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Fiction Writing Made Easy
Fiction Writing Made Easy
#184. 3 Must-Know Tips For Writing A Novel With Dual Timelines
“I want to write a dual timeline novel, but I’m struggling to weave the storylines together. Help!” 👈 This is something I hear from writers all the time. And while it’s true that writing a story with dual timelines presents its own set of challenges, the possibilities are often worth the effort.
Tune in to this episode to learn the essential elements that make dual timeline novels work, common mistakes to avoid, and practical writing strategies you can use to write a dual timeline story that truly resonates with readers.
In this episode, I cover things like:
- [03:00] The difference between true dual timeline stories and stories that use flashbacks to convey backstory—and why this distinction is so important
- [08:45] Two proven methods for arranging the chapters in your dual timeline novel, including the most common approach that works for all genres
- [11:25] Why creating a connection between timelines is so critical—and 5 specific ways to create meaningful connections between your timelines
- [18:00] How to keep readers engaged in your story no matter which timeline they’re in (and what to do if one of your timelines falls flat)
- [25:55] Final thoughts and episode recap
If you want to write a novel that has more than one timeline—or if you’re editing a novel with dual timelines—this is an episode you won’t want to miss!
🔗 Links mentioned in this episode:
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👉 Looking for a transcript? If you’re listening on Apple Podcasts or Spotify, scroll down below the episode player until you see the transcript.
No matter how you look at it, the key to creating this sense of meaningful connection between your timelines is to look for parallels between each of your timelines and then harmonize those parallels to create an overarching sense of meaning and connection. This connection is always going to be part of the meaning of your story, and so the way you connect your timelines says something in itself. And remember, it's only when the timelines affect each other and connect that your overarching story becomes complete. Welcome to the Fiction Writing Made Easy podcast. My name is Savannah Gilbo and I'm here to help you write a story that works. I want to prove to you that writing a novel doesn't have to be overwhelming, so each week, I'll bring you a brand new episode with simple, actionable and step-by-step strategies that you can implement in your writing right away. So whether you're brand new to writing or more of a seasoned author looking to improve your craft, this podcast is for you. So pick up a pen and let's get started.
Speaker 1:In today's episode, we're going to talk about writing a novel with more than one timeline, and I wanted to tackle this topic today because it's something that's come up in my Notes to Novel course quite a bit over the last few weeks. I have a handful of students right now who are working on dual timeline novels, and I know from talking to them and other writers who listen to this podcast that writing a dual timeline novel can be pretty confusing and overwhelming. So in this episode, I really wanted to talk through the essential elements that make dual timeline stories work, some common pitfalls to avoid, and I'm going to share some practical strategies you can use to write a dual timeline story that truly resonates with readers. So let's dive right in, shall we? And we're going to start with a definition. So what is a dual timeline story?
Speaker 1:A dual timeline story is a story that has two separate but parallel storylines set in different time periods. Usually, one timeline is set in the present and the other is set at some point in the past. Now, this is not always the case, nor is it a hard and fast rule. I'm just saying usually this is how these stories appear, and the key thing I want to draw your attention to is that dual timeline stories feature two different yet connected plots that each have their own set of characters, their own conflicts and their own specific settings. So, in other words, they are, on all accounts, two stories that are distinct yet somehow connected, and it's this connection between the two timelines that is the defining characteristic of what it means to write a dual timeline story. Now, technically, you could have more than two timelines. You could have some set in the past, present and future, but of course, the more timelines you add, the trickier things get to manage.
Speaker 1:A great example of a story with more than two timelines is Cloud Atlas by David Mitchell. In this book, there are six interconnected timelines, each told from the perspective of a different character. Each character has a comet-shaped birthmark, and names, dates and references reoccur, hinting at a greater connection between the six characters and their timelines. Now, something really important to note is that a dual timeline story is not the same as a story with a lot of flashback or backstory scenes. You can definitely include flashbacks within your scenes in either of your timelines, for example, a flashback where a character is remembering something about their past, but that is not the same as a story with dual timelines, where the events in each timeline unfold within their own scenes or chapters. So, in other words, flashbacks or backstory should act as context, woven into a scene where dual timelines need to show events unfolding in real time in each timeline. Okay, so I'm going to say that one more time, because that's really important. Flashbacks or backstory should act as context that gets woven into a scene. Dual timelines, on the other hand, need to show the events of the story unfolding in real time in each timeline. Okay, so, really important difference Now. That being said, you can use the dual timeline structure to avoid too many flashbacks in your present day timeline if you're writing a story that is heavily reliant on backstory. An example of this is in when the Crawdads Sing by Delia Owens. That story reveals the protagonist's backstory in the past through a secondary timeline. This timeline has a beginning, middle and end, and it unfolds through real-time scenes that just so happen to be set in the past.
