#Flashbacks in Writing

[bricreative]

Already thinking about their future together UGH they make me sick

Inspired by Heybosshotsauce fic “Lovers, Hunters” Chapter 12, on AO3! A great blend of pre/post battle missing scenes and flashbacks that relate to the story.

Check em out!

[xyywrites]

How to Introduce and End Flashbacks

Introducing a Flashback

Through Sensory Triggers A sound, smell, or physical sensation can catapult a character into a memory. Example: The faint scent of jasmine wafted through the open window, pulling her back to her grandmother’s garden. She could almost feel the warm sun on her back as they planted flowers together, her grandmother’s laugh ringing in her ears. Sensory cues are especially effective because they feel immediate and relatable.

Using an Object or Photo Physical items are natural prompts for reminiscing. Example: He picked up the crumpled letter, its edges worn with age. As his eyes scanned the familiar handwriting, the years fell away. He was 16 again, reading those very words for the first time.

Dialogue That Sparks a Memory A conversation can easily lead to a flashback when a particular word or phrase resonates. Example: “You always overthink everything,” she said, laughing. He froze. Those were the exact words his father had thrown at him that night, before slamming the door and leaving for good.

A Character’s Internal Reflection This works well in introspective or emotional scenes. Example: As she stared at the divorce papers, her mind drifted to the first time they’d met.

A Sudden Triggering Event High-emotion events often cause memories to resurface. Example: The screech of tires on asphalt sent a cold shiver down her spine. In a heartbeat, she was back on that icy road, watching headlights careen toward her father’s car.

Dream or Hallucination For a more surreal tone, a dream or hallucination can segue into a flashback. Example: The dream unfolded like a reel of film, showing her the beachside house they’d once called home. She saw herself, small and wide-eyed, chasing the waves as her father’s voice called out in laughter.

Abrupt, Emotional Break For intense moments, an abrupt flashback can mimic a real-life flood of memory. Example: The argument escalated, he slammed his fist on the table. The sound echoed in her ears, morphing into the memory of her father’s hand hitting the dining room table, his voice booming in anger.

Ways to End a Flashback

Tie Back to the Trigger Return to the sensory cue or object that initiated the flashback. Example: The scent of jasmine faded, and she blinked, back in her office. The garden was gone, replaced by the gray walls and the cold glow of her computer screen.

Return to Present Action Use a sharp, present-day event to jolt the character back. Example: “Hey, are you even listening?” Her coworker’s voice snapped her out of the memory. She turned, realizing she’d been staring at the clock for minutes. OR “Are you okay?” His voice cut through the silence, pulling her out of the memory. She nodded quickly, hiding her unease.

Reinforce the Emotional Impact Show how the flashback has affected the character’s current emotions or decisions. Example: The memory left her hands trembling. She wiped her eyes quickly, unwilling to let the tears win this time. She had a meeting to face.

Transition with a Parallel Action Use a seamless flow between the past and present through similar actions or emotions. Example: In the memory, she had dropped the vase, its shattering echoing in the quiet house. Back in the present, her hand hovered over a similar vase on the shelf. She hesitated, her breath shallow, before carefully setting it down as if the past might repeat itself.\

Narrative Reflection Let the character or narrator explicitly acknowledge the memory and its significance. Example: She exhaled, shaking off the memory like dust from an old book. It didn’t matter anymore, she told herself, but her heart still felt heavy.

Anchor to the Setting Bring the reader’s focus back to the surroundings. Example: The memory faded, and she was left staring at the cracked pavement under her feet, the late afternoon sun casting long shadows over the street.

[ancientroyalblood]

The Art of Flashbacks: Using Past Events to Enrich Your Story

In the tapestry of storytelling, the past is not a forgotten thread but a vibrant color that infuses depth and meaning into the narrative. Flashbacks are the writer’s brushstrokes, allowing the past to be a living part of the present story. However, the art of using flashbacks goes beyond mere chronological shifts. It involves a thoughtful, deliberate process of weaving past events into the…

[starssoblue]

“things were so hard with dad in recent years...how did he go from paparapluie to père? i wish i could face him and understand, but while he was still here i didn't dare try to tell him [any of my feelings] and now...it's too late.” * paparapluie is a pun on the words papa and parapluie (umbrella) since the plush is a frog. père is the french word for 'father.'

[myiliterallyhavenolifegoals]

i'm unwell!!! because in stede's eyes, ned low was right!! ned says "he [ed] only likes you because of your bumbling amateur status" and calls stede blackbeard's "pet" just like izzy did in series 1

so stede steps up as a captain, kills the man who harmed his crew, and suddenly, for once in stede's life, he isn't a joke! the gentleman pirate is taken seriously and welcomed into the pirate community!

and what happens less than 24 hours later? ed calls their night together a mistake, AND LEAVES.

yes, obviously the situation is more nuanced, and these old men are once again struggling to communicate, but i 100% understand why stede went a bit of the rails at the end of episode 7. stede's been so focused on trying to help ed, that he's completely ignored his own ongoing identity crisis and trauma, and after the incident at the academy in series 1, this meltdown was long overdue.

