Log in or Sign up
You are using an out of date browser. It may not display this or other websites correctly. You should upgrade or use an alternative browser .
Kinzvlle At the bottom of a pit Contributor
Storytelling through flashbacks..
Discussion in ' Plot Development ' started by Kinzvlle , Mar 14, 2016 .
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); So I've been planning a short story recently from the perspective of an Imperil Army officer,* and I was thinking of beginning, it with the officer being interrogated in a way and tell the bulk of it in a flashback sort of format. I was wondering if this would be a good way to format it. As a reader would anyone be turned off to a short story, beging in one point of time and then moving back? Is this a bad way to format a plot or could it be made to work? *Fantasy setting, empire similar to that of the Roman empire with some parallels to British imperialism.
Steerpike Felis amatus Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); There are stories that do this, and do it well. My initial feeling is negative when an author uses a flashback or a dream sequence and moves out of the flow of the main story to some prior time (or into some dream). But it's not a deal-breaker. I'll read it, and if it is engaging then I'll go with it. My main problem with them is how often authors move out of an interesting primary narrative into a much less interesting flashback or dream.
Oscar Leigh Contributor Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I think this could be really great if you do it right. I agree with @Steerpike , you need to make the flashbacks matter. But seeing as you said the "bulk" of your story, I'm sure there's lots of interesting stuff going on. The mian thing is to make the two things fit together well. I'd say look at Call of Duty Black Ops I, which had this exact setup. The character is interrogated and we see flashbacks on what happened in full detail which we play. The way the two tenses fit together is very effective with drama, and that game is considered to have the best Call of Duty storyline for a reason. Or you could look at The Usual Suspects, or the book or movie version of Big Fish. Or Citizen Kane. Also, is it weird when I read your description, the first thing I thought was that the officer was protecting his gay lover? I feel like if I were you that would inevitably be it. Lol.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); Also, check out Name of the Wind, a popular fantasy book that does this.
Feo Takahari Senior Member
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I don't know about books, but I can think of three different video games that do this: Spider and Web, Alpha Protocol, and Dragon Age II. All three get some great mileage out of the interrogator's desire for the full truth vs. the captor's desire to conceal vital information. (For instance, the protagonist of Spider and Web gives a believable account in which he never went into the interrogation room prior to being captured. Then he uses something he hid in the interrogation room to defeat his captor and escape. Alpha Protocol uses a more omniscient viewpoint in which the player sees things the MC doesn't tell the interrogator, but it's possible for the MC to hide the existence of a specific character and then escape using that character's assistance.)
GuardianWynn Contributor Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); Kinzvlle said: ↑ So I've been planning a short story recently from the perspective of an Imperil Army officer,* and I was thinking of beginning, it with the officer being interrogated in a way and tell the bulk of it in a flashback sort of format. I was wondering if this would be a good way to format it. As a reader would anyone be turned off to a short story, beging in one point of time and then moving back? Is this a bad way to format a plot or could it be made to work? *Fantasy setting, empire similar to that of the Roman empire with some parallels to British imperialism. Click to expand...
cutecat22 The Strange One Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I agree. It's hard to get it right. I read a book by a very well known author. It was written to tell the story of two different people, at two different times, that time difference was something like 10-odd years (I hope I'm remembering that right). The story kept swapping between times and people as lives intertwined between then and now, and although the story itself was good, I found it really difficult to get into because each time it changed, I had to go back and remind myself what had happened with that character previously. That being said, I do use flashbacks myself, although I don't use them that often, and when I do use them, it's to tell of something which happened during the story, but at the time it happened, it wouldn't fit into the book, almost like a memory.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I agree with others that there's a risk the present scenes tell you too much of what happens in the past, so I'd suggest you'd don't say much actual information in those scenes, maybe make them a bit referency, hinting at stuff. And make the capture bit either obvious or very sneaky. Mildly surprising will just become obvious. Also, you do you. Do flashbacks if you want to. It can be done.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); Oscar Leigh said: ↑ I think this could be really great if you do it right. I agree with @Steerpike , you need to make the flashbacks matter. But seeing as you said the "bulk" of your story, I'm sure there's lots of interesting stuff going on. The mian thing is to make the two things fit together well. I'd say look at Call of Duty Black Ops I, which had this exact setup. The character is interrogated and we see flashbacks on what happened in full detail which we play. The way the two tenses fit together is very effective with drama, and that game is considered to have the best Call of Duty storyline for a reason. Or you could look at The Usual Suspects, or the book or movie version of Big Fish. Or Citizen Kane. Also, is it weird when I read your description, the first thing I thought was that the officer was protecting his gay lover? I feel like if I were you that would inevitably be it. Lol. Click to expand...
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); Kinzvlle said: ↑ It won`t be a gay lover considering this one happens to have a loving wife and child, but I recall reading a webcomic using this type of format of someone doing that though, it was pretty good actully. DA 2 had examples of that as well with Cassandra calling Varric out for his embellishments a few times, plus a certain revelation in DAI which I won`t mention for spoilers. I like the advice, but he will be mostly telling the truth...though not everyone in the room will be. Thank you for the very detailed advice. I wouldn`t mind looking at book project sometime thank you. I can see where I did fall into the info dump trap in ways, such as using it to describe his background, but there is a plotish reason I wanted to do it this way. As hinted at above, the integrator has his own angle, becuse I so love corrupted governments. The integrators has a impact on hte way the story ends and I felt like setting it up as a integration would work better then springing it on at the end. Thank you the advice everyone, it`s been very good. Click to expand...