Speaker 1:Okay, so, with this understanding of what makes a dual timeline story different from a regular narrative with flashbacks, now I want to share the three essential tips that will help you craft a compelling dual timeline novel. Tip number one is to structure your dual timeline story with purpose. The way you structure your dual timeline story is one of the most crucial decisions you'll make during the writing process, and this goes beyond simply deciding that you will include two timelines. It's about how you structure and then arrange your timelines to create the best reading experience possible. Now, the most important thing you need to know is that each timeline must have its own complete narrative arc, while also serving the overarching story. This means that each timeline needs to have a clear beginning, middle and end, its own central conflict and resolution, character development that is specific to that timeline and stakes that matter within that timeline's context. So, although each timeline needs to be distinct and work independently, they should never be able to stand entirely on their own, and that's because when they have a reason to be told side by side, they're going to become stronger, more meaningful and more impactful and they'll add up to that really nice, cohesive, overarching story that you're going for.
Speaker 1:Okay, so let's talk about how to connect your timelines, and there are really two main options for you. So option one is you can connect your timelines by writing timelines that converge, and in this scenario, at the beginning of the story, these two timelines and the plots and the characters don't seem to have anything in common. In fact, most of the time, the characters in each timeline don't even to have anything in common. In fact, most of the time, the characters in each timeline don't even know, the other characters in the other timelines exist. The story might even take place in two totally different locations or time periods and for most of the story the two plots and each cast of characters will move forward on their own as if the other doesn't exist. But at some point they will converge and when they do converge the reader will understand the bigger reason or the bigger meaning behind their connection.
Speaker 1:So a great example of this is in the book the Hours by Michael Cunningham, which uniquely features three timelines rather than two. This story opens with Virginia last days before her death in 1923. In the second timeline, clarissa Vaughn is a book editor. She's living in New York City in the late 20th century and when we meet her she's on her way to a party for her poet friend, richard. In the third timeline, laura Brown is a housewife living in 1949 who is bringing up her only son, richard. The narratives converge in an unexpected way during the party held for Richard and this convergence reveals the connections between these three seemingly separate stories. So in this type of structure it's only when the timelines converge that readers fully understand the meaning behind each timeline and their overarching connection to each other.
Speaker 1:Option two is that you can create parallel timelines or stories that are mirrored across time. So another structural approach you can take is to craft each of your timelines with similar pacing and parallel developments to create a sense of a bigger overarching connection. In this scenario the protagonist arc will be similar in both timelines and the similarities and differences between each timeline will create that overarching meaning. So a great example of this is in Ugly Love by Colleen Hoover, and in this book we see the story unfold from the point of view of both main characters, tate and Miles. In the present timeline we are in Tate's point of view and we're watching the romantic relationship develop between her and Miles. In the past timeline we're in Miles's point of view, watching his last romantic relationship develop. So in both timelines we see the developing romantic relationship and the key plot points that mirror each other in terms of when they unfold. So they might unfold in different ways, but the timing is pretty consistent and because of how the past timeline unfolds right alongside the present, as readers we get insight into each relationship and point of view character at the same time and in this scenario, what the author reveals in one timeline helps to show us the truth in the other timeline, which is pretty cool. So that's option two.
Speaker 1:You can structure your story as parallel timelines or storylines that mirror each other across time. Now, once you've determined how you're going to connect your timelines either by structuring them in similar ways or by having your plots converge it's time to think about how you're going to arrange the scenes and chapters in your dual timeline story. And there are several approaches to how you can do this. So the first and most common approach to structuring the chapters in a dual timeline story is to alternate chapters between your timelines. So in this scenario, one chapter is dedicated to timeline A, the next chapter is dedicated to timeline B, and so on and so on. This kind of setup will create a consistent rhythm that your readers can easily follow. A great example of this approach can be seen in the Nightingale by Kristen Hanna.
