, it’s probably not true. So far, when I’ve needed to impart backstory, I have the relevant character tell another the story in the current time, and to date, it has been sufficient; I, too, loathe to break immersion.

Allow me to refer you to Black Light by Stephen Hunter. It is the story of a young man in the 1990s trying to solve the murder of his father in the 1950s. The whole novel is a series of jumps between what the son discovers in the current day and what his father was doing to leave that clue in the ’50s. Seriously one of the best books I’ve ever read, and literally half the book is flashbacks… It can be done!

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Writing Flashbacks: How To Make Them Work In Fiction

  • by Paige Duke
  • September 8, 2014
  • 28 Comments

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The conventional wisdom about flashbacks goes something like this: use them sparingly, if at all. It’s good advice, because a mishandled flashback can stunt the flow of your narrative, lose a reader’s interest, harm suspension of disbelief ,  create confusion , or cause any number of other problems .

But, don’t be discouraged, flashbacks can work, and they’re worth the risk; a well-constructed scene can add texture to your story, deliver much-needed information to your reader, and provide insight into your characters ’ motives.

Anatomy of a flashback

In The Hunger Games , Suzanne Collins uses a flashback early on to establish the scant but essential backstory between Katniss and Peeta, two of the book’s most central figures. Throughout the story, their relationship fuels both plot and character development , and this moment acts as such a memorable beginning that readers never quite forget it, despite the couple’s amazing and terrifying journey .

Creating a strong framework

Because a flashback halts the forward motion of the narrative, the reader must care about the character before you throw the car in reverse. Collins’ flashback comes in Chapter 2, which might seem early , but we’re already hooked into the action of the story and tied to the fate of the character. Because Katniss has just volunteered to take her sister’s place in the Games — a death sentence for sure. And she’s about to find out who else she’ll have to face in the arena.

Peeta Mellark! Oh, no, I think. Not him… I try to convince myself it doesn’t matter. Peeta Mellark and I are not friends. Not even neighbors. We don’t speak. Our only real interaction happened years ago. He’s probably forgotten it. But I haven’t and I know I never will…

The first sentences

There are two things to note about a strong first sentence of a flashback. First, it’s a transition, so it needs to be strategic. Whether it’s smooth or abrupt, seamless or jarring, it should be that way intentionally. Maybe this flashback comes to your character in a natural way when a sense of smell triggers the memory. Or maybe they’re thrust back into a tense and painful moment in time, caught completely off guard . The effect is different, so use this transition point to full advantage.

Second, signal the reader that you’re going back in time ; if you fail to do this, readers may not even recognize the switch and could be confused. This signal is achieved by changing the verb tense . If your narrative is in past tense, the first sentence of the flashback should be in past perfect. This grammatical change is essential; it tells your reader that they’re going back in time to a specific moment. You only have to maintain it for one or two sentences, and then you can go back to simple past tense so that the reader experiences it in real time.

If you’re writing in present tense, the shift goes from present to simple past. That’s how it’s handled in our example from The Hunger Games . Notice that the opening line of this scene may not seem a remarkable transition sentence; but in the context (unfortunately, too long to post here) it serves as world building . For several paragraphs , Collins develops the bleary, hopeless world of District 12, in which Katniss is failing even to find food for her starving mother and sister, she’s tried selling threadbare clothes for a few coins, but to no avail. It’s the stark stage upon which Peeta is soon to appear.

On the afternoon of my encounter with Peeta Mellark, the rain was falling in relentless icy sheets… I passed the baker’s, the smell of fresh bread was so overwhelming I felt dizzy… I lifted the lid to the baker’s trash bin and found it spotlessly, heartlessly bare. Suddenly a voice was screaming at me and I looked up to see the baker’s wife, telling me to move on and did I want her to call the Peacekeepers and how sick she was of having those brats from the Seam pawing through her trash. The words were ugly and I had no defense. As I carefully replaced the lid and backed away, I noticed him, a boy with blond hair peering out from behind his mother’s back.

The middle action

The meat of a flashback is storytelling , but as with the transition sentence, it should serve a specific purpose. Every word, every line, should be telling your reader essential information about your characters , their world , and the emotional landscape that formed who they have become. Otherwise, it’s a missed opportunity.

