I've been going over various ways an author can make any piece more literary. One technique that an author can use is the flashback. Flashbacks can be important to highlight the importance of current events in the story.
However, authors can bet themselves in trouble quickly with flashbacks. Too much of a good thing is really too much. Here are some common issues with flashbacks:
1.
Problem: An author will often make the present so brief and unmemorable that the reader gets disoriented and forgets what's happening.
Example: "Jill picked up a book, which reminded her of a time several years ago when she picked up a book just like this. It had medieval-style cursive on it and illuminated images that told her it could not have come from this century. She'd opened it and found a knight, springing forth...."
Note: By the end of a paragraph like this, full of detailed description of things that happened in the past, the author has no memory of what led the character into all of this. Once the flashback ends, the reader has to go back to the beginning to remember what was really going on. Any time a reader feels forced to look back, he's been thrown out of the narrative.
Solution: Make sure to flash back only when the current events are established firmly in the reader's mind. Make what's happening
in this moment meaningful and vivid, so the flashback merely supports and enlightens some aspect of it.
2.
Problem: An author will let flashbacks pile on top of each other in a confusing manner such as a flashback within a flashback.
Example: "Jack remembered the day he led his football team to the state championship. He'd felt so triumphant. As he'd spiked that ball, he'd thought of all the doubt his father had piled on him, how his father would slap him around and tell him he'd never amount to anything."
Note: By the time the author is two flashbacks in, he's forgotten what was happening and has to look back. As the above note pointed out, this is a very bad thing for the magic of the narrative.
Solution: Keep flashbacks simple, straightforward, and sparing. Do not show multiple flashbacks within one chapter. Avoid the impulse to give a flashback within a flashback. The reader gets lost quickly. The point is the present. Anything from the past should support it, not overtake or muddle it.
3.
Problem: The reader may not understand this even IS a flashback.
Example, "So I says, remember that time except it wasn't really that time. It was more like this time. Anyway..."
Note: Don't confuse your reader. Just don't. It's rarely helpful. You can keep bits of information to yourself until it's critical to bring that information forth, but it's never a good idea to frustrate the reader and make him want to put your book down.
Solution: Cue the reader in somehow (through tenses, italics, clear phraseology, or a similar technique) that the author is entering a narrative that happened in the past. Then, make it clear when the flashback ends.
4. Problem: Including a flashback in chapter one.
Example:
Chapter 1: "The Time Far Gone." Joan loved writing in her journal. She picked up her pen and wrote about the time she was five, when her best friend came over for a visit.
Note: Chapter one is about establishing your character now in what they're doing. Don't confuse that or fill it with explanations. You'll lose your reader first thing.
Solution: Hold off on data dumping (indefinitely, if you can manage it) and flashing back until at least chapter two, when your reader has a firm grasp on your characters and events in the story.
Conclusion: Flashbacks can be very helpful and enlightening when done well. They can show your reader who the characters really is underneath. However, they need to be kept short and meaningful. They should not control the narrative but simply support it.