[aphel1on]

AURGH auwarghh the autistic parental trauma... the epi was wacky hijinks then dropped this on us out of nowhere... (sobs) laios... laiiiiooooos

[bluerosefox]

Tim, buddy, what do you mean you might had accidentally made a Love Child?!

Danny finds out that

1. He's a clonish 'love child' of two heroes

2. He was accidentally created during one of his donors mental break downs after losing his father and best friends (one of which was his other donor)

3. CW interfered before his creator realized what he made and pulled him out of that dimension because "it would had lead that world to true ruin if he found out at his state of mind. He's better now but it would had been the final straw for him should anything had happened to you in his care and given who he had to partner up with later... I did what I had to."

4. Due to Danny having a bad fall out with his parents after he told them about being Phantom (they didn't attack him... but they did disown him.) Danny is left adrift of what to do. He doesn't wanna bug Jazz, she's in college and dorming. Tuckers place has no room. Sam's parents would never let him stay. Vlad was a definitely a no go. And Dani (Ellie) last check in was near the Amazon rainforest.

5. Danny finds out some of his powers might not be as ghostly as he thought... it does explain the huge power boost some of his powers have compared to other ghosts.

6. He went to Clockwork... who proceeded to tell him the truth, smile his cryptic smile while saying "and now. Have fun this time around. I'll see you again in due time Daniel." Before yeeting him into a portal.

7. Danny woke up in his home dimension.... deaged to being five years old (the age he would be if he stayed and grew by now) (DC timeline is slower than DP in this)

8. He woke up apparently his creator's home city... during a Gala (Danny woke up in a garden, dazed and confused. His memories are fuzzy)... and wandered into the party... and apparently he looked like a perfect mix of his.. dads? Which catches A LOT of peoples attention.

9. Especially with Tim Drake-Wayne and Conner Kent-Luthor just announcing they're dating that very night.

10. Rumors and gossip of a random kid, who looks just like the recent happily announced couple, go flying quickly among the elite... and reaches certain ears before it gets to batfam and supers (I have a feeling they learned how to block out rumors and gossips during these events)

11. Those ears happen to be Lex Luthor and Ra's al Ghul (both who are there at the Gala just to annoy and unnerve the Bats and Supers)

12. By the time the rumors get to Tim and Conner, they find Danny almost getting taken away by one of those two.

[pluvio-lj]

Not sure it anyone else noticed this

Vander gave his bracelet to Vi, she wore it as a necklace when she was a kid.

(Ignore the terrible quality of the first pic, I literally couldn't get it any better)

[ahsoka-in-a-hood]

Occasionally I find it mildly annoying when Palpatine is posited as the one Anakin had always trusted the most, tbh. There's a noticeable shift in how he interacts with Obi Wan and Palpatine in between aotc and rots, and there's an obvious reason why: the events of aotc themselves. He and Obi Wan had plenty of friction, but they were still close, and Anakin did in fact confide in him in his grumpy teenager way. About his feelings for Padme, about his worries for his mother. It's after his trip to Tatooine that he turns to Palpatine instead.

[fixyourwritinghabits]

Does anyone have any tips on writing flashbacks? I'm finding the tense a pain -- "When Jonathan was a boy, he had once run into friends at the local chip shop. "What are you doing here?" Biff had said .... But if not using perfect tense, what's a good way to transition into and out of flashbacks?

I know I've read good ones, but I can't remember how it worked (because it was "invisible")

One big issue with flashbacks is that there are so many ways to do them. That makes juggling when and where to do them a bit tough. However, there's definitely some things to keep in mind:

Some Don'ts

Don't use a flashback right before conveying information the flashback makes essential. The one is a bit confusing, but imagine this - you're in the middle of a confrontation with the big bad. Right before they start fighting, a flashback reveals the villain killed your main character's brother and therefore this is personal! ...Except that information would have been better revealed much earlier in the novel, especially if everyone but the reader knows it.

Don't start a flashback in the middle of an action scene. You could, for example, throw some quick remembrances of something that happened in the past, but if you're interrupting a critical scene to yank the reader back to a multi-page event in the past, you're killing all the tension in the story.

Don't let a flashback take over the main plot. If the flashback is more important than what's happening in the present, you're writing the story from the wrong point of time. You might want to consider shifting the narrative to that time period, and dealing with the "current" plot at a later point in the book or settling for quick, contextualizing flash forwards.