Similarly, the way it’s written is just as important as what’s written. If you want your readers to indulge this stalling of the forward motion of the narrative, you need to engage them. An effective way of doing this is to write it as an active scene , put them into the moment rather than summarizing it. In short, show them, don’t tell them . You’ll give them essential information and tie them more strongly to the plight of your character. Look how much new information — about the past, present, and future of both characters — we can glean from this middle section of Collins’ flashback scene:

His mother went back into the bakery, grumbling, but he must have been watching me as… the realization that I’d have nothing to take home had finally sunk in… There was a clatter in the bakery and I heard the woman screaming again and the sound of a blow, and I vaguely wondered what was going on. Feet sloshed toward me through the mud… It was the boy. In his arms, he carried two large loaves of bread that must have fallen into the fire because the crusts were scorched black… The boy never even glanced my way, but I was watching him. Because of the bread, because of the red weal that stood out on his cheekbone. What had she hit him with? My parents never hit us. I couldn’t even imagine it. The boy took one look back to the bakery as if checking that the coast was clear, then… he threw a loaf of bread in my direction. The second quickly followed, and he sloshed back to the bakery, closing the kitchen door tightly behind him… It didn’t occur to me until the next morning that the boy might have burned the bread on purpose. Might have dropped the loaves into the flames, knowing it meant being punished, and then delivered them to me.

The last sentences

The last sentences of the flashback mark another important transition. As with the earlier transition, be strategic in the way you bring your reader back to the main storyline . If it’s abrupt, it should be that way for a reason — is she startled back to the present? What did she miss? If it’s gradual, easing the character and reader back to the present, what is the lingering emotion? Does she feel different in the same space she inhabited before the memory?

Remember your grammar shift from the first transition too; once the flashback ends, you’ll return to the verb tense of the main story.

We ate slices of bread for breakfast and headed to school. It was as if spring had come overnight. Warm sweet air. Fluffy clouds… To this day, I can never shake the connection between this boy, Peeta Mellark, and the bread that gave me hope…

Aftereffects

We’re not quite finished yet. Perhaps the most important consideration is how the flashback affects the reader’s understanding of the story and the character’s motivations. Did it cause the reader to reinterpret what they know of the character so far? Will it inform their view of the character going forward? Whatever the effect, be sure it’s there — whether stated or implied — and that you can identify it as the story goes on.

I feel like I owe him something, and I hate owing people. Maybe if I had thanked him at some point, I’d be feeling less conflicted now. I thought about it a couple of times, but the opportunity never seemed to present itself. And now it never will. Because we’re going to be thrown into an arena to fight to the death. Exactly how am I supposed to work in a thank-you in there? Somehow it just won’t seem sincere if I’m trying to slit his throat.

A flashback scene can be a great tool for setting the stage of your story, informing readers, and taking them deeper into the hearts and minds of your characters. Examine the way you’re using flashbacks in your writing; make the most of each element, and you’ll be on your way to constructing strong scenes that captivate your readers’ attention and draw them deeply into the journey of your characters.

How did this exercise help you reevaluate a flashback in your work-in-progress? What did you find surprising here that you’ll incorporate into future scenes? Let me know in the comments. Or, for more great info on flashbacks, try  The 4 Decisions That Will Help You Write An Amazing Flashback ,  Nail Your Character’s Backstory With This One Simple Tip  and  Passing Time Is The Secret To Improving Your Story .

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28 thoughts on “Writing Flashbacks: How To Make Them Work In Fiction”

creative writing describing flashback

Love this article. I have to read Hunger Games, I’ve only seen the movie. Best

creative writing describing flashback

Hi boostwriter,

Glad you liked the article! I hope you do get a chance to read The Hunger Games trilogy, it’s a great read.

creative writing describing flashback

You really should read it. I mean, not to sound cliched, but the book really is even better than the movie.

creative writing describing flashback

Such a grand article! Now I won’t be conflicted in writing flashbacks in my writing class. Hunger games sound good, my friend told me about it but I thought it was some kind of clash of clan or chronicle of a throne but now I know well that it is what it’s name depict. Hope I get a chance to read it’s hopefully mystical words

Thanks for your kind words. I think flashbacks are such a great tool when handled skillfully. I’m a big fan of The Hunger Games series, so I hope you like it. Happy writing!

creative writing describing flashback

Thank you for this on chapter 30 the story finally had the right setting and pace for a flash back. Well chapter 30 in wattpad probably more like chapter 5 for 10 in normal book Wattpads chapters have to be kept short no more then 2k words as 80% if the readers read on their iphones.) I’m going to ‘finish’ the chapter first and then go back to where I summarized the past events and do some showing of what happened. Writing is joyI wish I’d have started years ago. It’s hard but well worth the effort. I’m getting better at comma placement but still need some help if anyone has the time I’d appreciate if a few test sentences that I can try to fix were sent to my email: vaporlight AT aol DOT com Thank you if you do.

