# Linear vs. Non-linear



## T.Allen.Smith (Apr 22, 2015)

I've been told recently, by one of my live critique partners, that my stories are too linear. He's right about them being linear, but I'm wary of using many flashbacks. 

It's not that I'm against flashbacks. In fact, the book I'm currently reading employs a lot of flashbacks, and it works well. So well that it feels like two distinct stories with a common thread (The Lies of Locke Lamora). 

I just haven't felt the need in any of my stories...yet. Though I am open to flashbacks, or flash-forwards, if that's what the story needs (One I'm currently planning begins with a flash-forward).

My question is this:
As a reader, do you have a preference? Would you rather read a story that shifts through different periods of time, or one that tells the story in a more chronological fashion? Or, does it not matter at all?


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## X Equestris (Apr 22, 2015)

I don't mind flashbacks too much, especially as they can reveal info that just wouldn't fit otherwise.  I do, however, prefer to know that it's a flashback relatively soon.  Having to puzzle out if it's a flashback or not can pull you out of the story.


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## Svrtnsse (Apr 22, 2015)

This is something I've never really considered. I don't require a story to have a certain amount of flashbacks, or even any at all. What matters is that I understand what's going on and that it entertains me.

My initial impression was that your friend might have been referring to something else, like, whether the story is predictable or not, or does it go in a straight line from A to Z without any unpredictable detours in any direction.

I don't quite see how the existence of flashbacks would be required in order to improve a story. It can be a nice way to explain some information the reader may need to know, but it's hardly a requirement if the information is already there in some other way.


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## Trick (Apr 22, 2015)

Non-linear stories do not need to always utilize flashbacks as they are commonly defined... but that wasn't your question. 

I love non-linear stories if they actually remain clear. In your own words, clarity is king. I think I have especially enjoyed great non-linear stories (The Lies of Locke Lamora is near the top of that list) but I have never pulled my eyes (or ears) from a book and thought 'This book is too linear.' Not. Once. So, perhaps your critique partner has a preference I don't or maybe, as Svrtnsse said, they actually mean they wish there were more twists and turns.


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## T.Allen.Smith (Apr 22, 2015)

Svrtnsse said:


> My initial impression was that your friend might have been referring to something else, like, whether the story is predictable or not, or does it go in a straight line from A to Z without any unpredictable detours in any direction.


The comment came after a short story I submitted for review (which made me think, "Uh yeah, it's a short story. There's not much time for non-linear transitions) & 1 chapter of a multi-POV novel. He hasn't seen the rest of the novel yet,l so maybe that'll change when he realizes there's much more than one POV. In this story, each POV has their own chapter. 

You make a good point about predictability. That may be the issue, and I'll need to clarify that with him.



Trick said:


> Non-linear stories do not need to always utilize flashbacks as they are commonly defined... but that wasn't your question.


Yes... like a multi-POV story. Maybe his opinion will change when  he gets chapter 2 & 3 tomorrow.



Trick said:


> In your own words, clarity is king.


I can't take credit for that quote. Stole it from someone...can't remember who.


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## T.Allen.Smith (Apr 22, 2015)

Trick said:


> ...perhaps your critique partner has a preference I don't or maybe, as Svrtnsse said, they actually mean they wish there were more twists and turns.


Could be the case. I'll get more info in the next face-to-face meeting.



X Equestris said:


> I do, however, prefer to know that it's a flashback relatively soon.  Having to puzzle out if it's a flashback or not can pull you out of the story.


I couldn't agree more.


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## Zephyr (Apr 22, 2015)

There's no right or wrong way to write a story, and one person's preference, heck, even a hundred people or a thousand people's preference for a certain type of story telling shouldn't dictate to you a certain method.


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## T.Allen.Smith (Apr 22, 2015)

Zephyr said:


> There's no right or wrong way to write a story, and one person's preference, heck, even a hundred people or a thousand people's preference for a certain type of story telling shouldn't dictate to you a certain method.



I agree, but I also feel that all opinions and experiences are valid when it comes to reader critiques. In light of this, I wanted to see if the membership here (heavily steeped in the fantasy genre) has any preference. It's always good to think about our audience.


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## Russ (Apr 22, 2015)

I find it difficult to imagine a story that is "too linear."


