Like real people, the past influenced your character's decisions. So how to you share those moments with readers and not make it seem like a big info dump?
Usually, something happens in my novels that triggers a memory, which is similar to your first book. It can be a traumatic memory that explains a character's actions or a sweet one, which creates empathy. I find weaving them into the storyline works better than simply dumping them.
I'm working on a short story right now, a widowed, 70-year-old man, a close townhouse neighbor to a 20-something photo journalist major. Neither talk much, so what pertinent memories that surface come out only in bits and pieces, adding to intrigue, not overly-burdening a fast-pace story line.
One of the nice things about having dual protagonists is that I get to bounce them off of each other in revealing their pasts. For example, in the Quickline series, my two main characters initially know so little about each other that it becomes part of the story in the second book as they reveal their pasts.
It's a big challenge what and where to include flashbacks. I try to narrow them down to the most emotional moments that mirror the emotion of what is happening in the present part of the novel.
Usually, something happens in my novels that triggers a memory, which is similar to your first book. It can be a traumatic memory that explains a character's actions or a sweet one, which creates empathy. I find weaving them into the storyline works better than simply dumping them.
I agree, Kristin. Weaving memories into the story works best. Thanks for commenting!
I'm working on a short story right now, a widowed, 70-year-old man, a close townhouse neighbor to a 20-something photo journalist major. Neither talk much, so what pertinent memories that surface come out only in bits and pieces, adding to intrigue, not overly-burdening a fast-pace story line.
Sounds intriguing, Tom! Thanks for sharing.
I use Flashbacks sparingly and when I do, I provide riveting action to keep them pages turning
Yes! for me, the flash back has to keep the suspense going or elevate it.
One of the nice things about having dual protagonists is that I get to bounce them off of each other in revealing their pasts. For example, in the Quickline series, my two main characters initially know so little about each other that it becomes part of the story in the second book as they reveal their pasts.
One f the best ways to reveal the past is through conversation! No Flashback necessary! LOL.
It's a big challenge what and where to include flashbacks. I try to narrow them down to the most emotional moments that mirror the emotion of what is happening in the present part of the novel.
That's a good thing to keep in mind. Keep the memory relevant to what's happening in the narrative.