creative writing describing flashback

Hi. Interesting article. If one’s story is written in the past tense, what do you think of flashbacks written in the present tense? My protagonist suffers from PTSD and I am using flashbacks to expose the trauma he suffered. Thanks. Wanjoo

I think the technique of switching from past tense to present tense for a flashback can work very well. A flashback should pull readers in and make them feel some sense of urgency and immediacy, and using present tense is a great way to do that. You just want to be sure you keep a sense of consistency with the narrator, but I think it can work beautiful if done right. Thanks for your excellent question, and best of luck to you!

creative writing describing flashback

This was really helpful. Thanks a bunch. Just wondering about a few things. What do you think about doing a flashback chapter/chapters and how would you go about doing a flashback if your story is set in the present and the flashback is several thousand years in the past (for example, the main character is an ancient vampire reminiscing about how they met an old friend/lover for the first time)?

I’m so glad you found this article helpful. I think the idea of using a flashback chapter can work well if used intentionally. The biggest concern is that you don’t want to slow down the forward momentum of the story. For example, a situation in which the flashback chapter or chapters serve to fill in essential backstory or to impart missing information withheld from the main sections of the story can be very successful. The example you describe sounds like it could work well in this regard, as it would be relaying backstory necessary to developing a relationship that’s central to the main story thread. My one caution is to keep to the essentials. An extended flashback scene that strays too far from the necessary details really can slow the pace of the story. Best of luck to you with your book!

creative writing describing flashback

Hi Paige Excellent article, thank you (I’ve devoured most of standoutbooks and it is truly brilliant). What are your thoughts on having a ‘flashback’ (to an extent) as an opener, such as a prologue or opening chapter, where the rest of the story is a continuous present tense timeline.

For example, I am writing a story in first person present, but want to have an accident in childhood affect the character in a number of ways which pan out over the story. Could an account of the accident in past tense work as a prologue? Or would it prevent the reader from forming an attachment to the character in the present day?

Thank you Thom

Excellent question. I think a flashback as a prologue could work really well. I would just say, though, unless you’re trying to keep something hidden from the reader, you want as much continuity as possible between the prologue and first chapters, so just be sure to maintain a strong narrative voice from your protagonist so readers can make the jump from past to present. Also, time stamps can be helpful in that instance too if it still feels a bit unclear. Good luck, Thom! This sounds really interesting.

creative writing describing flashback

Dear paige, thanks so much,this has helped me with my wrighting!!! yours truly chels.

I’m so glad you found this article to be helpful. Wishing you all the best with your writing.

creative writing describing flashback

Hi Paige, I tried to follow the path to learning the verb tense of leading into a flash back, but was led here by the link. There was no reference to writing the opening or closing of a flashback with the correct verb tense. Can you help? //www.standoutbooks.com/improve-your-writing/ was the link. No reference to flashbacks here.

You’re right that the linked article doesn’t have additional information about flashbacks. The link was included because the other article expounds on the idea of verb tense and the way it can change the meaning and impact of a passage. If you’d still like to know more about changing verb tense to introduce a flashback, that’s something we could explore in more detail in a future blog article.

creative writing describing flashback

Thank you for your advice! I would like to ask you something, if that’s okay with you. So I am currently writing a book about a killer with supernatural powers. I have reached chapter 19, which happens in the present and we follow the Main Character and his life. So, the chapters 21-25, I have planned on using them as chapters for flashbacks, so we can learn (or get hints) on how the supernatural powers of the characters appeared, and the backstory of the MC, his past that shaped him on who he is today. Those flashbacks that will probably extend up to 15,000 words, are vital for the readers to get a full perspective of what the MC is harboring and why he is like that, the reason he chose to become a killer. The book is part of a duology, but I want to clear some things up on the first book. My question to you is, will that kind of approach work, or should I try something else in order to expose his past? Thank you very much, Agapi

Great question. I like the idea of using flashbacks to impart backstory. My advice to authors about how to develop backstory is usually to use a combination of flashback, exposition, and dialogue and to dole out bits of the backstory over time so that it feels like a well-rounded and natural progression of the story instead of an info dump. I’d be curious to know why this information is coming so late in your story, since it seems like it’s central to your MC’s development. But I do think your idea of using flashback to impart this information could work nicely.