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## Devor (Apr 22, 2015)

I'm finding it hard to justify somebody complaining about a lack of flashbacks in a short story or a single chapter.  My impression would be that he means something else.

Putting aside flashbacks, though, it would be normal in a first chapter for a character to reflect a bit on the past in a way that helps to establish the character.  Maybe that's what he means?


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## Steerpike (Apr 22, 2015)

I think "too linear" is a strange criticism. There is absolutely nothing wrong with linear stories, whether in short story or novel form. A great many novels are linear, and I think most of the short stories I've read have been. I don't think this is a criticism that would lead me to change a story.


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## T.Allen.Smith (Apr 22, 2015)

Devor said:


> Putting aside flashbacks, though, it would be normal in a first chapter for a character to reflect a bit on the past in a way that helps to establish the character.  Maybe that's what he means?


Could be. I'l ask him in a couple weeks.



Steerpike said:


> I think "too linear" is a strange criticism. There is absolutely nothing wrong with linear stories, whether in short story or novel form. A great many novels are linear, and I think most of the short stories I've read have been. I don't think this is a criticism that would lead me to change a story.


Yes. That's pretty much what I was thinking too, but I didn't want to dismiss the comment without getting other opinions, as I've never heard it before.


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## Incanus (Apr 22, 2015)

Put me down for one more vote for:  Linear=not a problem.

Like others, I'm wondering if it's really flashbacks that he's talking about.  I've come across writing advice, more than once, that recommends NOT using flashbacks in an opening chapter (seems short stories would be tricky as well).  Generally, I agree with the advice--I think they work better when the here-and-now has been firmly established.  Of course, there's always exceptions.


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## Legendary Sidekick (Apr 22, 2015)

I like to keep the main character in the moment, so for me (as a writer), there is rarely a need to jump out of that moment to explain what happened seven years or eight centuries ago.

As a reader… yeah, I've read stories with flashbacks, but I'm trying to think of how often that happens. If expressed as a percentage, 1%?



I write characters with pasts that matter (as in are relevant to a current situation), but I don't think the story needs to be non-linear for the past to come up. A one-line thought or brief dialogue exchange could suffice rather than dedicating a whole scene to what already happened.

I guess I'm having trouble understanding what else nonlinear could mean, since when attempting to get into the video game business (years ago), nonlinear always meant multiple possibilities.


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## Chessie (Apr 22, 2015)

Hi, T. Allen. To answer your question, let me start out by saying that I do agree there's nothing wrong with "too linear". I think sometimes our writing doesn't vibe with the crit partners we pair up with and they point out things that would be right for our intended audience. It's good to keep this in mind.

In regards to flashbacks, I was inspired by Joe Abercrombie's flashback scenes in "Best Served Cold". I thought they were cleverly done, so I went ahead and copied this format for my WIP. Granted, I don't think this will be something I do with the rest of my work, but it fits well with the story I'm telling. The first flashback scene comes right after the first plot point, so a 1/4 of the way into the book. There are about 5 scenes in total being around 1000 words, given their own separate chapters, per say, so the narrative isn't disrupted by the flashbacks (which I don't do). Just giving you something to consider. Good luck.


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## ThinkerX (Apr 22, 2015)

Hmmm...

In 'Labyrinth,' I have decided to add a few flashbacks at erratic intervals because much of who and what that character is now stems from those events.  Call it character building plus a bit of backstory.

In my 'Empire' series of novella's, I have a 'mystery POV' character whose entire circumstances in his chapters appear to have nothing in common with those of the other characters - not the country, culture, or even the same time period.  Yet that character is at the same time, central to what's going on in the present time with the other characters.  (I put forth a chapter of this characters exploits as a short story in one of Phil's challenges.)

As to other nonlinear works...this does pop up occasionally in 'hard SF,' where the authors wrestle with relativistic problems (travel near light speed, or the time paradoxes created by faster than light travel.)  

Fantasy...I have seen it, but mostly in a time-travel context.


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## Caged Maiden (Apr 22, 2015)

I have a few comments.  First, if "linear" is regarding the following of a single story from its beginning to its end without flashbacks, I see it as no problem at all, because most every story I've ever read fits that format.  If "linear" 'is a complaint about A leading to B, then B to C, without a hitch or without someone investigating D, then maybe that comment makes sense from a "keeping up the mystery" element.  I've read stories where characters literally begin a journey and each step along the way is a mini resolution, and it isn't as fun as a touch of mystery or maybe a surprise.

