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Flash Forwards as a Hook

T.Allen.Smith

Staff
Moderator
Just a question I'd like some opinions on....

What do you think of flash forwards used as a book's opening chapter?....Something short, full of intense conflict, & perhaps mildly disturbing in terms of an unlikable character.

The next chapter would then show the story at its beginning, immediately following the inciting event.

If you think this type of beginning can work, what are the considerations you believe necessary for its success?

If you aren't a fan of flash forwards used in this way, why?
 
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Steerpike

Felis amatus
Moderator
I've seen this done more than once, though I can't think of which books they were offhand. I thought it worked just fine. That kind of opening can raise a lot of questions in the reader's mind about how things get to the point reflected in the opening. If done well, I think that can drive reader interest in the story. I know I've also seen a few movies that do this, although again my brain isn't cooperating by providing me with titles or concrete examples. It certainly isn't something that would put me off a story.
 
I want to say that Red Seas Under Red Skies did this, but I think it was just that because my version of Lies of Locke Lamora had a "sneak preview" in the back, and it came from the middle of RSURS, it felt like that.

Never mind that digression: I think the flash-forward open can definitely work. Like Steerpike, most of the most compelling examples I can think of are movies - which might be something to think about: what makes it so effective in a film format? how can you channel that into your story?

Oh wait, Twilight did it, right? Not very effectively, though, for me - the flash-forward material came from so near the end that long before I'd made it that far, I'd forgotten about the flash forward. So maybe that's something to consider as well. Don't flash too far forward. You don't want the tension you create with that element to be dissipated by the time it "pays off".
 

Smith

Minstrel
I want to say that Red Seas Under Red Skies did this, but I think it was just that because my version of Lies of Locke Lamora had a "sneak preview" in the back, and it came from the middle of RSURS, it felt like that.
Red Seas did do this! It definitely worked as a hook, even though the moment itself was pretty anti-climactic when we arrived at it in the story, but I think it only worked as a hook because we were already familiar with the characters. I don't think it would work as the opening of a standalone novel, or the first book in a series, because the familiarity with the characters is what makes it work. Then again, I can't remember any other examples in literature off the top of my head, so I could be wrong.
 
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Penpilot

Staff
Article Team
Yes, I think it can work. I've seen it done on TV a lot. Like Steerpike, I know I've read a book that did this but can't think of it off the top of my head.

Obviously, the weight of how well this will work lies in how well that flash forward engages the reader. With established characters like in a TV series, the audience already has investment in the characters when they see them in jeopardy in a flash forward.

If the reader doesn't know the characters in your story there's always the "Why do I care about what's happening" factor when you jump right into things. You probably won't have time to set up much in terms of character and context, so I think, keeping things that you want to be known simple and straight forward will go a long way towards getting the reader to quickly care about what's going on.

Designing the flash forward will be tricky IMHO. You're trying to make things understandable but at the same time keep the reader in the dark about certain things.

Any way those are my thoughts.
 

T.Allen.Smith

Staff
Moderator
I don't think it would work as the opening of a standalone novel, or the first book in a series, because the familiarity with the characters is what makes it work.
This would be my use of the flash forward, for a stand alone. However, the hook would be designed to show a massive difference in character and hopefully make the reader ask (after the next chapter where character development actually begins), "Jeez, what happened to that guy to turn out like that?"

But, I think it's a good point you make concerning why the reader would care. That's why I think it'd have to be short and intense, then a quick shift back in time to the beginning of trouble.

Designing the flash forward will be tricky IMHO. You're trying to make things understandable but at the same time keep the reader in the dark about certain things.
I agree, but I think it can be done. What I'm envisioning would handle it with clarity and dole out the story in a way that makes the delivery (keeping the reader in the dark) believable.
 
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Steerpike

Felis amatus
Moderator
I forgot about Twilight. I thought it worked well enough there. It is true that by the end you've forgotten it, but by that point the hook has already done its job, which is to keep you reading at the beginning.
 

T.Allen.Smith

Staff
Moderator
I forgot about Twilight. I thought it worked well enough there. It is true that by the end you've forgotten it, but by that point the hook has already done its job, which is to keep you reading at the beginning.
I'm hoping to tie the hook and the ending together, but in a memorable, meaningful, and unexpected way.
 

Steerpike

Felis amatus
Moderator
In Twilight they tie together, it's just that by the time they do you've forgotten the initial hook. You remember it again when you get to the end, but I think it works better if the reader is keeping it in mind along the way.
 

