Flashbacks

[bioprofessor]

Cheers or jeers?

One of my protags is overcome with guilt about a BIG lie he's told his lover and decides to come clean. This is an important turning point in their relationship. I've written the scene so that as he's revealing the truth, we flashback to the dramatic, i.e. violent, event that changed his life thereafter.

My rationale is that his confession is so vivid and emotional that it compels his partner and us to draw an equally vivid picture.

Your thoughts and suggestions?

[TwoBrad Bradley]

Why is it important to the story* that the audience doesn't know the truth until the "big reveal"?


(* story = protag pursuing an objective against opposition)

[medavidson]

Hey... if it works, it works.

I'd MUCH rather SEE what happened rather than hear exposition on it.

As long as the scene / story warrants the flashback, go for it.

[bioprofessor]

Why is it important to the story* that the audience doesn't know the truth until the "big reveal"?


(* story = protag pursuing an objective against opposition)

The girl's impetuous and really doesn't really KNOW the guy she's run away with - nor do we. But they're now thrust into a terrifying circumstance -one which strengthens their bond. The boy also has a tragic past involving an abusive father - the main reason why he had to leave his family in the south. Here's the gut punch: If you're a parent (and I am) one of your biggest, but often secret, fears is repeating the f-ed up things your parents did to you. If you're a psychologist (and my wife is one), you know that try as one may, some of that crappy behavior surfaces. The boy, in a brutally honest moment reveals these fears - brought painfully to life in the flashback.

[Biohazard]

I always groan when I initially see a flashback in a screenplay. But if it works, it works. Problem is that when we initially see the first flashback in a script, we do not yet know if it works. So the writer needs to work extra hard to make it not only work, but work well enough to retrieve the interest of those who may have been put off by seeing the first initial flashback...such as myself.

But it's all the same as any other facet, aspect or tool for screenwriting: if it works, it's great. If it does not work, it sucks.

[TwoBrad Bradley]

The girl ... doesn't really KNOW the guy ...- nor do we. ...

That's really my question. Is there a good reason why we, the audience, need to wait until the "big reveal" to learn about the guy's past?

What if the story was more linear and was to start off with the "tragic event"?

Let the audience take the ride along with the protag. It might make us more sympathetic toward the protag and increase the tension as he deals with potential "powder keg" situations.

I'm not saying you or I are right or wrong. These are just the types of things you should be asking yourself to determine what works and what doesn't.

[wakupmagy]

Would you guys mind giving us some insight into your aversion to the Flashback? It would be really helpful.

[wakupmagy]

For example--
Politics aside (gagging noises), I thought W was a good film. And that the flashbacks worked.
Is that because we already "know" the story?

[maralyn]

Because if the flashback wasn't originally structured into the story, then it's a bandaid measure. And it always shows.

They clack away happily, then suddenly decide there's something they want to reveal, about plot or character, so they throw in a flashback.

It's a shift of consciousness that jolts the audience. Throws the perspective. Raises awareness of the medium, so, if not done as a matter of precise and pre-emtive planning, it just looks like bad structuring.

[wakupmagy]

Very interesting. I get it completely. Anything that takes a viewer (or, a reader--for that matter) out of the moment weakens the whole experience. Thanks.

[jonpiper]

Very interesting. I get it completely. Anything that takes a viewer (or, a reader--for that matter) out of the moment weakens the whole experience. Thanks.

However, a well executed flashback won't take the reader out of the story or the viewer out of the experience.

And sometimes rather than write a flashback scene you can have a character tell the flashback story. What did you think of the Captain's story about the sailors being eaten by sharks in Jaws? I thought the story was effective, very powerful, in that scene.

[zenplato]

I love using flashbacks. Just make sure it's clear that the reader knows it's a flashback. If it's a good story, it's a good story. I don't see a flashback changing that...right?

Comic???

[maralyn]

There must be previous threads on flashbacks that can be linked.

But uhm, a "well executed" flashback, only appears well executed because it's motivated. There's a reason for it. More to thhe point, there's a reason the writer WANTS to interrupt the flow.

There are other problems. A recent flashback, for example, can very easily be confused with a jump cut, or a flashforward, see, confusion, oh-ow, a writer's worst enemy.

Ok, sure you've stipulated in your slug ....

HEY!!! WOO-HOO !! THIS IS A FLASHBACK !!