Thank you for your answer and suggestions! To answer your question, I must say that I have tried to use your suggestion in a previous book of mine and it actually worked pretty well, but with this one I am trying to make it all in once so it will have an larger impact. So I will ramble a bit if that’s okay with you in order to make you understand. So as I mentioned beforehand, the MC is a killer with supernatural powers. We follow his life and what he does every day until a gifted girl( a girl with powers) escapes the underground labs that the scientists use in order to experiment on them so they can gain control on them. Probably something like making their own army of indestructible beings and being able to control them anytime, in case they rebel. The MC was the first one to be a success, or the scientists think so, so he is in charge of finding new gifted and killing any person that tries to oppose them. Back to the girl that escaped. She has connections to a group that has recently started to oppose the group the MC is head of and generally the scientists. While the MC tries to kill everyone in that group his interest is also sparked by the girl. Now, the MC does not show his feelings but he loses control of himself when he uses his powers(goes on a killing spree etc) and by the end of ch. 18, he is a depressed, paranoid person, a bit bipolar that tries to kill himself by slicing his own skin. So, the reader is in a constant curiousness as of why he is like that. At ch. 19 the girl and the MC meet again, the girl actually helping him and saving him from certain death, I will not say the reasons as it will take one huge paragraph to do it).She demands explainations and something sparks his memories. Then ch. 20-24 follow. Ch. 20 is when he was young and hints at how he got his powers. Ch. 21 is the dark past that made him like that, and how he was abused by his uncle. Ch. 22 is when he ran away from home and lived on the streets almost dying. Ch. 23 is when the scientists found him and experimented on him. And ch. 24 is how he became the leader of the group and his first mission that began that endless chain of murders. Then from ch.25 the story continues on from the present when the MC is talking with the girl. I don’t know whether or not this will make sense, but I feel that if these chapters were scattered around the book, or if they were just a small paragraph in another chapter they would lose the meaning they hold. Maybe that is just my opinion, but I don’t know whether this will work or not. As of why it comes so late, the MC is in a constant state of numbness and when even the smallest memory resurfaces he keeps it locked in the back of his mind. Now, that the girl has saved him from killing himself he is in a vulnerable state, in a state of mind that he cannot reject his feelings and memories so they all come back in the form of large chunks of information, while the reader is aware that he is telling everything to the girl from the way ch.19 ends. Even though it is in the form of huge flashbacks, taking up almost the 1/4 of the story, I believe that they are in the right place and at the right length.

Now that I have explained it a little better (I hope), what is your opinion on it? Will it work, or should I scatter the chapters all over the book? Thank you, Agapi

Thanks for explaining further. This sounds like such an interesting story concept! Now that I have a fuller picture of what you’re trying to accomplish, I think this approach makes sense and could be very successful. I wish you all the best with your book!

Thank you very much! I was a bit anxious of using that concept, but your words have reassured me!

I wish you all the best, Agapi

creative writing describing flashback

Wow! Your explanation of flashbacks was excellent, with clear examples. One of the best. I haven’t read the Hunger Games trilogy, but will look into getting a copy ASAP. Sounds like great storytelling. Thanks again for a wonderful article.

Thanks, Penelope! I’m so glad you found the article helpful.

creative writing describing flashback

I have struggled with backstory and flashbacks on my current project. I have read in numerous places that dreams are a no-no. I had started my novel with my main character trying to go to sleep, wary of a repeating dream which explains how she has ended up being immortal and her backstory, i.e. when she was born etc… Through reliving the dream I attempt to dive into her story. Not sure if I should continue in this way or jump into the story, which is a crime novel, and she is the lead investigator, then work it in backstory later.

Your book sounds interesting! Most crime novels start with a strong hook related to the plot then work in backstory later. I recommend this approach, as it gets the reader invested in the story immediately, and they’ll be even more intrigued as they uncover information about your protagonist. There are exceptions, of course, but they require very skillful, well-paced writing. If you try out several different approaches, consider getting feedback from a writing group or beta readers. Wishing you all the best with your book!

Thank you for your response. I will take your suggestion.

creative writing describing flashback

Hi loved the article! I was wondering what your thoughts are on using a present tense flashback while writing the whole story in present tense as well. For example, saying something like ‘he remembers that day. He takes himself back there. He’s driving his ‘76 Blazer up the highway. It’s late and he can barely keep his eyes open…. etc.