I'd like to talk specifically about The Lies of Locke Lamora, because I just read it too, and while I'm not a great supporter of "flashbacks" because I feel they can often feel like cheats when used poorly, I LOVED their application in that book.  First, one of the reasons I think it worked so well was because it wasn't strictly a Third POV book from Locke's perspective.  It utilized omniscient and the narration had a strong voice and during the omniscient flashbacks, you were feeling Chains and the Thiefmaker more intimately than in a typical omniscient (we mentioned this a little in the omniscience thread, too). 

Here's the opening paragraph:



> AT THE HEIGHT of the long wet summer of the Seventy-seventh Year of Sendovani, the Thiefmaker of Camorr paid a sudden and unannounced visit to the Eyeless Priest at the Temple of Perelandro, desperately hoping to sell him the Lamora boy.



 Flashbacks (for my personal taste) work best if they are executed like in TLoLL, because you're reading the past that Locke wouldn't have ever seen.  Then, once you meet Locke as a character, the flashbacks as a storytelling method have already been introduced.  It doesn't just work, it perfectly blended present and past, so the right amount of information was introduced when it was most pertinent.  Can you imagine if you'd seen Locke holding the other boy and saying, "I don't have to beat you, I just need to wait for Jean" in the beginning?  It would have lost context by the time it was really important.

The way I've seen flashbacks come back (from the past, haha) and bite a writer in the butt, are when say, a character is introduced, and then in chapter seven, after the story has been all linear up to that point, a flashback occurs to give information about her past "for reader benefit".  It's almost never necessary, when you think about it.  I always wonder to myself (because I don't like the style or the effect I believe it has on readers when not really well executed), whether there wasn't a stronger and potentially less jarring way to get the reader in the loop of what the character's past was.

So, there's my take on flashbacks in novels anyways.  When done well and upfront, I think it's good.  Style of story-telling is an important consideration, of course, and planning is critical in making it blend seamlessly into a "present day" story.  Another distinction of TLoLL was that it took place in the present (not present as in on Earth, and not present tense, but in a given time and place) and it jumped to many flashbacks so regularly that it wasn't ever jarring when it happened, because the narrator told me where we were going, basically.  In Prince of Thorns, same thing.  We were either in the present, or "four years earlier", which made each transition easy to go with.

I want to write a story in the style of Prince of Thorns, focusing on the present (of that world and person) but showing my mage character (just like in my previous example of "what not to do" ha!) her past (ironically, four years earlier), but not jump around to different points in her past.  Basically, there was an event that occurred four years before her story opens, and by continuing to show that event, its lead-up, its fallout, etc. I'll be revealing more about the present-day decisions she makes and why she becomes what she is (almost exactly like Prince of Thorns...hmm, not that I want it to appear I'm copying, but it's what the story needs, that sort of back and forth with only two time periods).

I would not consider revealing a character's past through flashbacks in a linear story by any means a necessity.  I think each story determines what's called for, and it may be that your critter is more comfortable with using flashbacks, or maybe they feel a flashback sequence is a stronger way to present the material. If the comment was instead meant to draw attention to a weaker "tie it all together as one story", then perhaps consider less resolutions along the way and a few mysteries (I use that term loosely) to resolve only near the closing sequence.  Maybe that'll make it appear less "linear"?  I'm not sure.

Hope that helps in some way...I tend to ramble.


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## ThinkerX (Apr 22, 2015)

Meant to put this in my earlier post, but I'll toss it in now:

To me, 'too linear' is a story without twists:  

...big, buff, well trained Frank goes up against the not so big and buff and definitely ill trained Sam, beating him to a pulp without breaking a sweat.  Result, Sam spends the next six months on crutches.  That would be a 'too linear' story, and I tend to shy away from such: the outcome is obvious in advance.


But, add some twists - Sam trying an unusual move or taking advantage of a location quirk, or Frank being off his game because he's hung over, and the outcome is in doubt.  The tale, while linear, is not overly so, and becomes more interesting.