But the slug doesn't appear in the film.

You should be able to read and understand a script without the slugs.

[BattleDolphinZero]

imo, 99% of the time I see them or read them they're unnecessary. Including when i do it. Hate them more than V.O. which is awkward and unnecessary 99% of the time. Maybe V.O. is worse because it constantly gets tossed into movies to make sure everyone "gets" what's going on.

[zenplato]

Well, can't argue with a sea mammal, but...I found the edge case.

My current scipt utlizes that 1% were it's not only appropriate but kick ass.

Of course, the sky is red in my world--matches my eyes.

[bioprofessor]

However, a well executed flashback won't take the reader out of the story or the viewer out of the experience.

And sometimes rather than write a flashback scene you can have a character tell the flashback story. What did you think of the Captain's story about the sailors being eaten by sharks in Jaws? I thought the story was effective, very powerful, in that scene.

Man, all this great feedback for 24 bucks - what a deal!

I see what you mean, though if I saw a 5 sec flash of screaming sailors disappearing below the surface while Quint described the scene to Brody in his gravelly, monotone voice, I still may not be able to swim in the ocean.

That's what I want to do, visually underscore the event that forced the boy to head north, but not at the expense of dialogue. But leaving it out is food for thought.

[maralyn]

well, actually, we send a monthly invoice, now lemme see.... $17.50 per word, times, how many words, plus extra for this, uhm that's.... $980.000., oops, that's one zero too many,

[joe9alt]

For the love of god...at this early stage, follow your instincts and use the flashback.

[prescribe22]

For the love of god...at this early stage, follow your instincts and use the flashback.

:D

[maralyn]

:whatno:

[Joaneasley]

In the hands of a writer who is constantly aware of what the audience would be thinking, feeling and wanting to know at any given moment, the right flashback at the right time can be powerful, perhaps by creating a mystery that the writer will nurse just long enough to keep things intriguing, perhaps by rewarding the audience with a long-awaited answer to a question.

Last night my writing group read the first act of a screenplay by a writer with a great imagination, a real talent for characters, dialog and word pictures, but no awareness of how to give the audience the information they need to make sense of the convoluted, cast-of-thousands story in her mind. Her story flipped around in time and flipped around to entire new sets of characters with wild abandon. We were all lost, because the scene we would have needed to understand the script's second scene was instead told afterwards in flashback. But by the time we got that information in flashback, most of us were too lost to see it was the information that would have made both scenes make sense in the right order.

The point is, if you are sufficiently aware of your audience, you can use flashback, V.O., audience superior, or any of the writers' tools effectively.

[Jon-Luke]

I've noticed on a lot of writer's blogs and in many of the screenwriting "How To" books that flashbacks are considered a no-no almost to a point of hysteria. When Biohazard says that he always groans when he comes across one why is that - is it because of the stigma surrounding them or is it because most flashbacks are not well crafted and tend to confuse the audience more then they inform?

Basically my question what makes a good flashback - is there such thing as a good flashback or has this become an overused vehicle where everyone is trying to copy the style of "Highlander". Also is there a difference between the "Highlander" style flashbacks where entire sequences are played out and those short flashbacks where the audience is introduced to a couple of images and then its only revealed later what those images are refering to or what they mean?

So if there is such a thing as a good flashback what is it?

[joe9alt]

Field annoys me sometimes but this article is pretty good...

http://www.writersstore.com/article.php?articles_id=926

[bioprofessor]

Basically my question what makes a good flashback - is there such thing as a good flashback or has this become an overused vehicle where everyone is trying to copy the style of "Highlander". Also is there a difference between the "Highlander" style flashbacks where entire sequences are played out and those short flashbacks where the audience is introduced to a couple of images and then its only revealed later what those images are refering to or what they mean?


J-L

Mindful of the loads of experienced comments posted here, I've decided to utilize flashbacks, judiciously, in two scenes. In both, my goal is to enhance the drama and visual impact with V.O. and very short flashbacks. After all, this is a visual medium. As a moviegoer, I don't mind this at all, as long as it isn't a crutch to drag the entire story along.

Hey, if all of the other aspects of the story are tight, and I'm lucky enough to get a read and sale, with the stipulation that the flashbacks gotta go, then I'll cut them out - really fast!;)

[bioprofessor]

Field annoys me sometimes but this article is pretty good...

http://www.writersstore.com/article.php?articles_id=926

Thanks for the article link. I like the concept of "flashpresent"...