VynniL Contributor Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I dislike flashbacks in novels. As soon as I see the sections of italics my eyesight gets blurry. Never read one that I cared for. I have read novels where I have skimmed every flashback and still enjoyed the story. Obviously didn't need it because the Author was able to make the character compelling and interesting in the present. One of my favourite romances of all time had flashbacks. Vague memory was.... Flashback: Oh right, he was kidnapped, he was tortured by his mistress...yeah yeah, I get the point... Back to the present. Flashback: Oh, still getting tortured...blah blah... Back to the present and so it went on. If the rest of the content wasn't so good I would have just thrown it at the wall in disgust. Maybe that book was thicker than it needed to be? Anyway, just my reader preferences.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); LinnyV said: ↑ I dislike flashbacks in novels. As soon as I see the sections of italics my eyesight gets blurry. Never read one that I cared for. I have read novels where I have skimmed every flashback and still enjoyed the story. Obviously didn't need it because the Author was able to make the character compelling and interesting in the present. One of my favourite romances of all time had flashbacks. Vague memory was.... Flashback: Oh right, he was kidnapped, he was tortured by his mistress...yeah yeah, I get the point... Back to the present. Flashback: Oh, still getting tortured...blah blah... Back to the present and so it went on. If the rest of the content wasn't so good I would have just thrown it at the wall in disgust. Maybe that book was thicker than it needed to be? Anyway, just my reader preferences. Click to expand...
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); @Oscar Leigh just because the author intended something didn't mean she succeeded better by using a flashback - that was my point. I won't go into specifics but this particular Author has some pretty thick books as she goes along in the series, and I remember quite a bit of criticism about her going all over the place. It's rare I give up on an Author I enjoyed, but she is one of them. I'm thinking it's no different from when you have a conversation with someone and they keep dragging up ancient history. Depending on the topic, it's tedious for some and I expect that would be me. Just tell me what's happening with you today and give me enough to understand your current situation. Pages of flashback are tiresome. And no, I did not miss something. She wanted us to understand his back ground, his abuse and how that makes him who he is today. The usual sob story. Lot's of authors do all this without pages of flashbacks. I'm guessing she needed to write it like that because it made her understand him and she felt us readers will empathize. Obviously I am not very empathetic and more impatient to just move forward with the story. For myself, I didn't need the overboard of flashbacks to enjoy the core romance. A few lines or sections dropped here and there would have been enough. Also, it depends what type of stories they're used in. I read primarily romances and I don't enjoy them there at all. That's why I've never read one I care for. I don't mind them in film/TV. One that comes to mind is my love of the old Highlander tv series, I loved all those flashbacks, but we're dealing with immortals who are trying to lop each others head off and living interesting lives through different ages. Their flashbacks would be more interesting to me and relevant since past acquaintances show up in the present. Readers will respond to a story differently and what I wrote above is a response.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); LinnyV said: ↑ @Oscar Leigh just because the author intended something didn't mean she succeeded better by using a flashback - that was my point. I won't go into specifics but this particular Author has some pretty thick books as she goes along in the series and I remember quite a bit of criticism about her going all over the place. It's rare I give up on an Author I enjoyed, but she is one of them. I'm thinking it's no different from when you have a conversation with someone and they keep dragging up ancient history. Depending on the topic, it's tedious for some and I expect that would be me. Just tell me what's happening with you today and give me enough to understand your current situation. Pages of flashback are tiresome. And no, I did not miss something. She wanted us to understand his back ground, his abuse and how that makes him who he is today. The usual sob story. Lot's of authors do all this without pages of flashbacks. I'm guessing she needed to write it like that because it made her understand him and she felt us readers will empathize. Obviously I am not very empathetic and more impatient to just move forward with the story. For myself, I didn't need the overboard of flashbacks to enjoy the core romance. A few lines or sections dropped here and there would have been enough. Also, it depends what type of stories they're used in. I read primarily romances and I don't enjoy them there at all. That's why I've never read one I care for. I don't mind them in film/TV. One that comes to mind is my love of the old Highlander tv series, I loved all those flashbacks but the we're dealing with immortals who are trying to lop each others head off and living interesting lives through different ages. Their flashbacks would be more interesting to me and relevant since past acquaintances show up in the present. Readers will respond to a story differently and what I wrote above is a response. Click to expand...
Mike Kobernus Senior Member
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I wrote a novel where there are two parallel stories, one told in visions (flashbacks) that are experienced by the protagonist. The difference between the two stories was 80 years. One story takes place in England, the other in the Sahara. One method I used to differentiate the two stories, is that I used 3rd person POV for the modern story, and 1st person for the flashbacks.
wrc New Member
ChickenFreak Contributor Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I once wrote a whole blog post about my dislike of books like this. For me, if a story starts at point X, then jumps backward to point A, B, C, etc, I will be waiting, impatiently, all that while, to get to point X, at which point, in my mind, the story will "start". I don't know why I react this way, but I do.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); ChickenFreak said: ↑ I once wrote a whole blog post about my dislike of books like this. For me, if a story starts at point X, then jumps backward to point A, B, C, etc, I will be waiting, impatiently, all that while, to get to point X, at which point, in my mind, the story will "start". I don't know why I react this way, but I do. Click to expand...