Speaker 1:In this book, the author alternates fairly consistently between the primary World War II storyline and the more contemporary 1995 timeline. Neither timeline dominates the story and the author maintains a really nice back and forth rhythm that keeps both storylines moving forward in parallel. Now the second way you can do this is you can group several chapters from one timeline together as a section and then switch to the other timeline for the next section of chapters. An example of this setup can be seen in the Historian by Elizabeth Kostova, because she groups multiple chapters within the same timeline together, creating these really nice and distinct sections. So this story moves between three main time periods one in the 1930s, one in the 1950s and then one in the 1970s, and each section or groups of chapters from that timeline allows readers to really sink into that time period and become deeply immersed in that timeline for a little bit. Sink into that time period and become deeply immersed in that timeline for a little bit longer of a period of time before the author switches us to another time period.
Speaker 1:Now the right choice for you is often going to depend on the type of relationship you have between timelines. So, for example, a story in which both timelines contain equally important narrative arcs that gradually illuminate each other might be best told through alternating chapters. A story that spans generations or has significantly different narrative styles in each timeline might be best told through a section-based approach. There's not really a wrong answer here. It just depends on what you're trying to do with your story. But whatever pattern you do choose, just remember that consistency is key. Once you establish a rhythm, you will want to maintain it throughout your entire story, and that's just so that readers can sink into your story and anticipate the structure without becoming disoriented. Okay, so that's tip number one. You will want to structure your dual timeline story with purpose.
Speaker 1:Tip number two is to create meaningful connections between timelines. So we just talked about how important it is for those two timelines to connect, and now we're talking about how to make those connections meaningful. And this is really important because the power of a dual timeline story lies in how the two narratives inform and enhance each other. Without some kind of meaningful connection between the timelines, you are essentially writing two separate stories rather than one cohesive narrative. Now, one of the most powerful ways you can connect your timelines is through shared themes. And this is powerful because when both timelines explore similar thematic questions from different angles, then each storyline deepens the reader's understanding of the other one. So a great example of this is in the Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid, where each timeline explores themes of identity, fame, sacrifice, love and the price of success. The contemporary timeline features journalist Monique Grant and it provides context and perspective for Evelyn Hugo's more glamorous but complicated past. So, again, all the timelines are exploring these different themes of identity fame, sacrifice, love and the price of success and in doing so, they add up to this really nice, cohesive whole. Okay, so you can connect your timelines through shared themes.
Speaker 1:Like that, you can also connect your timelines through physical objects. Now, physical objects can create powerful connections across your timelines, especially when they hold different meanings or serve different purposes in each time period. So what I mean by physical objects is something like a family heirloom, a mysterious letter or an artifact that might appear in both timelines or that maybe evolves in significance as the timelines progress things like that. So a great example of this is in the Cottingley Secret by Hazel Gaynor, and in that story there's a manuscript that details how two girls, frances and Elise Wright, somehow convinced the entire town they lived in that they had befriended fairies. So the first timeline takes place in 2017, and in this timeline, the main character, olivia, finds the manuscript in her grandmother's bookshop, so she reads the manuscript and she tries to figure out why everyone believed these two young girls when their stories seem so outlandish. Then we have the second timeline, in which we see Frances and Elise's story unfold in 1917, in real time, as it happens. So this manuscript is the object that connects both timelines.
Speaker 1:Now, another way you can create connection between your two timelines is through your characters. So characters in different timelines can reflect or parallel each other in meaningful ways as well. They might face similar challenges, possess complementary traits or even represent different approaches to the same fundamental human experience. So consider how you can use your characters to explore things like similar life decisions from different historical perspectives, generational patterns in families, historical impacts on individuals and their psychology, and even how societal changes affect human relationships. A really great example of this can be seen in the Thirteenth Tale by Diane Sutterfield. In this book, the protagonist, margaret, has been asked to write a biography about a woman named Vito Winter. As the story progresses, we see a lot of parallels between the two women. They both have childhood trauma, they both struggle with questions of identity, they're both haunted by missing family members and they both face similar decisions about whether to confront or escape their painful. This creates a nice sense of resonance by showing how these two women, despite living in different eras, respond to similar challenges. Okay, so you can definitely use your characters to create that sense of meaningful connection between your timelines.
