“Before you go ahead with a flashback, ask yourself if you canmake the same impact on your reader through conflict in thenow of the novel. If the answer is no, then the flashback isnecessary, but remember that within the flashback all the sameprinciples of good dramatic storytelling which apply in the nowof your story—fully rounded characters, a rising conflict, innerconflicts, and so on—continue to apply.”

“Could it be? Samantha Kingston? Home? On a Friday?” I roll my eyes. “I don’t know. Did you do a lot of acid in the sixties? Could be a flashback.” “I was two years old in 1960. I came too late for the party.” He leans down and pecks me on the head. I pull away out of habit. “And I’m not even going to ask how you know about acid flashbacks.” “What’s an acid flashback?” Izzy crows. “Nothing,” my dad and I say at the same time, and he smiles at me.”

“This can't be real," he said into my hair. "This has to be an acid flashback." I laughed, delighted to be in his arms. "I swear I'm not an acid flashback.”

“One of the best things about having children is that it enables you to have the same loving memories as another person - you can summon the same past. Two flashbacks but with a single image.”

“Each time you call me home in a sweet refrain,Saying things will change, you'll take away the pain,Then we flashback to the first time you put your spell on me, You envelope me, you feel good as hell to me”

“A related question is where in time to begin. Should you begin far back in a character's past and move forward, or should you begin in the present and make use of flashbacks only where necessary? ... If the material with which you want to open the story is from the character's deep past, then there has to be an important relationship between what has happened in the past and what is about to happen. In other words, is the material with which you open the story an arrow pointing toward the unified effect?”