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); If the story is compelling in the flashbacks, then you are getting two books in one.
BayView Huh. Interesting. Contributor
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I think there has to be something added by having the story in two different times. If you're just doing it to do it, I think the annoyance will override the benefits and it's probably a bad idea, but if, for example, you're using the present-day narrative as a way to add significant context, character insight, character doubt, etc., then it could be good. I'm thinking of, for example, The Usual Suspects , (movie) where the framing story is just as fascinating as the story being told through flashbacks and the two work together really well, each adding depth to the other, each contributing to the manipulation of the audience's sympathies... and then of course the final kicker in the framing story. That movie wouldn't have worked nearly as well without the frame. But I've also read things where the modern-day story just felt tacked on and pointless.
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); Certainly, the flashbacks need to be relevant to the main story. They need to add details that are relevant for the later story, otherwise what point?
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); Mike Kobernus said: ↑ Certainly, the flashbacks need to be relevant to the main story. They need to add details that are relevant for the later story, otherwise what point? Click to expand...
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); I think I was....
loonypapa Member
googletag.cmd.push(function() { googletag.display('funpub_3bcc162419485a5b211984f73a31b761'); }); One of my favorite novels of all time is The Source. 1104 pages of awesome. From cavemen to crusaders, goat herders to gods, the story is told through the eyes of an archaeologist, with multiple flashbacks to the folks that deposited the artifacts that were found in his dig. Incredible literary device. Michener had his game on when he wrote that one. Every decade or so I'll pick it up again and re-read the whole thing.
Share This Page
- Log in with Facebook
- Log in with Twitter
- Log in with Google
- No, create an account now.
- Yes, my password is:
- Forgot your password?
- Search titles only
Separate names with a comma.
- Search this thread only
- Display results as threads
Useful Searches
- Recent Posts
- This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register. By continuing to use this site, you are consenting to our use of cookies. Accept Learn More... Dismiss Notice
Creative writing: Literary devices
Check these out next
LITERARY DEVICES are the tools that literary writers use to spice up what they write. These devices add aesthetics (beauty) to such work, making them more appealing to read. Some of these devices are used only in poetry, some used only in drama, some used only in prose, and many are used, generally, in all the genres. Examples are: stanza, rhyme, rhythm, theme, dialogue, stage direction, simile, irony, satire, metaphor, pun, assonance, personification, parody, hyperbole, oxymoron, paradox, metonymy, flashback, foreshadowing, alliteration, etc.
Recommended
More Related Content
Slideshows for you ( 20 ).
Similar to Creative writing: Literary devices ( 20 )
Recently uploaded ( 20 )
- are the tools that literary writers use to spice up what they write. These devices add aesthetics (beauty) to such work, making them more appealing to read. Some of these devices are used only in , some used only in , some used only in , and many are used, generally, in all the . Examples are: stanza, rhyme, rhythm, theme, dialogue, stage direction, simile, irony, satire, metaphor, pun, assonance, personification, parody, hyperbole, oxymoron, paradox, metonymy, flashback, foreshadowing, alliteration, etc.
- is an indirect comparison of two dissimilar things, using ‘as’ or ‘like’. a. Your brother is as tall as an Iroko tree. (height) b. The new bride is like a peahen. (beauty) c. Wanting him to be honest is like expecting the Shaytan to become converted. d. Visiting that country once, I saw that the place is like heaven.
- is a direct comparison of two dissimilar things, without using ‘as’ or ‘like’. a. Life is a journey. b. It is funny to know that while the female of the twins is an angel, her twin brother is a devil. c. A school is a short-term prison that parents sentence their children to.
- is giving animate or human quality to inanimate objects, i.e. making an object or lifeless thing act like a living thing. a. The earth has swallowed many souls. b. I came late because my car refused to start in time. c. I usually leave home for work before the sun rises from its bed. d. This school has given birth to many great people.
- is a statement that means the opposite of the speaker’s intention. is commonly used for humour and to ridicule something or somebody. a. Rejoice with me, my darling wife, the mother of my worthless son! Our son has done us proud again, coming last in his class of dullards. b. This country is a great country, the pride of Africa! A country of law-breaking law makers; a country of celebrated thieves, rich kidnappers, stealing pastors, lying lawyers, corrupt judges, corrupt leaders… Believe me, my friend. This country is a great country; it’s the pride of Africa.
- is a play on words. is an act of making a word mean different things in the same context. Sometimes, the words may be different but they will have similar pronunciation. a. Tyra Bank is a popular American model and fashion designer. Her husband, Mr. Bank, once worked with Fidelity Bank. The couple’s new house, built close to the bank of the Washington River, is an amazing wonder. Despite his riches, Mr. Bank is a very humble man; a man you can always bank on, in times of trouble. b. I learnt that the people of Thailand eat human beings, just like one eats beans.
- is a statement that is overblown or exaggerated. is used to amuse or amaze people. a. The entire people Lagos attended my sister’s wedding, last week. b. My love, if you jilt me, I’ll shed an ocean of tears. c. Mr. Benjamin has travelled all over the world. d. I am hungry now that I can eat a horse, whole.