Speaker 1:Another option you have for creating this connection or this resonance between timelines is to use information asymmetry, so in other words, you can use something like a revelation in one timeline to completely recontextualize events in the other. For instance, maybe you have a present-day character who discovers information about the past that changes their understanding of their family history, or maybe you have a past timeline that reveals the origins of a mystery being solved in the present. Either way you look at it, this technique can help you create dramatic irony, and dramatic irony basically means the reader knows something the characters don't, and because of this, tension is built as they anticipate how this knowledge will affect your characters. Okay, so that's another great way to create connection and resonance is to use information like this. Now, the last thing I want to bring up here is that you can find connections between your timeline via setting, and by setting I mean both time and place.
Speaker 1:So on one hand, your story can take place in the same setting but in different time periods. A nice example of this can be seen in the book the Forgotten Garden by Kate Morton, and this story centers around Blackhurst Manor and its fairy tale garden on the Cornish coast, so the garden itself appears in multiple timelines in the 1900s, when it was created, in 1975 when one of the characters, nell, discovers her connection to it, and then again in 2005, when Nell's daughter, cassandra, inherits the cottage. So this garden serves as a really nice physical link between the generations, and what's really fun about it is some of the features are maintained over the course of time, while other features have changed over time, so you can definitely play with that kind of stuff as well. Okay, now, on the flip side of this, you can have a story that takes place in the same time period but in different settings. So an example of this is in All the Light we Cannot See by Anthony Doerr, and in this story the first timeline takes place on the coast of France. The second timeline takes place in a small mining town in Germany. Now, I do believe there's technically 10 years between each of these timelines, but compared to some of the other books we've talked about, they are pretty close in time to each other. The two timelines just take place in very different locations.
Speaker 1:Okay, so no matter how you look at it, the key to creating this sense of meaningful connection between your timelines is to look for parallels between each of your timelines and then harmonize those parallels to create an overarching sense of meaning and connection. This connection is always going to be part of the meaning of your story, and so the way you connect your timelines says something in itself. And remember, it's only when the timelines affect each other and connect that your overarching story becomes complete. Okay, so that is tip number two. You want to find ways to create meaningful connections between your two timelines. The third and final tip I have for you is to do your best to balance reader investment across your timelines. So one of the greatest challenges in writing a dual timeline story is maintaining equal reader interest in both timelines.
Speaker 1:I see a lot of writers who try to tackle dual timeline stories and what often happens is that, naturally, one timeline generates more tension or emotional investment than the other, and this is really common. So the first thing you'll want to do is you'll want to work on crafting compelling stakes within each timeline. So you want to make sure that each timeline has its own compelling stakes and conflicts, rather than relegating one to more background information. And this goes back to what I said earlier about making sure that each storyline is fully fleshed out and fully developed as if it was its own story. So let's say that you've done that, and let's say that you're still coming up with one timeline that feels less engaging. Let's talk about what to do if that happens. If your present day timeline feels less engaging than your historical timeline, then consider raising the emotional stakes or adding complications that echo themes from the more compelling timeline. So look at your more compelling timeline and say what are the emotional stakes there, what are the physical stakes? And then how do I take what's working there and possibly mirror it in my more historical timeline? Now, on the flip side of this, if your historical timeline lags, you can look at that timeline and just see if there are any ways you can make it more immediately relevant to your contemporary story. So go back to some of the things we talked about earlier in the episode and see if you can find opportunities to create those meaningful connections and the parallels to your more contemporary storyline.
Speaker 1:A great example of this is in the Lost Apothecary by Sarah Penner. In this story there are two timelines one in 18th century London that follows a character named Nella who runs an apothecary and essentially helps women poison the men in their lives who have wronged them, and the other timeline happens in present-day London, following Caroline who finds a small blue apothecary bottle that triggers her investigation into the past. In each timeline there are some pretty big stakes. So in Nella's timeline, if she's found out for providing poison to her customers, to essentially murder other people, she's going to be in big trouble. Right In Caroline's timeline there are similar, yet different stakes. So a great example of stories that have compelling, engaging stakes and conflict in each timeline.