Don't use a flashback to hide things from the audience. The absolute worst way to use a flashback is to make a scene look like it happened in a way that it didn't. If your flashback is deliberately misleading in a way the characters of the story are aware of, don't use it. For example, let's say your MC flashes back to her father's murder. It's framed to look like her uncle did it. But your MC has known all along her mother was the murderer. The flashback isn't a story she's telling, it only exists for the readers, and audience she's not aware of. Even in first-person with an unreliable narrator, a flashback is not a good way to introduce doubt in a story. It makes the reader feel as if they've been cheated.

Some Dos

Use flashbacks to convey something essential to the story. You might have pages of past events that you've cut out of your story. I certainly do. But including them slowed down the pacing and killed the tension, and ultimately, I narrowed it down to what was essential for moving forward the plot. If the flashback tells us nothing about the character, the plot, or the world in relation to either, it's probably not necessary.

Use flashbacks for character-building. Your character is formed by their past. You will need to touch on that past in some ways. A flashback triggered by a painful memory (discovering an old toy, looking at a photograph, etc) might be a way to go about it.

To show how the character got there. Your character stumbles into a bar with a head injury. As they attempt to have a normal conversation, we flash back to the car accident they fled from.

Use flashbacks to highlight but not show the real issue. This is harder to convey, but if your character is trying to avoid the truth of an event, they might often revisit the event (a fight, an argument, a conversation), but not cover all the details. This skews toward hiding things from the reader, so you should be careful about it. However, if the narrator is avoiding the truth, there are ways to do it (flashing back but not covering the whole event, flashing back to pieces of the event, etc).

Use flashbacks to frame what actually happened. Your character tells a story about themselves the whole book, but the flashback reveals what actually happened in a moment that reveals the true nature of their character.

Types of Flashbacks

Mid-scene, short paragraphs. Good for characters struggling with trauma, trying to avoid the truth of something, or looking at an image or thing that jogs their memory.

A few pages of needed context. Your MCs are at a party. They're laughing it up, seemingly having a good time. The next page or so steps back into the fight they had in the car on the way there, and how they spent time fixing their makeup before going inside.

A whole chapter - maybe. As I said above, the longer you spend in a past event, the more likely that is the main story. But if you need the POV of a character from the past, or need to highlight a critical event that you deliberately skipped over when it happened, a chapter might be a good call.

How to determine what kind of flashback you need and where you need it? That depends on where you're at in the story.

Does this flashback convey critical information about your character?

Does this flashback convey critical information about your plot?

Does this flashback add to or fit into the tension of the scenes around it?

Does the flashback slow down or stop the action? (It may be in the wrong place in your story.)

On that note, is your finale flashback-free? (If you're wrapping up the story, you need to have all your cards on the table.)

There's many, many more things we could get into, but that's a decent start. Working in flashbacks is a matter of trial and error at times, so don't shy away from them when drafting. You'll figure it out!

[elderwisp]

◁ || ▷

[ light rattling ]

Frances: The hell?

Frances: Christ. Atlas. Atlas! Wake up!

Atlas: Hmm? Oh! Hello you. 

Frances: Found you.

Atlas: Good job but you never really needed me to tell you that. 

Frances: Are you sober? 

Atlas: Definitely coming down, that’s for sure. 

Atlas: [ rustling ]

Frances: You decent?

Atlas: [ snorts ] Sure. What? Did you want some? Should have told me sooner since I’m empty. 

Frances: You promised me this would stop. That was our deal.

Atlas: Promises are such a big commitment for something with such little return. I need something consistent, something I know. 

Frances: Did he really mess you up that badly?

Atlas: Don’t.

Frances: Because everything changed when he came into our lives.

Atlas: Stop.

Frances: You can’t even acknowledge him because you know it’s true.

Atlas: Stop it.

Frances: ROWAN! His name was Rowan and he ruined everything!

Atlas: Ruined everything?! Hah… Hahaha! No, no you’re wrong-

Frances: You’re so delusional you can’t even see it. Of course you can't, how could you?

Atlas: Get out. 

Frances: I am trying to help you!

Atlas: I said get out-

She grabs him by the shoulders

Frances: Were we not enough? Was I never enough? I’ve been here the entire time! All he ever did was leave you! I... I shouldn’t have said that. 

Atlas: [ voice breaks ] oh god…

Frances: Hey. No, no. I’m sorry. 

Atlas: [ whispers ] He didn’t ruin me, he only set me free. 

Frances: This is the price of freedom?

Atlas: No, this is the price of a heartbreak. This part is my fault. 

Frances: You can’t keep blaming yourself. 

Atlas: What makes you think I was in the right?

Frances: Because you’re my brother. I know you.