- is an expression that contains two contradictory words. a. My son has been unusually nicer to me since yesterday; wanting to wash my clothes, help me in the kitchen, and he’s been doing more chores now than ever before. All so unusual of him! I know he wants something from me again but I laugh at your foolish wisdom. b. Be careful of who you share your secrets with. There are many sweet enemies around now. c. Your father’s new wife is an ugly beauty
- is the repetition of similar sounds in successive words. a. God made man. man makes money; money makes man mad. [ /m/ is alliterated ] b. Hello, everyone! Please help me welcome, my mesmerizing mother and the dazzling wife of my dearest dad, Mrs. Damilola Dame Davies. [ /m/ and /d/ are alliterated ] c. We are weak and imperfect, because we all come from the woman’s womb. [ /w/ is alliterated ]
- is used in poetry to divide a poem into different segments. The message in a poem is written in lines and stanzas. Example: Once upon a land so vast A land of scattered ethnic groups Then, came Lugard to merge them all ( 5 LINES) His wife, Laura, gave us a name She chose the name ‘Niger Area’ We lived under the white government For years, until 1960 ( 4 LINES) Colonial rulers said goodbye And then, we chose to rule ourselves Azikwe came, Balewa came Awolowo came, Zadauna came… Heroes that fought for us to live Military rulers spoilt the show ( 8 LINES) With coups and coups that broke the peace Gowon, Ojukwu and civil war Buhari, Babangida and Abacha too.
- is the similarity of sounds, usually in consecutive lines. On the other hand, is the regularity of beats or syllables, i.e. when the lines in a poem have the same number of syllables. Twin – kle – twin – kle – lit – tle – STAR [7 syllables/beats] How – I – won – der – what – you – ARE [7 syllables/beats] Up – a – bove – the – world – so – HIGH [7 syllables/beats] Like – a – dia – mond – in – the – SKY [7 syllables/beats] ‘STAR’ & ‘ARE’ - ‘HIGH’ & ‘SKY’ 7 syllables/beats in each line
4 Types Of Creative Writing You Need To Know
Creative writing is an acquired skill that is used in almost every aspect of our lives. From personal journals to international books and news, we come across different writing styles in all of the literary compositions.
But what is it that makes them distinct from each other? And how do we know where to use which writing style?
The Problem and Solution
Process writing, compare and contrast , classification, descriptive form, narrative form, persuasive form, want to excel in creative writing .
Don’t you worry about it. Podium School has broken down the types of creative writing for you so that you can excel at composing comprehensions and what not!
Types of Creative Writing
Creative writing has been broadly classified into 4 major groups –
- Descriptive
Let us have a detailed look at each type.
Expository Form
The lexical meaning of ‘expository’ is to explain something or expose the facts. Therefore, this form of writing incorporates a detailed explanation of an idea or a process.
Its goal is to provide objective information with precise facts and educate them — not entertain them. So we don’t include our opinions in this form, rather we keep the content unbiased. The matter must remain coherent and informative.
We observe this form of writing in textbooks, newspapers (except the editorial column), reports, manuals, guides, etc. In fact, this article itself is in an expository form.
The expository form can be further classified into 5 divisions –
- Process
- Problem and Solution
- Definition
It explains the step-by-step process of something, and is always in a sequence.
Example – Instruction manuals, recipe books, etc.
Become a professional Content Writer from the comfort of your home. Sign up for Podium Pro and get a chance to create awesome content for top global brands!
It mentions the problems and proposes one or more, effective and feasible solutions to them.
Example – Troubleshoot problems; Searching for ‘how to restart a computer’
In this type of writing, we compare two or more topics — stating their similarities and differences. One important point is that we don’t compare two drastically different topics; it is ludicrous to compare English and Maths .
We make comparisons between topics falling under the same category, such as differences and the interconnection between Literature and Grammar, or Algebra and Geometry.
Here, we define a topic or explain the meaning of something — a term, phrase, idioms, etc. Defining a topic includes not only the basic definition of it but also encompasses the background information and the causes and effects of it.
Example – An essay on Renaissance
The sub-topics and categories of a topic are explained in this type of writing.
Example – This section of subdivisions of explanatory writing.
You must bear in mind that any explanatory comprehension cannot be classified into just one subdivision, it is usually a blend of two or more types.
The lexical meaning of ‘descriptive’ is to describe. Therefore, it encompasses vivid descriptions of a character, place, event, emotion or idea.
The goal is to provide a description so clear that the reader can practically visualize it. Hence, the writers often use literary devices such as metaphors, similes , etc. and also use all five senses as a form of description
Example –
- Honesty is the best policy (metaphor)
- As sly as a fox (simile)
- The place was eerie enough to give me goosebumps
- The lights in the room blinded me.
We observe this form in fictional writings such as poetry , journal writing, etc., and is avoided in scholarly writings.
While describing any entity, we follow a specific order based on the type of that entity.
For example, when we describe a person, we start by describing their physical features and then following up with personality and other traits. When we describe a location, we start by describing its surroundings, adding on the population, culture, and so on.
The key component of descriptive writing is to have a firm grip over adjectives (words that describe a noun), and adverbs (words that describe a verb or an adjective).
The lexical meaning of ‘narrative’ is the account of an event. Therefore, it encompasses the narration of a story or event — real or imaginative.
This form of creative writing includes characters, dialogues , plot , background information — what was the situation, what was the action, what was the reaction, etc.
While narrating an event, we’ll have to describe the surroundings and the ambiance of it, for which we apply descriptive writing. And since we have characters as well, a change of point of view is also observed.