Field:
a flashback should be thought of as a “flashpresent,” because the visual image we’re seeing is what the character is thinking and feeling at that present moment, whether a memory, or fantasy, or event; a flashpresent, he remarked, is anything that illuminates a character’s point of view.


In one of the flashbacks, my protag is alone, flipping through a family photo album, when she sees a photo that elicits a powerful memory. We flashback ten years to the moment just before and after the photo was taken, gaining insight into why the photo and vignette is important to the story's theme.

[jonpiper]

In my current story, I wanted to reveal something about my protag a few scenes after the beginning, and was going to use a flashback to reveal this info about him. Then as I road my bike this afternoon, it hit me.

Why not change the opening? Rather than my original opening, why not open with a few scenes that show these important attributes of my protag while at the same time laying some ground work for the story.

I'm excited about this new approach to my story. I think the story now works better.:)

Sometimes the story will tell you when to use and when not to use a flashback.

[EvilRbt]

Like someone else said... if it works, it works.

Just ensure the flashback is clearly described as such, ideally with "FLASHBACK" somewhere in the scene heading. You'd be surprised how many writers neglect to do so, leaving the reader to guess or assume we've just gone back in time.

Also, unless you're writing the next MEMENTO, don't overdue it.

[maralyn]

Maybe rather than theoreticals, can anyone give an example of a film that has flashbacks that are memorable for how well they work?

I can't think of one.

There must be some.

[jonpiper]

Like someone else said... if it works, it works.

Just ensure the flashback is clearly described as such, ideally with "FLASHBACK" somewhere in the scene heading. You'd be surprised how many writers neglect to do so, leaving the reader to guess or assume we've just gone back in time.

Also, unless you're writing the next MEMENTO, don't overdue it.

Do you prefer including FLASHBACK in the master scene heading rather than a separate line, e.g., BEGIN FLASHBACK?

[jonpiper]

Maybe rather than theoreticals, can anyone give an example of a film that has flashbacks that are memorable for how well they work?

I can't think of one.

There must be some.

Perhaps somebody remembers the name of this film. I saw it last year. Near the end there are a couple of effective flashbacks from two different characters' POVs. These flashbacks reveal what "may" have happened at a murder scene. Was it the father or the girl who killed her husband?

[EvilRbt]

Do you prefer including FLASHBACK in the master scene heading rather than a separate line, e.g., BEGIN FLASHBACK?

I prefer it within the scene heading.

Also, it should appear in EVERY scene heading throughout the flashback sequence.

[maralyn]

LOST of course worked, but that was the structure of it. And when it goes into flashback, you instantly know it, and your perspective shifts.

Because we're not on the bright tropical island anymnore, we're on a dark gloomy street and it's raining, a car headlight streaks into vision.

See, you don't need the slug.

[jonpiper]

Maybe rather than theoreticals, can anyone give an example of a film that has flashbacks that are memorable for how well they work?

I can't think of one.

There must be some.

Perhaps somebody remembers the name of this film. I saw it last year. Near the end there are a couple of effective flashbacks from two different characters' POVs. These flashbacks reveal what "may" have happened at a murder scene. Was it the father or the girl who killed her husband?

Maralyn, I found the name of the movie. Tell No One, a French movie adapted from an American novel. The American remake is comming out in 2010.

Check it out for some memorable flashbacks. Not all flashbacks are bad.;)

[suzeaa]

Just a few examples of great films that not only use flashbacks, but depend on them:

'Ray'.

'The Usual Suspects'

'Sunset Boulevard'

'Suddenly, Last Summer'

'Sophie's Choice'

'Mildred Pierce'

'Dial M for Murder'

'Sorry, Wrong Number'

[bioprofessor]

Just a few examples of great films that not only use flashbacks, but depend on them:

'Ray'.

'The Usual Suspects'

'Sunset Boulevard'

'Suddenly, Last Summer'

'Sophie's Choice'

'Mildred Pierce'

'Dial M for Murder'

'Sorry, Wrong Number'

Thank you for these. It'll be fun to have the the script in hand while watching, especially to see (and take notes on) how the writing between "BEGIN FLASHBACK:...END FLASHBACK" plays out on the screen.

