For years, we've discussed flashbacks on this forum (not very often, but we have), where we've mentioned just how difficult they are to implement successfully.
I've tried occasionally, but the results were ... less than spectacular! However, an editor send me his first pass at a story, and I instantly fell in love! The story was top rate, but I didn't fall in love with the story, but with the opportunities.
It was the perfect opportunity for flashbacks. The story—as I envisioned it—begins just after a violent incident, but focuses on how the [somewhat damaged] character reacts afterwards.
With the author's permission, I took a spin at doing the story my own way, and I must say, I'm impressed (not so much with myself, as I am with just how much you can milk a particular story, and how much FUN successfully writing a flashback story can be.
The key—to this particular case, at least—is each flashback is incredibly short, and reveals a single snapshot of the characters as revealed by one isolated piece of the background, yet they don't reveal any more than a tease, and often not what the reader is askign themselves just then.
The result, is a slowly building collection of clues into the character, their nature, their situation and their motivation, all delivered without the traditional info-dump, in a fast and engaging manner.
Unfortunately, part of what makes the story work is what'll trip most (myself included) before too long. Because the character is so ... quixotic, it only seems to work with a mysterious loner. That means, there's little chance to develop the character through the normal dialogue. So, IF I continue with this little experiment, I plan to break it soon, by introducing a few additional characters who'll allow the character to open up, after which I won't be able to do quite as many flashbacks, but where I can fully develop her.
It's fun knowing the limitation wasn't yours, just the fault of your choice of stories.