We observe narrative writing in biographies, anecdotes, short stories , novels, etc.
The narration can be of different types-
Linear : in which the chronology of events is sequential
For example – we often read articles of historical events, occurring one after the other.
Non-linear : in which the events are placed nonconsecutively
For example –
- we come across crucial parts of a story in form of flashbacks, or
- cue to the ‘5 years ago’ in between a story to drop an important hint
The lexical meaning of ‘persuasive’ is to convince someone to do or believe in something through logic and arguments. Therefore, it encompasses the persuasion of people to take certain actions or believe in an idea or opinion.
Contrary to the expository form, the persuasive form is based on biased opinions. But to provide credibility on a particular viewpoint, evidence and facts are important.
The writers often try to appeal to the emotions of the readers to create a deeper impact.
We observe persuasive writing in advertisements , political speeches, editorial columns of newspapers and magazines, non-fiction books, etc.
If you are intrigued by the skill of creative writing and want to augment your creativity , you are at the right place. Podium Blog provides you with all the fundamentals you will need to master the art of creative writing .
Not only do we offer creative writing, but a plethora of other skills associated with it — public speaking , giving presentations , reading books — are also included in the Podium Blog.
Watch your confidence boost as you learn each skill one by one. Stay tuned for more beginner-friendly as well as expert-level guides!
People who read this also read:
Warda Ansari
Leave a reply.
Your email address will not be published. Required fields are marked *
Stack Exchange Network
Stack Exchange network consists of 181 Q&A communities including Stack Overflow , the largest, most trusted online community for developers to learn, share their knowledge, and build their careers.
Writing Stack Exchange is a question and answer site for the craft of professional writing, including fiction, non-fiction, technical, scholarly, and commercial writing. It only takes a minute to sign up.
Q&A for work
Connect and share knowledge within a single location that is structured and easy to search.
Flashback or Framing, does either work
After reading up on flashbacks, both on this site and others, I learned that flashbacks should be used sparingly since most readers enjoy a story from A to Z. I feel very strongly about having a form of a flashback, but can't decide which would be more appropriate. I want to hook the reader by displaying the danger and darkness of my world, but I don't feel that's possible starting off with a relatively safe adolescent child.
- Full Flashback - My protagonist starts off during some event and something triggers the story to flash back to when her drama began (a number of years earlier).
- Framing the story - My protagonist starts off during some event, reflecting in how she got into this situation, and the story starts many years prior.
The problem I feel I will have is that the flashback/framing point is during the middle of my story, lets say point "M".
I could use the first method, flashback to reveal the beginning of the drama, point "A", then back to M, then from N to B,C,D and back to N. You can see how I might end up with too many jumps and turn off the reader.
The second method would be more linear, starting at M to frame her current, dark situation, jump to A. I would then tell the story linearly until point M, then continue on to point Z.
Which method would work better?
EDIT: Examples given to better express my thoughts.
Example 1: For the first method, the story would start with the character in the middle of some mess (call it conflict A). She would have a full flash back that would take her years into the past and give the read her origin, background, introduce her and other characters, but not show how she got into conflict A. The story would then come back to the present, and the plot would continue, she would go about resolving her current mess, with the reader understand a lot more about her motivation and abilities.
At some point later, she would have another full flashback, explaining more details, maybe introducing the antagonist and leading up to conflict A. Coming back to the present once more, she resolves the conflict/defeats the antagonist.
Four time jumps, roughly equal in time (years).
Example 2: Character is in conflict A and goes through a chapter's worth of plot. Story flashes back several years before conflict A, origin is explained, characters are introduced, etc. Story progresses normally until character enters conflict A. The story skips the already covered story from chapter 1, continues on as the character resolves the conflict/defeats the antagonist.
Two time jumps, one years in the past and one a couple hours into the future
- creative-writing
- It is unclear whether your flashback example has three jumps or four. However, I would venture that your biggest concern is the length between jumps. Maybe your question is, then, not whether they will be confused by the jumps, but by the timelining. Please edit the penultimate paragraph so that I can give you a helpful answer. :-) – can-ned_food Jun 6, 2018 at 1:51
- @can-ned_food I've added some examples of what I mean. Since posting the question, I've flushed out more of my plot, so it's great to come back and update the question with more details. Thanks for your comment. – curt1893 Jun 6, 2018 at 12:22
3 Answers 3
"I want to hook the reader by displaying the danger and darkness of my world"
This is a very common idea about how to engage the reader, but it has a fundamental flaw: Darkness and danger are not interesting unless they happen to someone we care about.
Look at most successful novels and you will see that they do not work this way. Picking HP and LOTR as examples (because they seem to be the thing we can guarantee everyone here has read: how far do you have to get into HP before you even hear the name Voldemort? How far do you get into LOTR before we find out what the ring is and what needs to be done about it?
The answer in both cases is, quite a way. So what is happening for all those page before we get to these points in these books? We are getting to know the main characters and to understand the desires that will shape their quests once they begin them in earnest, and the character that will govern how they pursue those desires.
This is the proper beginning of any story. A story is the story of someone, some person with a particular character and particular desires. The story begins by establishing who they are. Good stories do it thorough incident, but it is not the central drama of the story.