T.Allen.Smith

Staff
Moderator
That's a good point. I think it'll be hard to forget this one, at least I hope.

Unlike Twilight, this is a deeply negative character arc. Every step along the way, in the story proper, will take the MC closer to his portrayal in the hook. Though the ending will hopefully remain unexpected.
 
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Trick

Auror
I did this in my WIP. Twice so far actually. It's in two volumes and the first volume opens with the MC hanging on with one numb hand, about to fall to his death but sort of reveals that he won't fall. He tells the tale of his early and formative life and ends a few years before the flash forward. Then volume two begins with him back and hanging but he saves himself and then gets into a tense situation and kills someone pretty emotionlessly, prompting him to remember that he promised never to kill anyone in volume one. He explains himself by jumping back, closer to the end of volume one, and telling the rest of his story up to that point. He then continues the story from the point of killing someone until volume two ends. Volume three, the last one, will start with a new flash forward to him doing some pretty amazing things he couldn't do before and he'll need to jump back and explain himself the same way as before.

He's a reliably unreliable narrator.

That seems very confusing when condensed down to one paragraph but it's coming together swimmingly.
 

Mythopoet

Auror
I think it can work, but often I find myself annoyed by this sort of thing because it comes across as a gimmick. "See this cool stuff that will happen eventually?" the author seems to be saying. "Cool, right? Now I'm going to make you wait for it. But if you're a good little reader, I'll reward you later."
 

Steerpike

Felis amatus
Moderator
If the rest of it lives up to the hook, I think it works. If the hook is great but everything after the hook is tedious, then of course it won't work. I've seen stories with good hooks that fall flat after.
 

ThinkerX

Myth Weaver
I think of these as 'fake prologues.' I see them in mystery novels fairly often: an initial chapter depicting a dire situation, then the next chapter starts in a far more mundane fashion a week earlier or some such and events build to the point of the initial chapter. (If that makes sense). I attribute it to the desire to make the story gripping from line one, page one, but with certain types of tales that approach doesn't work well, hence the 'fake prologues.'
 

Penpilot

Staff
Article Team
If the rest of it lives up to the hook, I think it works. If the hook is great but everything after the hook is tedious, then of course it won't work. I've seen stories with good hooks that fall flat after.

If it works, people will say it was a interesting way to start a book. If it doesn't work people call it a cheap trick designed to pump up a crappy story. *shrug*
 

T.Allen.Smith

Staff
Moderator
If the rest of it lives up to the hook, I think it works. If the hook is great but everything after the hook is tedious, then of course it won't work. I've seen stories with good hooks that fall flat after.
Agreed. I'm not planning on being tedious. ;)

I think of these as 'fake prologues.' I see them in mystery novels fairly often: an initial chapter depicting a dire situation, then the next chapter starts in a far more mundane fashion a week earlier or some such and events build to the point of the initial chapter. (If that makes sense). I attribute it to the desire to make the story gripping from line one, page one, but with certain types of tales that approach doesn't work well, hence the 'fake prologues.'
In the case you're describing, I'd tend to agree. I'm generally not a fan of prologues either. However, the reason I'm considering a flash forward is because it could tie the ending to the story proper more effectively, as well as provide a gripping hook.. I'm thinking of it as a tool, not a crutch.

I could start the story from the inciting incident, which was the original plan, but I think the ending wouldn't be nearly as cool, or meaningful, as with the flash forward.

I'm gonna give it a go. If it doesn't work, it winds up on the cutting room floor. No harm done.
 
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ThinkerX

Myth Weaver
In the case you're describing, I'd tend to agree. I'm generally not a fan of prologues either. However, the reason I'm considering a flash forward is because it could tie the ending to the story proper more effectively, as well as provide a gripping hook.. I'm thinking of it as a tool, not a crutch.

That's kind-of sort-of what I am doing with 'Labyrinth.' That story is told in journal form - something like Cooks 'Black Company' series. The prologue, though involves a person coming into possession of that journal amidst a bit of skullduggery to keep things interesting. This trips off a whole set of consequences for that person in 'Labyrinths' sequel, 'Labyrinth: Seed.' (My NaNoWriMo project.) Don't know if that makes sense or not.
 

T.Allen.Smith

Staff
Moderator
There's a huge difference between making a promise to the reader and manipulating the reader. I tend to think of "hooks" as a subtle form of manipulation.

I hear what your saying. I'd never want to come off as false to a reader, but to manipulate a writing quote by Alice Walker....

I find, in my own writing, a little manipulation, keenly directed, is a useful thing.
 
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