Do you think something like that can work? Staying in present tense for the flashback?

Great question! I think what you’re proposing could work. The most important thing with flashbacks is to make it flow seamlessly. You want readers to know where the character is at each moment. You don’t want them to have to stop and read the text again to figure out what’s going on.

Best of luck to you! Paige

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How to Write a Flashback in a Script — Techniques Format Featured

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S creenwriting books and instructors often warn aspiring writers against writing flashbacks in their scripts. They know beginning and amateur writers often use them in a way that can bring a film to a dead stop.

However, so many great films have used flashbacks with resounding success. So, let’s learn from some films that figured out how to do them the right way.

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FLASHBACK DEFINITION

What is a flashback.

A scene or moment in a narrative that interrupts the chronology of a story by showing an action or event that happened earlier in the story. An internal flashback takes place within the primary timespan of the story. An external flashback takes place outside of its primary timeline. 

Tips on How to Write a Flashback in a Script:

  • Is the flashback necessary? Why?
  • Consider the ideal placement of the flashback
  • Weave the flashback(s) in naturally to avoid disrupting the flow of the narrative

Flashback Examples in Movies

Scripts that use flashbacks as structure.

Many time when a screenplay takes a trip to the past, it is an isolated deviation. In other words, flashback scenes in movies are more common that "flashback movies." That being said, there have been a number of fantastic screenplays that use a flashback structure to weave in and out of a story's chronology.

Below are just a few classic examples, each brings a distinct flair and personality to writing flashbacks. Some simply start in the present and tell the entire story through one giant flashback. Others bounce back and forth strategically to tell a more nuanced narrative .

  • Shawshank Redemption
  • It’s a Wonderful Life
  • Social Network
  • Sunset Boulevard
  • Hiroshima Mon Amour
  • Eternal Sunshine of the Spotless Mind
  • Fried Green Tomatoes
  • The Godfather II
  • Don’t Look Now
  • Citizen Kane

At the end of this article, check out our detailed blog that covers technical formatting for flashbacks in your screenplay. 

But as we go along, our examples will help  you adapt a style of your own. You can take some creative liberties if you honor the maxim: “Thou shalt not confuse the audience.” 

Why Do Writers Use Flashbacks

The power and purpose of flashbacks.

A good flashback can create mystery, raise the stakes, and clarify meaning and significance. A bad one slows the story momentum with boring information, or worse case, makes it feel like it’s moving backward. To determine if a flashback is necessary ask this ironic question

Is this flashback the best way to move the story forward?

Individually, flashbacks can deepen our connection with a character. They can clarify and accentuate a fact or feeling. On the flip side, they can create doubt, suspense, and mystery.

When using multiple flashbacks, devise an overall strategy that lets them be more than the sum of their parts.

Will they focus on merely mystery, plot, and story? Will they deepen insight into the protagonist? Will they make us ponder meaning and theme?

We will show you when, why, where, and how to write flashbacks in a screenplay.

Orient the Audience

Distinguish your flashbacks.

You are familiar with the common transitions that lead us in and out of a flashback, which include editing transitions like dissolves, clever wipes, blur effects, white flashes, leading dialogue, and ominous music. 

You want to avoid overused clichés yet understand their essential function. Intrigue the reader, don’t confuse them. Make sure flashbacks aren’t disorienting or distracting. Modern moviegoers have developed a sophisticated understanding of film language, so they don’t need much. 

The look of Memento with its alternating color and black-and-white film stock differentiates the present (forward-moving) and past (backward-moving) timelines. The style of The Bourne Supremacy announces its flashbacks with a sudden surge in its rhythm, pace and prose style:

how to write a camera shot in a screenplay - studiobinder screenwriting software

Read the Flower  Shop Scene — Scroll to Scene XX  

In Greta Gerwig’s recent adaptation of Little Women , she wrote the flashbacks in red font for the sake of clarity for the reader. Be like Greta.

Use Recurring Visual, Locations and Props

Anchor your flashbacks.

The charming 1967 Stanley Donen film Two for the Road used the couple’s four distinctive cars to track them throughout the story’s four time periods.

The Irishman also uses a car like a timestamp during the 1975-set road trip where Russell and Frank drive to Florida with their wives. What allows the film and this sequence to deftly slip between several eras? Not the high-tech digital de-aging process. But rather good old-fashioned low-tech ingenuity from director Martin Scorsese and his Oscar-winning editor Thelma Schoonmaker .