Good writers have to learn to do this stuff and do it well. They have to have the skill of creating the defining incidents as well as the inciting incident and the climactic incident. Writers who are not confident in their skills may not feel they are up to this part of the story process, and want to skip ahead to the "good bits". But the truth is that there cannot be any "good bits" until the characters are well established. It is our engagement with the characters that makes the good bits good.
If we should not be using flashbacks for this purpose, when should we use them? I'm going to suggest a principle, but I can't say that is based on exhaustive study or thought, so there may be ample grounds to modify or refute it, be here goes. I propose that the proper starting point of a story is the establishing of the desire that drives that characters. ("It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.") But it is possible that there may be events prior to the birth of desire that will shape the later development of the story. If that is so, a flashback, or a frame, seems like an appropriate mechanism to use to supply those details when needed. But using a flashback to jump back from the climax to the establishment of desire should never be necessary and will usually be unwise.
- Mark, I appreciate your comments. I feel like I might be misrepresenting my idea. I wasn't planning on writing 20 pages of darkness/danger/fear, but rather one or two. After thinking about this more, I start to wonder if a page or two is worth possibly confusing the reader. – curt1893 May 2, 2017 at 11:57
- @curt1893 I don't think it makes much difference if it is 2 pages or 20. The reader makes their go/no go decision in the first couple of pages anyway. And we have seen darkness/danger/fear so often that we are not moved by them at all unless we care about the person facing them. When you see a story about a car crash on the evening news, does your heart leap into your throat? No. What if the pictures show a car that looks just like your friend's car? Then your heart leaps into your throat. You have to lead with caring about the person involved. – user16226 May 2, 2017 at 12:09
Two Things To Focus On
There are two things that come to play here:
- In Media Res : In the middle of the action
- What Is Your Actual Story?
In Media Res
As I'm sure you know, In Media Res is the idea that to draw the reader in you must start right in the middle of the action.
Readers don't want to sit through 50 pages of backstory to get to the story. That leads us directly to the 2nd -- and most important point -- the summary of your story.
What Is Your Story?
If you flashing back to show why the world is so dark, it is likely the reader doesn't really care until later anyways. Really consider your story at hand and tell that story.
Darth Vader Is A Great Example
When Star Wars : A New Hope was originally released Darth Vader showed up on the screen within the first 15 minutes of the movie (I think less actually. Viewers did not know his name, his purpose, his backstory, nothing. And we didn't care. We knew he was the bad guy (he was scary looking and dressed in all black).
We did care about the story though. We wanted to know what his part in the story we were watching would be. But we absolutely didn't care about his back-story.
Only later, after 20-odd years did they make a movie about his back-story.
Tell Your Story As It Happens
I suggest you put the character in the middle of the trouble and start telling the story that the character is going through right now.
If there is plot point that needs back-story then explain it at that moment. Here's a melodramatic example:
Alvin paused and stared down at the lever. This lever would turn the lights back on. After 10 years of the overlords forcing darkness upon the world, flipping this one lever would change it all. It would liberate the people!
Back-Story Can Be Like Grandpa Talking About Good Old Days
The back-story can occur along the way of the main story. A salient point might even be to consider how often a story becomes boring and how disinterested readers become when an author descends into detailed back-story.
"Back in the day when the overlords forced us into darkness, we had to walk five miles in the snow..." Yes, yes, grandpa.
- 1 I.e. save the flashback for a so–called prequel, or even a satellite story. – can-ned_food Jun 7, 2018 at 4:23
- 1 @can-ned_food I agree 100%. If an author is writing more flashback than story then maybe the flashback is the story the author wants to tell. – raddevus Jun 7, 2018 at 12:54
I never use flashback, I always use a frame, so obviously I think that works better.
There are several ways to use a frame; as a report to a superior, a story to a friend or lover, explaining something to a new acquaintance, business or work partner, or lover, even a letter or briefing: Your MC reads a letter, or attends a briefing, that informs them of a situation they must address. In Star Wars, the hologram of Princess Leia is one such framing:
General Kenobi. Years ago, you served my father in the Clone Wars. Now he begs you to help him in his struggle against the Empire. I regret that I am unable to present my father's request to you in person, but my ship has fallen under attack and I'm afraid my mission to bring you to Alderaan has failed. I have placed information vital to the survival of the Rebellion into the memory systems of this R2 unit. My father will know how to retrieve it. You must see this droid safely delivered to him on Alderaan. This is our most desperate hour. Help me, Obi-Wan Kenobi. You're my only hope. Star Wars; 1977, George Lucas.
Such things can be used to increase intimacy (bring people closer together), or even cause a rift (drive them apart). In this case, this new knowledge causes Luke to refuse this call to action, to Obi-Wan's chagrin. (Obviously not for long).
That Said, +1 Mark:
Darkness and danger are not interesting unless they happen to someone we care about.
All of my stories open with the main character doing relatively unimportant things and dealing with a relatively unimportant issue, as my route to introducing the reader to the MC, who has a problem (so there will be some conflict to sustain reader interest) but in a non-life threatening situation: Their status quo world. That is how I get them into the story, not with a flash-bang, which I found always falls flat. You can do that pretty quick, just not (for a novel or movie with all new characters) in the first 5% of the story; typically not in the first 10%.
Your Answer
Sign up or log in, post as a guest.
Required, but never shown
By clicking “Post Your Answer”, you agree to our terms of service , privacy policy and cookie policy
Not the answer you're looking for? Browse other questions tagged creative-writing flashback or ask your own question .