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## Penpilot (Apr 23, 2015)

I agree with Steerpike. It seems like an odd comment. Maybe ask for clarification if you haven't already. Sometimes, when something is pointed out as a problem, it's not the problem at all. It's just a symptom.


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## Mythopoet (Apr 23, 2015)

To my understanding, a "flashback" is a quick look into the past, usually through a character's own memories, that happens mid-scene. It only briefly interrupts the flow forward of the narrative (hence, flash). This is quite different from non-linear storytelling, in which the different "parts" of the story (scenes, chapters, sections) are arranged in such a way that they do not always form a continuous narrative. Thus you might have a chapter in the present, then a chapter in the past, then a chapter in the future, etc. This is different than use of flashbacks for a couple of reasons. 1. The jumps do not have to be back, they can also be forward. 2. Flashbacks generally occur through a particular character's eyes, whereas a non-linear scene doesn't have to be. It can be told, and dramatized, however the author wants it to be. The essence of non-linear narrative is that it doesn't follow a causal pattern within the story. (This happened, so this happens, so this happens, etc.) 

The Lies of Locke Lamora did this a little. A classic example would be Wuthering Heights. Examples from movies and tv would include The Prestige and Lost. 

Non-linear stories are generally non-linear on purpose because that is the vision for how the creator wants it to be presented to the audience. And non-linear storytelling is always way less common than linear. It's something you do when you think "this particular story would be more interesting/more effective/more resonant if it were told in this particular non-linear order". 

Thus, I don't think "this is too linear" is a valid criticism. Most stories are linear. I would definitely find out what this person means in more detail, because chances are they don't even really understand what linear and non-linear storytelling involve. They probably mean some thing else.


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## ArenRax (Apr 23, 2015)

ThinkerX said:


> Meant to put this in my earlier post, but I'll toss it in now:
> 
> To me, 'too linear' is a story without twists:
> 
> ...



Heh. In the series im writing this is exactly what I was gonna do because I didn't want the outcome to be predictable or certain events. I remember playing Army of two Devils Cartel and in the first mission/chapter Salem "dies" but I didn't believe and I just knew he would come back to haunt the MC's in some way, and at the end sure enough Salem is killing off the MC's fellow operatives and then tries to kill his old partner but sadly Instead of executing him Bravo leaves him for the police.
now I don't know if its because I've read lots of books and watched lots of DVDs but some things are just predictable for no reason or you get inkling that something will happen.


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## AndrewMelvin (Apr 23, 2015)

Mythopoet said:


> Most stories are linear. I would definitely find out what this person means in more detail, because chances are they don't even really understand what linear and non-linear storytelling involve. They probably mean some thing else.



I agree. Flashbacks and non-linear storytelling are two different things and both can be very effective (or detrimental, depending on the author and story). If I was really happy with my story and the way I had presented it, I think it would take a lot more than "this is too linear" to make me reconsider it.


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## Fyle (Apr 24, 2015)

T.Allen.Smith said:


> I agree, but I also feel that all opinions and experiences are valid when it comes to reader critiques. In light of this, I wanted to see if the membership here (heavily steeped in the fantasy genre) has any preference. It's always good to think about our audience.



You can add me to the list of having no preferance. If the story is good, it is irrelevant to me whether it is linear or not. 

X Equestris's comment is more of an issue with being clear, not being confusing, rather than an issue specific to flashbacks. I guess flashbacks can natuarally run the risk of being confusing. Having to puzzle out anything that is meant to come off clear isn't fun.


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## Mindfire (Apr 24, 2015)

I'm not sure why everyone, with one or two exceptions, keeps coming to the flashback conclusion. It's pretty obvious to me that what your friend is really talking about is that your plot is unsurprising, without deviations, or in other words, logical. Given what I've read of your posts, you strike me as a logical sort of person. And logical sorts of people tend to write logical sorts of plots. The kind that essentially boil down to a long chain of causes and effects, like toppling dominoes. I know this because I think and write in the exact same way: get from A to B, with minimal distractions or inconveniences, fluff or filigree. And for one reason or another, some readers just don't find that satisfying. 