Speaker 1:Now the second thing you can play with here is how and when you shift between each timeline. So, for example, when a reader reaches, let's say, a dramatic high point in one timeline, you can consider switching to the other at that moment. That's going to leave them eager to return. So you're essentially creating a cliffhanger in one timeline and then flipping to the other timeline, and this will help you create a natural rhythm that's going to pull readers through your story and it's also going to help prevent either timeline from feeling like an unwelcome interruption. Now, on that note, how you transition between timelines can make or break your reader's experience. A good rule of thumb is to always be as clear as possible, so clear chapter breaks offer the simplest approach to this right, dedicating entire chapters to one timeline before you switch to another and then making it crystal clear that you have switched to another timeline. If you prefer more frequent shifts, you can consider using visual markers like section breaks, graphic symbols or any other kind of clear formatting to signal that you've transitioned to your readers. Okay, so, super important, you want to create seamless shifts between your timelines, because this really does affect how readers experience your story.
Speaker 1:All right, now the third thing you can do to help create engagement in both timelines is to make sure that you're properly characterizing each of your timelines. So, beyond structural distinctions, you will need to give each timeline its own unique feel, and this is important, just so readers know which timeline they're in and they can become emotionally invested in both timelines. So one of the ways you can do this is by giving the narrator in each timeline a distinct voice, and this is going to be especially important for stories told in the first person point of view, because each timeline will use the I narrator. So in this scenario, each first person narrator needs to really sound unique and different enough that readers always know whose head they're in at any given time. This also goes for stories where the narrator might remain the same in both timelines. So this isn't as common.
Speaker 1:But a great example of a story like this is the Invisible Life of Addie LaRue by VE Schwab. This story is written in third person and it follows Addie in both timelines, but each timeline still feels different because Addie is different in both timelines. So in the past timeline Addie is a bit more naive, optimistic and more future thinking. Emotionally and mentally she she's younger. In the present timeline, which is about 300 years later, she's emotionally and mentally older, she's more jaded and she often speaks with hindsight. So although we're in the same character's perspective in both timelines, the author makes it very clear just given the worldview and the perspective of that character in the different timelines. Now she also labels it very clearly at the start of each chapter. So of course that helps as well.
Speaker 1:Now something important to note is that no matter which point of view you write in, whether you choose first person, third person, whatever the main character or the narrator in each timeline needs to have their own language patterns, their own worldviews, their own goals, their own values, their own fears, things like that. Right, because that is going to color and affect how they show up in their timeline and how they interpret the events of what's happening. So something really important to keep in mind. Now, the other thing you can do in terms of characterizing your timelines is to give each setting a distinct mood, vibe or atmosphere. I will say this is more easily achieved in timelines that happen in very different historical periods, of course, provided you do your research on each time period. But a great example of this can be found in the book Next Year in Havana by Chanel Cleeton, and this book alternates between one timeline in the 1950s Cuban Revolution and another timeline in modern-day Miami. So I'm sure you can imagine the differences in mood and atmosphere between these two timelines. It's super clear.
Speaker 1:Now, something else important to keep in mind is that when writing a historical dual timeline story, whether both timelines are in the past or just one the setting needs to reflect the times and transport the reader accordingly, and this is not going to be accomplished just by using vintage language or the occasional historical description. So in this scenario, you will need to do some thorough research. But, as I always say, with research, this is not a first draft problem. So just something to keep in mind as you're revising and rewriting your draft. Now, either way, details are going to be really important in terms of characterizing your timelines and keeping readers engaged. So some details, like the use of cell phones or other present day technology can help you create a feeling of distance between the past timeline and the present right, because in the past we might not have this technology and in the present our casual use of it, will help you almost create that sense of distance. And then other details, like, let's say, warm beef stew on a cold winter's night, that can help you create connection between your two timelines, because some things never change right In most cases. We're going to think of that warm beef stew on a cold winter's night. That can help you create connection between your two timelines, because some things never change right In most cases. We're going to think of that warm beef stew like a comfort on a cold winter's night.
