Screenwriting : Flashback or where to start. by Paul Mitchell

Depends entirely on execution. Just make sure the support group is part of the narrative and isn’t simply window dressing, ala Benjamin Button. If it serves no narrative function other than bookending, scrap it.

Basically the answer to your question is yes - It is amateurish. Flashbacks can and have been effectively used in many worthy scripts. The difficulty is in incorporating them into the story line in a meaningful and appropriate manor. Few entry level screenwriters understand the how, when & why to use them; it shows up in the story readability rhythm... That screams 'amateur' to the reader. Don' do it.

I don't mind seeing flashbacks. I don't think it's amateurish. Like all tools can be misused or overused. Still a good tool. I enjoyed a tv pilot just today that have a lot of flashbacks and I enjoyed the stories they revealed.

Only you know how the story is told, so it's impossible to say. If he's in a support group because of the plot it can work but you have to be very careful using the support group to explain your story. You could head to toe it. Run the support group along the story in a linear fashion until the end where you reveal that the support group is in fact after the fact. Thus dripping plot points by way of those scenes that only becomes apparent in the aftermath of the telling. It just depends on how you want to write it.

ROCKETMAN, the new Elton John biopic does exactly that. It worked fine, but if you're going to do it make sure there's something to keep our interest in the present day scenes as well as the past scenes. Otherwise, it doesn't serve a dramatic purpose.and will get boring, fast.

Three spec scripts written by unknowns who use flashbacks, camera suggestions, "we see" point of views, break 4th wall, changing font sizes...

"Blonde Ambition", "Bubbles", "Frat Boy Genius". All 3 writers have WGA cards, working.

Flashback is a device that is effective when used well. Stop labeling tools when it is HOW they are used that determines if one is specifically working for a specific purpose or not. Why be so derogatory? And stop blaming tools. Truthfully, Paul, no one here can answer your question because none of us have any specific context, i.e., your actual screenplay.

I use them and everything else they say you should not do when I think it helps my screenplay because it'is my screenplay until someone wants to buy it.

Cherie & Owen - How many years of professional screenwriting do you have under your belts? In the professional screenwriting world, 'FLASHBACKS' are often effectively used (there is no prohibition to their use). But they must be used appropriately and at the right place/time. The beginning/entry level screenwriter often lacks the knowledge of how & where to use them. The improper use tends to label the scribe as still wearing short pants.

Again, why belittle others? We’ve all seen “pro” uses that are ineffective in produced films too, have we not? It’s a matter of specific context, yes? And it's a matter of subjective opinion. Just because someone does not meet your standard of “pro status” that does not mean she/he does not know how to use a writing tool well. Hell, I’ve used both flashback and V.O. together—both things new, aspiring, or hobby writers are often told never ever to do, how amateur!—in the opening 4 pages of one of my specs and those pages have received great reviews from those who would know good use when they see it—"pros" as Kay and Doug would call them. It even surprised (wowed) someone who just readily accepts these generalized notions and never really considered such a thing. Whatta shame. No one should feel restricted. Uses of devices should be regarded and assessed individually within their specific context, yes? It truly depends on a lot of factors. There are no absolutes. If it works well for the specific desired creative intent for a specific project, then it works, regardless if you are “pro” or not. There is no prohibition of any use of any tool for anyone by anyone. Please do tell: What exactly is “proper use?” What exactly is “appropriate?”

Any tool can be brilliant or a crutch, depending on its use. My personal pet peeve is the current consensus that no crime drama is ever complete without multiple twists. This offends those who consider such tactics a cheap trick - especially writers who create genuine characters, organic plots, and real emotional stakes in socially relevant stories. So at the end of the day, taste is always subjective. i.e. The recent season finale of BILLIONS left some crying foul because a flashback (of a concealed event) was actually used to back fill the entire season's story line. But some viewers absolutely loved it. So there ya' go. ;)

Hi Paul,

Start and end how you want - it's your story. One of my fave films, Cinema Paradiso, starts and ends in the present, and interweaves a lot of flashback throughout. So does Citizen Kane. Sunset Boulevard starts in the present, and the rest is a flashback. Great films from the last year, like Bad Times at the El Royale and You Were Never Really Here. effectively use flashbacks. Great TV/cable shows from this year, like Euphoria and Now Apocalypse, effectively use flashbacks, too.

So start and end how you want - it's your story. Just make it interesting, moving, and marketable.

Best fortunes in your creative endeavors, Paul!

If you can make it work, it works. Personally I'm sick of this narrative device, but others enjoy it. If a producer options/buys it and wants you to change it, THAT'S when you do what someone else thinks is right. Until then, it's your project; go with your gut.