I can't really speculate on why you might be writing this way, aside from your cool, logical temperament. I know I write this way because often I find that plot twists and turns depend on the protagonist doing something dumb or being unfairly obstructed or inconvenienced in ways I find frustrating to read (in one instance I ragequit the book when something like this happened and still haven't picked it up again). When an author raises a character up only to suddenly snatch away their accomplishments and make them essentially start over, I feel cheated. So I don't write things like that. Not to say that my characters are never obstructed, but only ever in ways I deem fair and that I can engineer a victory or at least a relatively swift recovery from. But some readers find those moments of disempowerment satisfying. Just look at the masochists who read A Song of Ice and Fire.

Anyway, I digress. Definitely clarify what your friend means by "linear", because I think he's talking about the plot rather than the structure of the work itself. And if that is the case, look for ways you can shake things up and make your plots less logical. It's something I'm currently wrestling with, so I don't have many answers. But the first step to a solution is identifying the problem.


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## Nimue (Apr 24, 2015)

I also would not assume a criticism of linearity meant chronological linearity, unless that was what he said? I'd think that meant there aren't enough subplots, pauses, or digressions to make the world feel real and the characters feel alive, rather than everything existing only in the narrow hallway of the plot, and if you were to open a door and look through it, there would be nothing in there, no hidden character depths or corners of the setting that the story doesn't parade through... Of course I can't say whether this applies to your story, but it is something I've noticed in a few books, and I think that'd be a more common complaint than straightforward timeline progression.


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## T.Allen.Smith (Apr 24, 2015)

@MindFire & Nimue,

I agree that could be what he meant, and I'm certainly going to clarify at the next live meeting.

The reason the comment perplexes me so much is because it came from review of my short story from Iron Pen 15 titled "Benediction". I thought that story did have twists, foreshadowing, & a surprise ending. Maybe there was too much foreshadowing for a 5k story & he guessed the ending. If that's the case though, it wouldn't bother me too much. Writers are harder to mislead than the average reader.

Well, either way.... Thanks for all the replies. I'll just have to ask him in a couple weeks.


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## Nimue (Apr 24, 2015)

I didn't realize this was only a 5k story, which makes a criticism of linearity seem a little unfair?? I mean, there's only so many knots you can put in a short story.  I'd agree that he may be saying it was too easy to guess the ending, from that context. (Foreshadowing is hard. I don't like writing twist endings much, and I try to tell myself it's not just because I'm lazy...but the difficulty has a lot to do with it.)


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## Mindfire (Apr 24, 2015)

Cosigning Nimue's post. Although I do try my hand at foreshadowing (Do I succeed? YMMV.), it's mostly more straightforward Chekov's Gun stuff than genuine twists.


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## Devor (Apr 24, 2015)

Mindfire said:


> I'm not sure why everyone, with one or two exceptions, keeps coming to the flashback conclusion. It's pretty obvious to me that what your friend is really talking about is that your plot is unsurprising, without deviations, or in other words, logical.



@T.Allen, I want to echo this interpretation.  Straightforward, without deviations.  That strikes me as the most likely interpretation.

It's still weird.  You mentioned he was reviewing a short story and a first chapter?  Has he read any of your other work?  Given the lack of specifics, maybe he's extrapolating from a general style that you have rather than critiquing these stories directly.  I could see that becoming a worthwhile criticism.

But if all he's seen of yours is a short story and a chapter, then it's just weird.


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## T.Allen.Smith (Apr 24, 2015)

Devor said:


> But if all he's seen of yours is a short story and a chapter, then it's just weird.


Yeah, it's only been the two pieces.

There's 8 people in the group. Most loved the short story. 

That being said, he's on of the better writers, which is why I'm paying attention to the comment. 

I'll get some clarification and come back with more info.


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## Chessie (Apr 24, 2015)

T. Allen, please do let us know what he meant by that. His response may be more enlightening than we think. Also, maybe he's the type of reader that prefers meandering stories that all return to the main goal at the end. Who knows. But one thing I've learned from having critique partners is that even the smallest, most confusing things that they point out end up being helpful. For example, I had one of my writing buddies tell me that my current story is too "moralistic". It annoyed me but asked him to elaborate, which he did, and now I understand what he meant and am using it to the story's benefit. As with all things, if it applies to the story (to help improve it) and vibes with your writing style, then use the suggestion to your advantage. And if not, well then, you know where to stick it.


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