- Featured on Meta
- AI/ML Tool examples part 3 - Title-Drafting Assistant
- We are graduating the updated button styling for vote arrows
- May 2023 Writing Challenge: Secret Specialized Knowledge
Hot Network Questions
- How do I deal with many zero values in terms of correlation?
- In general, do students like or dislike classes that are taught jointly?
- How do I break an ore deposit on the ceiling of a volcano?
- At what point is the input data to glass cockpit PFDs converted to digital?
- Looking for an indicator light for 60-330V
- VW Polo Engine Oil Light Blinking on hill
- Can you use the Seeming spell to appear invisible?
- Probability of a given result with multiples of mixed dice with different number of faces
- Received an ultimatum from PhD advisor to leave that broke me completely
- How does the assumption that the distribution must be fully specified when using a Kolmogorov-Smirnov practically impact comparison of distributions?
- What is rude jazz?
- Cube calendar numbers
- Term alignment in cases or array
- What are the rules for two people riding the same mount?
- What happens if the initial damage from the Feeblemind spell reduces the target to 0 HP (or kills them)?
- Was Ford the only person who became a US president without winning an election?
- Is there an easy method to create an 8 sided polygon with different length sides
- Is an autopilot failure an emergency?
- Does Chinese have idiomatic equivalents of "a regular" and "the usual"?
- Recover deleted .wav files from Win 11
- Where/when did the sentence "a good developer is lazy" first appear?
- Find Unique Anagrams
- What does MOS 6507 do in Atari 2600 when you turn it on without a cartridge?
- How does TLS 1.3 restrict the Diffie-Hellman parameters to ones that are known to be secure?
Your privacy
By clicking “Accept all cookies”, you agree Stack Exchange can store cookies on your device and disclose information in accordance with our Cookie Policy .
- Social Media
Higher Writing Folio: Creative Writing 1
short story of value
Character appearance, character thinks, creative writing, careful use of language, main incident, main characteristic.
Embed Size (px)
description
Transcript of Higher Writing Folio: Creative Writing 1
The Big PictureThe Big Picture• During this unit, I will:• Become familiar with the necessary
features of a short story.• Focus on settingsetting, atmosphereatmosphere,
characterisationcharacterisation, plotplot and language.language.• Write a creative essay in a group.• Write a creative essay for my writing
Learning Learning OutcomesOutcomes
I can:• Discuss and create the structure,
characterisation and setting for a short story.
• Introduce the main theme of the text and recognise the relevance this has to my own and others’ experiences
• Be aware of aspects of the writer’s style and other features appropriate to genre and use relevant language to create a short story of value.
• We will work together to produce an example of a short story creating the setting, character and plot.
• Decide on and carefully interweave a theme for our text.
• Be aware of genre.• Consider narrative stance .• Evoke atmosphere through careful use of
language.• Use dialogue to suggest personality
Success CriteriaSuccess Criteria
• The short story, said the sharp observer Truman Capote, is “the most difficult and disciplining form of prose writing”.
• It is easy to write; hard to write well.
What is a Short What is a Short Story?Story?
• What distinguishes a short story from any other prose work is that it concerns itself with ONE idea.
• All that makes up the short story is used to convey that idea.
• The main characteristic of the short story is its economy.
• Nothing is wasted.• Nothing is extra.• Everything counts.• Everything is cut down to the bare
essentials.And so, everything is focused very
sharply on what the author wants to say, to illustrate or depict.
• The author’s focus on this main idea is channelled through his……
Characterisation.
Atmosphere.
• a small number of characters
• a limited number of settings, perhaps,
• a single, main incident
• one (main) theme
• limited use of dialogue
Basic Features of a Short Basic Features of a Short Story?Story?
• Typical parts of the plot are:• Exposition: • 1) Set the scene – describe your character in a
place, doing something (looking out of the window, walking, day-dreaming, working etc.)
• 2) Develop your character (appearance, actions, what they say, how they say it, inner thoughts etc.
• and • Introduce a theme (love, anger, conflict, war,
jealousy, relationships etc.)
Rising Action:• 3) Your character encounters a problem.• This should not be a very complicated problem. It
may involve a second character. It is important to convey how the character thinks and feels about it and how they deal with the problem.
Climax/Turning Point:• 4) Turning point/Climax/Twist. The character
should show another surprising side to themselves or act in a surprising way. There may be a surprising revelation or twist.
Resolution:• 5) You can either resolve the
problem or end with a cliff-hanger. If ending in a cliff hanger this should not simply be an abrupt end which might suggest you can’t think what to write next! Never end with ‘then he/she woke up. . .it had all been a dream’.
PLOTPLOTBEGINNING - describing setting,
character and the first event of the plot
MIDDLE - the plot continues with different events (turning points) happening
END - finally, the last events of the plot will provide a resolution
Turning Points• A turning point is a change of
direction in the plot. It can be a change of heart by a character, a confrontation or an entry into the story of an event or a character. The plot will change because of this turning point.
The Final Turning Point
• The conclusion, or final turning point is when the plot is resolved. It may be a final twist or an event that leads to a happy ending, but it marks the resolution of the plot.
The Denouement• The Denouement is how things are left.
It is the final scene. If the final turning point is the wedding then the denouement might be the wedding party: it is where everything is resolved.