Owen you can't berate someone for being in your mind childish and then tell them to shut the f*** up. It's the very definition of a failure to communicate maturely. Manners maketh the man.

Wow. So, Paul Mitchell apparently this is a hot topic! :0 Many strong opinions here...or maybe there's a full moon and that brings the fangs out. Anyway, IMO, flashbacks or not - it doesn't matter. If you're trying to sell the script, it'll sell or not based on the strength of the story; it won't pass/fail based on a rule, tool or formatting. And, if you're intent is to produce this yourself, nobody else (except maybe the investors) gets to tell you how to do it. IMO.

Owen, if anyone posting is 70, like myself, then, we are Survivors in this Brutal Industry! John, I agree with you, as I control my own Destiny! Since there is no ageism, that is self evident, the only drawback is that you eventually outlive your friends! Happy 4th and Have a Blessed Day!

Yeah, that sort of comment is not conducive to healthy debate. Neither is belittling people.

Paul, I gotta agree with Bill and others: It’s your story! It’s your script! Write it as you see fit! Perhaps look at the many good examples given in this thread should you need any creative inspiration. ;) Best wishes to you and all your creative endeavors!

THANKS Owen! Doug, since you asked I've been writing for 15 years. I guess I gotta get something right sometimes unlike you, a big-time writer, who's right all the time! It's a good thing that you actually agree with me then.

Beth, who are you referring to about belittling people?

Tony, see above. Read the thread. It's pretty clear. ;)

I see! It is a shame to demean anyone! However, it shows their true character! Happy 4th and Have a Blessed day!

A. S. Templeton lol I guess your definition of "established industry player" is being an assistant on a movie or tv show? Keep googling. Maybe you'll click the right blonde ambition screenplay.

Dan, looking at your profile in regard to not sending you unsolicited scripts, etc., what do you mean by Unless it is good? Several Producers I know do not accept unsolicited material, unless, you have a relationship with them! Have a Blessed Day!

Thanks everyone for the advice!! Every comment is helpful either way, thanks. Lots to think about!

It's not amateurish. The question you should be asking yourself is will it make my script better. The scripts I've come across that have done this really well are dramas. I can't recall ever seeing a superhero movie that has used this kind of framework before. Typically it's superhero goes up against villain and must save the world/city etc. There's a reason for that. Superhero movies are mainstream. Mainstream audiences like simple narratives. They usually need action, which overshadows the drama side, which may make it difficult to pull off this flashback approach effectively. Check out these films that do this technique and see how everything converges into the present of where the flashbacks are deriving from to create a climax: Titanic, Slumdog Millionaire, Forrest Gump, High Fidelity. The mechanics all work very similar and they're all high regarded films. If your script isn't doing this then you may be better off doing it in one timeline.

A. S. Templeton lol. Don't delete your posts. Let me help you with google.

https://www.google.com/search?source=hp&ei=6t0lXa2hCca1ggfJ_Z9o&q=blonde...

Tossed in for convenience, probably not. It'll stick out and not in a good way.

There's a scene in LA CONFIDENTIAL where Crowe opens himself to Basinger. He recounts the family domestic abuse that made him a crusader for women. A Flashback would dilute this potent scene by showing the cause, not the present-day effect. Some writers might have made a Flashback choice here.

Non-Linear Structure depends on Flashback, Forward, Sideways. See: PULP FICTION, RESERVOIR DOGS, ANNIE HALL and DUNKIRK. I just read a script with this structure that used five Flashbacks. It was pretty damn good.

Problems occur when trying to cross-pollinate structures. For example, the causality of three-act (like LA CONFIDENTIAL) doesn't lend itself to Flashback. Knowing your structure will dictate whether it fits or whether to use one.

https://screencraft.org/2018/01/16/10-screenplay-structures-that-screenw....

Johann Evrard The Usual Suspects.

MaxXxy:

That Blonde Ambition script by Elsye Hollander is excellent. The fact that Madonna hates it is a ringing endorsement for me.

Paul:

I don't use Flashbacks anymore. I prefer using a "SUPER" above the slugline stating FIVE YEARS EARLIER or if it's historical material, a specific date. I used this method for my optioned script, contest vetted script about rampage killer Christopher Dorner, which allowed me to effortlessly go back and forth between the last week of his life and other events that shaped his grim outlook.

I did have a flashback at a Grateful Dead concert at the Hollywood Bowl. But I'll save that story for another day.

Johann Evrard okay, how about Saw? First time writer-director duo. Billion dollar franchise.

I was gonna mention Reservoir Dogs but some folks blow a gasket when Tarantino’s name pops up in discussion.

Johann, review the link that Tony S. posted above. Lots of craft and device examples.