Atlas: [ small huff ] And you should know you can’t change a thing. 

Frances: I can. You’re going to get better. You have to. 

Atlas: How naive do you have to be to believe it’s a choice? I-

Frances: Are you ready to lose it all?

Atlas: … Say what you came here to say, Frances.

Frances: I don’t want this to be the rest of our lives. This has to be the last time. It needs to. [ pauses ] It needs to be or else I’m done. 

?: [ hurried knocking ]

Frances: You expecting someone?

Atlas: Trouble.

Frances: What?

?: [ banging ] I know you’re in there Atlas! Open the fucking door!

Frances: What did you do?

Atlas: You should… Stay here. Don’t come out until I say so.

[peacockrulz]

oooooOOOOOooooo digital circus upon ye!!!!!!!! (these characters are SO hard to draw ;;) ((Stupid-er doodles under the cut))

I love Cain I swear dsfklksldkflsdkf

[forgettable-au]

What would you all think if I made small mini comics about the skelebros as babybones 👁👁

Like...I would sometimes upload some pages that are self contained mini comics but there would be multiple parts and they would be different but also kind of linear?(also small effort drawings sjdhwkrj)

How does that sound?

They would be complementary to the main comic hehe you don't have to read them but they might bring some insight about certain stuff and also it would be cute to see them as babybones that's always fun

[myfairkatiecat]

“Sophie became exactly like Keefe in Stellarlune”

Loud incorrect buzzer

Sophie, beginning in Neverseen and slowly in increasing amounts begins to pick up Keefe’s way of speaking/his form of snarkiness/his style of humor because she spends a TON of time around him and our speech patterns are influenced by those around us. Also, she got older and more confident, so a lot of her shyness melted away. But she is the girl she’s always been—just a lot more confident and making a lot more of the same style of jokes as one of her closest relationships. That is way more realistic than y’all give it credit for

[royalarchivist]

Pac: Oh– [Stammers] Why– I have an Ender Flu? I'm shaking! Oh my god.

Tubbo: No, Pac! You've been impregnated! 😫

Pac: IMPREGNATED?!?! Wait, what? 😨

Fit: Oh god. [Laughs] That's a new one.

Tubbo: You're pregnant!

Pac: How?!

Tubbo: I can't believe preggers Pac is on the QSMP!

Pac: Oh my god, I'm so happy! [Laughs]

[ Full Transcript ↓ ]

—

Tubbo: This is not what I want! I don't want this!!!

Fit: [Chuckles]

Pac: Oh– [Stammers] Why– I have an Ender Flu? I'm shaking! Oh my god.

Tubbo: No, Pac! You've been impregnated!

Pac: IMPREGNATED?!?! Wait, what?

Fit: Oh god. [Laughs]

Tubbo: You're pregnant!

Pac: How?!

Fit: That's a new one.

Tubbo: Uh oh, I'm about to– I'm about to not be alive much longer.

Pac: How– ahhh!!!! Wait, this is good? [Tubbo gets killed by a mob] Oh my god, Tubbo!

Tubbo: Guys? Preggers Pac, and Fit, help!

Pac: [Reading chat] "Congratulations"? Thanks guys, I didn't know, man! As always.

Fit: [Revives Tubbo] Alright, run! Ok, you're good.

Tubbo: We got his ass!

Pac: Wait, wait�� What does it mean like, I'm pregnant? I'm gonna have babies?

Tubbo: It means you're gonna give birth to a beautiful– a beautiful plethora of children!

Pac: Oh my god, not– [unintelligible]

Tubbo: [Still ranting] Merciful, wonderful babies! Babies! Innocent babies will-

Fit: [Laughs] Yeah, what he said.

Tubbo: –will splurt out of you!

Pac: Oh my god. I think I saw like, Foolish having birth the other day, so I–

Fit: [Fighting a mob] Not this thing again!

Pac: Oh my god.

Tubbo: I can't believe preggers Pac is on the QSMP!

Pac: Oh my god, I'm so happy! [Laughs]

Fit: [Laughs]

Tubbo: It's gonna be such a magical time for you!

Pac: Yeah, oh my god, I have been like, dreaming for–

Tubbo: Oh my gosh, oh my gosh. What do you– have you got any names? What are you gonna name it?

Pac: I'm probably gonna name it "Elton" and "John" if I have like, two.

Tubbo: Ohhh! What a beautiful name!

[kawareo]

I'm curious if you're ever going to write the first interaction between Raphael and Strike (pre-tadpole)! The subsequent fight between Strike and Gortash would also just be 😙👌

It will be (probably) towards the end of my Durgetash + Ketheric fic!

The whole thing happens right after they steal the crown and right before the Orin Incident(tm) so it will most likely be set there as that's the events I'm going through with in that fic ^^