[suzeaa]

The thing about those films is the flashbacks really strengthen them rather than weaken them.

[FADE IN]

Thanks for the article link. I like the concept of "flashpresent"...

Field:

In one of the flashbacks, my protag is alone, flipping through a family photo album, when she sees a photo that elicits a powerful memory. We flashback ten years to the moment just before and after the photo was taken, gaining insight into why the photo and vignette is important to the story's theme.
I'd identify this as a MEMORY FLASH not a FLASHBACK.

EXT JOHN'S BACKYARD (MEMORY FLASH)

John's ten years younger here. The photo he was looking at is set up and taken. His mother gives him a hug. His father slaps him on the back

BACK TO SCENE

You're not talking about a long scene here, six or eight seconds, and it is cut to in a manner that makes it come off as a "flash" of memory.

A bit different than a FLASHBACK scene or sequence.

[FADE IN]

I prefer it within the scene heading.

Also, it should appear in EVERY scene heading throughout the flashback sequence.
Well, I don't agree it's necessary in every caption within the sequence. If you begin a flashback sequence,

EXT NEAR RIVER (FLASHBACK)

and it proceeds with six or seven subsequent scenes they can be captioned normally, then the first scene after the flashback sequence is captioned like this:

INT BILLY'S SALOON - DAY (PRESENT TIME)

and a reader knows the flashback sequence has ended.

Why burden the six or seven scene captions that comprise the flashback with the terminology? You're just adding text that's not necessary.

When a flashback sequence begins (FLASHBACK) everyone knows it will continue 'till indicated, and it is indicated by including (PRESENT TIME) in the first caption that flllows the flashback sequence.

It's not a good idea to force your reader to read text they don't need to read.

One never needs to use BEGIN FLASHBACK or END FLASHBACK, the commencement and ending can be built into the captioning and made integral to it.

EXT LEXINGTON HIGH FOOTBALL FIELD - NIGHT (FLASHBACK)

blah, blah, blah ...

INT SAME'S CAFE - DAY (PRESENT TIME)

Uncomplicated, clean, easy to get in the read.

[FADE IN]

Just a few examples of great films that not only use flashbacks, but depend on them:

'Ray'.

'The Usual Suspects'

'Sunset Boulevard'

'Suddenly, Last Summer'

'Sophie's Choice'

'Mildred Pierce'

'Dial M for Murder'

'Sorry, Wrong Number'
There's also a really nifty little picture titled "THE BALLAD OF GREGORIO CORTEZ" that uses a series of flashbacks that take us back to the scene of a homicide in which we see the event from different character's POV's.

This style is called "Rashonon," and it's used to depict how different people see or experience the same event differently.

[bioprofessor]

I'd identify this as a MEMORY FLASH not a FLASHBACK.

EXT JOHN'S BACKYARD (MEMORY FLASH)

John's ten years younger here. The photo he was looking at is set up and taken. His mother gives him a hug. His father slaps him on the back

BACK TO SCENE

You're not talking about a long scene here, six or eight seconds, and it is cut to in a manner that makes it come off as a "flash" of memory.

A bit different than a FLASHBACK scene or sequence.

Thank you! You nailed exactly what I want to do with the scene, including the "slap," though it is not a benevolent one. Is "Memory Flash" an acceptable convention? I've not seen it in any script or style book I've read so far.

[bioprofessor]

There's also a really nifty little picture titled "THE BALLAD OF GREGORIO CORTEZ" that uses a series of flashbacks that take us back to the scene of a homicide in which we see the event from different character's POV's.

This style is called "Rashonon," and it's used to depict how different people see or experience the same event differently.

Fascinating! Thanks for sharing this. I'm fairly certain that like me, others are now trying to figure out how to work "Rashonon" into their story! :rolleyes:

[edamame]

It's called Rashomon, a movie by Akiro Kurosawa.

[FADE IN]

It's called Rashomon, a movie by Akiro Kurosawa.
Yes, thanks for the clarification. Mr. Kurosawa pioneered the use of flashbacks to convey the idea of differing characters witnessing the same event, which was then used in a number of films and became part of the lingua franca of cinema, an accepted practice and technique. It was used to great effect in "... CORTEZ."

[suzeaa]

'The English Patient' is another film that made good use of flashbacks.