Speaker 1:So all of this goes back to the key point, which is tip number three. You want to make sure that your reader is going to be invested across timelines and probably the most important way you can do this is just by crafting each timeline as if it was its own story, with compelling, conflict and stakes. Now, of course, the other things I mentioned, like making sure the shifts between your timelines are clear and characterizing your timelines appropriately. Those things help with reader engagement as well. Okay, so that's tip number three. You want to make sure to balance reader investment across your two timelines.
Speaker 1:Now, with all of that being said, writing a dual timeline story is going to present its own set of challenges. Of course, it will right, it's a lot harder to craft a story with dual timelines than it is to craft a story with one timeline. But if this type of setup fits the story you want to tell, then the possibilities and the outcome will be worth the effort. By purposefully structuring your narrative, creating meaningful connections between your timelines and working hard to balance reader investment across both timelines, you'll be able to create that kind of multi-dimensional reading experience that keeps your readers engaged from beginning to end.
Speaker 1:Now, before I let you go, I want to recap the three most important points from today's episode. Key point number one is that structure is essential. So remember that each timeline needs its own complete narrative arc with a distinct beginning, middle and end, while also working to serve the overarching story. This means that each timeline needs its own plot, its own cast of characters, its own conflict, its own stakes. Essentially, it needs to be developed like its own story, and then, when you combine it with that other timeline, that's where the magic happens. Now, speaking of that magic, key point number two is that meaningful connections between timelines are everything. So we talked about some specific techniques you can use for connecting your two timelines, either through shared themes, symbolic objects, mirroring characters across your timelines or settings you know things like that, and all of this will help you create a cohesive narrative where each timeline really helps to illuminate the other and provide readers with that really nice reading experience they're looking for.
Speaker 1:Key point number three is that you can use character voice and setting to distinguish your timelines. So ideally, you want to give each timeline its own unique feel through distinctive character voices, atmospheric differences and really clear and consistent transition techniques. The goal is to prevent readers from feeling confused and maintain their engagement throughout the entire story. Now, with all of that being said, if you are going to write a dual timeline story, be patient with yourself and your process. As I mentioned earlier, this type of story requires additional planning, additional organization and an even higher attention to detail. But if this type of structure fits the story you want to tell and if you execute your story well, then readers will appreciate the depth and complexity that you bring to your story and they'll feel that emotional payoff when your timelines connect and it'll make all this extra work worthwhile. Payoff when your timelines connect and it'll make all this extra work worthwhile.
Speaker 1:Now one more thing before I go. If you want to see how a dual timeline story works in real life, abigail K Perry andI did a deep dive into the invisible life of Addie LaRue for one of our book club meetings and in this two-hour deep dive we talked about things like the difference between literary, upmarket and commercial fiction. We talked about how to write a dual timeline story and showed an act-by-act breakdown of each timeline. In the Invisible Life of Addie LaRue. We talked about how to write impactful dialogue and subtext. We went over why the Invisible Life of Addie LaRue is a fantastic example of a light horror story and how you can write the same kind of story using the horror genre framework. We talked about how to reveal your character's inner life on the page, aka how to show, not tell, your character's thoughts, and so much more. I will put a link to this in the show notes. You can get access to it and watch it right away for just $47. So one more time, that is the replay of the deep dive that we did on the Invisible Life of Addie LaRue by VE Schwab, and I will put the link to that in the show notes for you for easy access.
Speaker 1:So that's it for today's episode. As always, thank you so much for tuning in and for showing your support. If you want to check out any of the links I mentioned in this episode, you can find them in the show notes listed in the description of each episode, inside your podcast player or at savannahgilbocom forward slash podcast. If you're an Apple user, I'd really appreciate it if you took a few seconds to leave a rating and a review. Your ratings and reviews tell Apple that this is a podcast that's worth listening to and in turn, your reviews will help this podcast get in front of more fiction writers just like you. And while you're there, go ahead and hit that follow button, because there's going to be another brand new episode next week full of actionable tips, tools and strategies to help you become a better writer. So I'll see you next week and until then, happy writing.
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