• → some short stories end with a cliff-hanger in which case there is no resolution and denouement
End → Beginning → Middle• You start at the end and then use
flashback to tell the story from the beginning
End(1) →Beginning → Middle → End(2)
• You start near the end, use flashback to tell the story from the beginning up to from where you started and then continue until the resolution/denouement.
Middle → Beginning → End• You start in the middle, use flashback
to tell about the beginning, then move to the end. This is often done.
Beginning↔End (1) → Beginning↔End (2) → Middle↔End (3) Middle↔End (4)
• Flashbacks are used to show endings the characters have not yet reached
• → turning points can be used in all areas of the story to change the direction of the plot
• A good story has a solid structure. You may take a very creative approach to structure or you may keep it simple. If your approach to structure is confusing and loses your reader then there would seem to be little point in structuring it that way. Ultimately, a creative structure can enhance admiration for your storytelling abilities but you still need the writing, the language and feeling that creates a well written story.
•The plot is what happens in a story and what the characters do.
•There are said to be only a few basic plots in all literature and films.
Plot Line 1Plot Line 1Boy meets girlA character falls in love with someone
who may or may not return these feelings. Obstacles to happiness may or may not be overcome.
Examples: Romeo and Juliette; West Side Story; Silver G Mackay Brown.
The QuestA journey in search of treasure or
happiness, or to discover the truth.
Examples: The Third Man; Lord of the Rings; the film The Raiders of the Lost Ark.
Plot Line 2Plot Line 2
Entry into a new world.Chance brings a character into a new
world in which challenges and dangers must be overcome.
Examples: Robinson Crusoe; The Beach; Lord of the Flies
Plot Line 3Plot Line 3
Rags to riches (or the ugly duckling).An ordinary or downtrodden person
wins recognition or wealth.
Examples: Cinderella; Oliver Twist;Great Expectations; My Fair Lady
(film); Wanted (short story)
Plot Line 4Plot Line 4
Spider and Fly.An innocent person is lured into a trap.
Examples: The Landlady (Roald Dahl);
Felicia’s Journey (William Trevor)
Plot Line 5Plot Line 5
Nemesis.A mistake or bad deed has consequences;
foolishness is exposed and punished.
Examples: Emma (Jane Austen); The Mayor of Casterbridge (Thomas Hardy);
Crime and Punishment (Fyador Dostoevsky
Plot Line 6Plot Line 6
Overcoming the monster.A hero or heroine confronts a monster,
and defeats it against the odds. The monster might be metaphorical, such as a bully. A variant is David and Goliath where the victor is much smaller.
Examples: Frankenstein; Dracula; (the film) Jaws.
Plot Line 7Plot Line 7
• Tit for tat.A character achieves a fitting revenge.
Examples: The Count of Monte Cristo
(Alexander Dumas)
Plot Line 8Plot Line 8
Main Point (Theme)
• A short story should have a clear theme: an underlying idea that is developed through the plot. Your story will be more effective if it is something you feel strongly about.
Some common themes are:•Love•Money•Jealousy•Corruption•Adolescence•Social change•The generation gap
(Tip: emotions and feelings can also provide themes for a short story)
Jazz up your curriculum with Creative Writing. Creative writing What makes writing creative? How is that different from other writing?
Creative Writing Department MFA in Creative Writing
Eva Beck Baker | Creative Folio
Creative Writing Studies Rethinking Creative Writing Programs
Beau PortfolioBeau Creative Agency Port Folio
Higher Writing Folio: Creative Writing 1. The Big Picture During this unit, I will: Become familiar with the necessary features of a short story. setting.
Creative Folio
Creative Folio 2012 // Pierre Bouttier
Higher Writing Folio Discursive Writing. Learning Intentions Understand the importance of the Higher writing folio Identify the key pieces of information.
2013 Creative Folio
Higher Writing Folio: Creative Writing 3
Ashley Stanton FIDM Writing Folio
National 5 Folio: Creative and Personal Writing Ms Nitsche.
ZPY Creative Folio July 2016
Creative writing
Creative Writing- Writing stories
Sketch Creative sample folio
by Creative Writing Now · 30 Days of Inspiration Ideas to Energize Your Story Writing by Creative Writing Now . Creative Writing Now ...
- Cookie policy
Copyright © 2022 FDOCUMENTS
IMAGES
VIDEO
COMMENTS
So I've been planning a short story recently from the perspective of an Imperil Army officer,* and I was thinking of beginning, it with the officer being interrogated in a way and tell the bulk of it in a flashback sort of format
Jun 24, 2015 - Creative writing techniques. See more ideas about creative writing techniques, creative writing, reading classroom
Examples are: stanza, rhyme, rhythm, theme, dialogue, stage direction, simile, irony, satire, metaphor, pun, assonance, personification, parody, hyperbole, oxymoron, paradox, metonymy, flashback, foreshadowing
After reading up on flashbacks, both on this site and others, I learned that flashbacks should be used sparingly since most readers enjoy a story from A to Z. I feel very strongly about having a form of a flashback
This short article is a brief focus on how to do creative writing so you may grab the attention of your readers in a better way. Flashbacks should be the necessary part of a creative story writing to develop an appealing approach for the audience
Higher Writing Folio: Creative Writing 1 The Big Picture During this unit, I will: Become familiar with the necessary features of a short story