ROAD TRIP EXCERPT

THE IRISHMAN

Notice some of the elements unique to each era that help to identify it:

  • 1943 - Anzio. Frank in the war. Voiceover segue, uniform, rifle, soldiers
  • 1950s - When Russell and Frank begin their relationship. Formal attire and manners, lush restaurant interiors, noticeable absence of wives when the men are together, music, Frank’s voiceover about Russell
  • 1975 - Road trip to the wedding. The car, presence of wives, Carrie’s cigarette and smoking, Frank’s voiceover about Carrie as mob royalty, sunny daylight exteriors in nature.

The Irishman script doesn’t even use the word “flashback.” It’s supposed to feel like a single seamless and flowing story. That should also be the goal for your own flashbacks.

Build Characters and your Theme

Flashbacks beyond story & into theme.

Arrival weaves flashbacks and flash-forwards into its story. In fact, Amy Adams’ character Louise’s prescient powers motivate the twisty flashback structure and empower her to “save the day” and the world in the climax. 

The flashbacks resonate significantly as they reveal her decision to have her daughter despite the foreknowledge that the child will die at a young age. The non-linear structure also contributes to fascinating thematic ideas about time, language, communication, and fate.

Theme in Flashbacks

Citizen Kane and Rashomon Effect

These two cinematic masterpieces use flashbacks in their stories in similar but ultimately different ways. The contrasting approach yields drastically different results. Learn from them how flashbacks are a dynamic tool in storytelling.

Citizen Kane and Rashomon are renowned masterpiece “flashback films.” Their characters are unreliable narrators who contradict themselves and others due to intentional deception or subconscious subjectivity.

Everyone seems to discuss them, so to explore them more deeply, check out the clip above. But for a change of pace, here’s a flashback from Citizen Kane that is only verbal. 

Citizen Kane  •  Verbal Flashback

Bernstein’s memory begins as intriguing, but ultimately its anticlimactic, “shaggy dog story” ending sheds no light on the meaning of “Rosebud.” Instead, it addresses a thematic question at the heart of the film: Does subjectivity make memory unreliable?

What’s Love got to do with It?

Show the unshowable.

Flashbacks also allow us to show what can’t be shown in any other way in the narrative. For example, in Gladiator , Maximus’s wife and son are dead. To help the audience feel his love and loss for what would otherwise be absent characters, the film shows “flashbacks” of “imagined memories” (triggered by the figurines of his wife and son).

Remember how Casablanca , possibly the greatest love story of all time, used a flashback similarly to show the unshowable. In present Casablanca, Rick and Ilsa have lost the love they had in Paris. To establish their past and draw the audience into the story, the filmmakers have to leave the present and revisit the past as Rick reminisces about their time in Paris. 

Casablanca  •  Paris Flashback

Ironically the story here must go back so it can ... wait for it ... move forward.

Where to put Flashbacks

The placement of flashbacks.

The placement and purpose of a flashback are inextricably related. When looking for the right spot, don’t think in terms of facts and information. Instead, look for emotion, experience, and mindset. Let a flashback align the audience with the character’s feelings.

Destroyer is a clever and complex flashback film   directed by Karyn Kusama and starring Nicole Kidman as Bell, a self-destructive cop on the hunt for a criminal for shady reasons. So you can watch or study it, here is a purposely vague and spoiler-free example. When Bell finally finds her target, he’s wearing a mask and preparing to rob a bank. 

She needs to know it’s him. And we need to know it’s him. More importantly we need to know she knows it’s him. We can then “feel” her processing the emotional revelation which motivates her to abruptly drop her cover and risk her life to pursue him.

Here is another typical placement of a flashback, but it’s a bit more subtle. In Silence of the Lambs , Clarice travels to West Virginia for an autopsy of one of Buffalo Bill’s victims. The exam room happens to be in the back of a funeral home. An unrelated funeral triggers a flashback to her father’s funeral:

This flashback is precisely placed but its function is less obvious and concise than our Destroyer example. It gently creates emotional resonance by relating the case and Clarice’s career to her father. She has no personal relationship to the funeral, so the flashback is necessary to explore these feelings.

Why you put them There?

Create maximum impact.

This scene in the final act of Girl on the Train works on many levels and has perfect placement. We get to experience her life-changing epiphanies in the moment as she is having them.

