Imagine that your hero is walking backward on trail. Your hero is unable to look backward. Your hero is able to see where they have been, and remember the events that led them to this point. Your hero might hear something or feel something that guides them on the steps that they take...

The analogy above hints at how characters know their past and have no idea what the future may entail.

A writer, on the other hand, knows it all.

I have written about backstory and flashbacks. Both are story elements that point the reader to events and characters from the past. (Duh.) If you want to point the reader to the future--you can do a couple of things--outright tell them or be subtle.

These options have been named: Telegraphing (that's the telling) and foreshadowing (that's being subtle).

Foreshadowing is used in a story by 'planting' hints, letting those hints grow, and then 'showing' those hints off (or not). It can be challenging to accomplish this without becoming predictable or succumbing to cliche.

This can be accomplished by:

1. Pre-Scene: A smaller scene before the primary scene (flash-forward).
2. Narrator Statement/Opinion: Not subtle, you tell the reader (telegraphing).
3. Apprehension: The character fears something...and your reader will too.
4. Showing the Reader a 'loaded gun' (Chekov's Gun): you don't show a loaded gun without having a reason.
5. Prophecy (Dreams)
6. Symbolic Omens

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During my last post I wrote about backstory. As an oversimplified reminder Backstory can be broken down into scene and summary. Scene is good. Summary is bad.

The telling of events that have already ended has its limitations. The stuff has already happened. This can be overcome by making the scene develop the character meaningfully.

Again you can read all of the criticisms of backstory and find yourself not wanting to use the literary element at all. That would be a mistake. The past of your character can bring enlightenment to your reader. You can probably imagine a critical scene for your character where the action or lack of action has immediate and vast consequence. The reader might want to know why. How could you possibly answer that question? Answer: Show the reader a scene from the past.

The literary device of the 'flashback' is your friend.

A flashback, by its very nature, interrupts your current story and is often criticized as a 'story-killer' because it stops the momentum of your story. This is a minor setback because you can place a flashback after a very strong emotional scene. You are allowing the reader to learn more about a character at a moment in your story when they are very interested.

Think about it. Your reader is turning every page and waiting to find out what you have written. Then you pull them away for a scene. After a moment of'ah-ha you take the reader back and resume showing them the excitement of the plot that is already established.

Almost every successful story uses this tactic. Think about Harry Potter and Voldemort. Flashbacks were used . . . successfully.

There are some technical considerations that must be addressed while using the flashback. Make sure your reader is clear that you are changing time. If you are using multiple plots make sure that those plots are moving chronologically.

Now all you have to think about is the structure of your plot. Where are you going to place these scenes? What do you need to show the reader to help keep the plot moving? How will this scene help develop your character further.

Remember that the length of the flashback can also help you determine how the flashback is presented. Short flashbacks can be a brief recollection triggered by an event or memory placed withing the current plot. A longer flashback can be an entire scene or chapter by itself. This is entirely dependent on what will develop your character further.

For some further reading check out these links:

• 1. 3 Tips for Writing Successful Flashbacks
• 2. How to Handle Flashbacks in Writing
• 3. Using Flashback in Fiction
• 4. The Five Rules of Writing Flashbacks
• 5. Writing a Flashback 
• 6. On Flashbacks
• 7. Anatomy of a Flashback