GIRL ON THE TRAIN CLIP

If the flashbacks come before or after this point, we feel like detached observers. Because they mirror her internal process and epiphanies, we experience them as empathy and catharsis. They align the audience with the character.   

A flashback that is well-placed and visually integrated can unify or accentuate story, character, and theme.

How to write a montage

Now that we've covered how to write flashbacks in a script, you may have noticed that many of these scenes and sequences are also montages. While there are some similarities between "how to write a flashback in a screenplay" and "how to write a montage," there are a few key differences you should know. In this follow-up post, we'll dive into the formatting and techniques used by professional screenwriters when crafting a montage.

Up Next: Writing a montage → 

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CreativEdge Learning

4 steps to write a strong flashback for primary 5 composition.

creative writing describing flashback

For Primary 5 composition , markers prefer that pupils start the story with a different type of beginning so a flashback introduction fulfills the markers’ requirements. It begins the story with a single event which triggers the main character’s memory of the entire incident.

What to write for a flashback introduction

A strong flashback introduction includes the 4 main elements to give the reader a clear description of the flashback scene.

4 main elements to write a flashback introduction for Primary 5 composition

The actions should be based on the main character’s actions in the flashback introduction scene. Pupils have to consider what the main character was doing.

Next, pupils have to decide on a suitable trigger. This means writing what the main character smelled, saw or heard that triggered the main character’s memory of the incident.

The flashback introduction and the story’s conflict should have common details so that the reader can understand why and how the flashback introduction reminded the main character of the story plot.

Recalling the incident, the main character should have a certain feeling.

There must be an ending sentence to clearly show to the reader that the flashback introduction is of a different time frame from the incident.

How to write a flashback introduction for Primary 5 composition

Using a Primary 5 composition topic, we will illustrate how to write a flashback introduction.

Primary 5 composition topic

Step 1 – Start with the action

The flashback revolves around a scene that reminds the main character of the incident.

It should always start with the main character’s actions in the flashback scene.

Specific action verbs and phrases should be used for a descriptive and effective flashback introduction paragraph.

creative writing describing flashback

Step 2 – Insert the trigger

Next, the trigger is added. This is to show the reader what exactly reminded the main character of the incident.

In this case, it could be the principal’s speech on kindness which reminded the main character of his kind act.

creative writing describing flashback

Step 3 – Add the feeling

In reality, we smile when we remember happy occasions and frown when we recall unhappy moments.

Upon remembering what had happened, it is natural that the main character would have a certain feeling.

creative writing describing flashback

Step 4 – Complete with an ending sentence

The flashback introduction requires an ending sentence which clearly shows to the reader that the composition is beginning with a flashback scene.

creative writing describing flashback

The above 4 steps ensure that writing an effective flashback introduction paragraph can be simple for all pupils.

Learn how to write all the different types of beginnings in our Primary 5 writing classes.

Related Posts

creative writing describing flashback

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  1. How to Write a Flashback: 15 Steps (with Pictures)

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  2. How to Write a Flashback Scene: 7 Key Steps

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  3. How to Write Effective Flashbacks by The Right Writing

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  4. KS3 Creative Writing: Flashback

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  5. How To Write An Effective Flashback

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COMMENTS

  1. How to Write Flashbacks: With Examples!

    GENERATE What are flashbacks? Flashbacks are simply flashes back to an earlier event in a story's narrative. They can occur at any point in a story. Most prologues are flashbacks. Flashbacks can be tricky little guys to nail, especially in written works. I see a lot of inexperienced writers mess them up big time.

  2. How to Write Flashbacks: 4 Flashback Writing Tips

    1. Flashbacks can be a powerful way to make a promise to a reader. It's common to open a chapter with a cataclysmic event, then move abruptly into the past ("Three Weeks Earlier") where (usually with a dose of dramatic irony) your protagonist finds himself in an entirely normal situation.

  3. How To Describe Flashback Scenes In Writing (12 Steps You Need To Know)

    How To Describe Flashback Scenes In Writing (12 Steps You Need To Know) By admin September 22, 2023 Introducing readers to the art of describing flashback scenes in writing is akin to inviting them on a captivating journey through time within the pages of a story.

  4. How to Write a Flashback Scene: Dos and Don'ts

    When learning how to write a flashback scene, the first step is to make the content of the flashback highly relevant. Before writing that flashback passage, take a step back and make sure you have a good reason for including it. Because it's such a specific kind of scene to have, you never want to use a flashback as filler or fluff.

  5. How to Write a Flashback Scene: 7 Key Steps

    By Bridget McNulty 12 Comments Writing flashbacks is an important skill to master if your novel cuts across time periods or strongly features characters' memories. Here are 7 key steps for how to write a flashback scene: How to write flashbacks: Know why your story needs a flashback Look at flashback examples in fiction for insights

  6. How to Write Truly Useful Flashbacks

    Adding flashbacks to your writing is a powerful tool for creating stories that feel real. According to The Importance Of Using Flashbacks In Your Writing, flashbacks are an underrated piece of a writer's arsenal. They're common is many successful books and can give your story the boost it needs. When used in a story correctly, flashbacks can:

  7. How to Write a Flashback: 15 Steps (with Pictures)

    Method 1 Writing a Flashback in Prose Fiction Download Article 1 Determine why you need a flashback. Flashbacks can be useful, but they aren't always necessary to tell a clear and engaging story. Before writing a flashback, think about what exactly you are trying to accomplish and how it will serve your story. [1]

  8. How to Write Flashbacks: 13 Secret Writing Tips Revealed

    1. Pinpoint the Perfect Trigger Select a suitable trigger in the present timeline to initiate the flashback. This can be a sensory cue, an object, or an event that reminds the character of a past experience and smoothly transitions the reader into the past.

  9. How to Write a Flashback

    All of which the reader will learn through a series of vivid flashbacks. So if you need a flashback, it's simple: Write a sentence or two of transition, then do a scene break, then write the flashback, and then do another scene break. If you need another short transition to get back into the present, write one.

  10. How to Write Effective Flashback Scenes

    Flashbacks are some of the most difficult scenes to write. When effective, flashback scenes relay vital backstory that cuts straight to the emotional core of a narrative. They exist because they must, because there is no better way to reveal the information on which the story hinges.

  11. How To Write A PTSD Flashback In Deep POV

    What Is A Flashback? In my online classes, I often get asked for help in writing two kinds of flashbacks. One kind of flashback is the idea of a glimpse into a character's past, basically a cut scene to something's that happened before. This is usually written as a dream or as backstory.

  12. How To Write A Flashback

    A flashback is a literary device used to present a scene or event from a character's past within the context of a present-time story. It is a way to provide background information or insight into a character's thoughts, feelings, and motivations.

  13. The 5 Rules of Writing Effective Flashbacks

    While character is crucial in developing the story, more than anything a novel is driven by plot. A flashback should always serve as a tool to advance what is happening in the present. 5. Use flashbacks sparingly. A flashback should be used only when there is no other effective way to get an important piece of information across.

  14. What Is a Flashback? Definition and Examples of Flashbacks

    Written by MasterClass Last updated: Aug 23, 2021 • 4 min read When writing a work of fiction, an author can take the reader out of the present story and jump into an earlier time period in a character's life. This narrative tool is called a flashback.

  15. Writing Flashbacks: How To Make Them Work In Fiction

    Creating a strong framework. Because a flashback halts the forward motion of the narrative, the reader must care about the character before you throw the car in reverse. Collins' flashback comes in Chapter 2, which might seem early, but we're already hooked into the action of the story and tied to the fate of the character.

  16. 3 Tips for Writing Successful Flashbacks

    The flashback lacks immediacy. Dive into the world of writing and learn all 12 steps needed to complete a first draft. In this writing workshop you will tackle the steps to writing a book, learn effective writing techniques along the way, and of course, begin writing your first draft.

  17. How to Write a Flashback in a Script

    Below are just a few classic examples, each brings a distinct flair and personality to writing flashbacks. Some simply start in the present and tell the entire story through one giant flashback. Others bounce back and forth strategically to tell a more nuanced narrative. Shawshank Redemption. It's a Wonderful Life.

  18. 15+ Flashback Examples (from Popular Literature, Film & TV)

    1. Full Flashback. Most of our examples are full flashbacks. This is where a full scene — or more — takes place in the past of the narrative. Some flashbacks are so extended that they essentially become the primary story, with the present-day narrative serving as a framing story. 2. Brief In-Scene Flashback

  19. 4 steps to write a strong flashback for Primary 5 composition

    Step 1 - Start with the action. The flashback revolves around a scene that reminds the main character of the incident. It should always start with the main character's actions in the flashback scene. Specific action verbs and phrases should be used for a descriptive and effective flashback introduction paragraph.

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