By Elizabeth S. Craig, @elizabethscraig
Backstory can be a real problem for
writers…if readers find it boring. Many readers won’t put their finger on
exactly what it was that made the story boring, but they’ll put it aside. No one really enjoys an expository dump of information—they just want an
engaging story.
writers…if readers find it boring. Many readers won’t put their finger on
exactly what it was that made the story boring, but they’ll put it aside. No one really enjoys an expository dump of information—they just want an
engaging story.
In a mystery, this might seem
tricky. A suspect’s backstory is
frequently what comprises their motive for murder. How a suspect’s past intersects with the
victim’s past is important.
tricky. A suspect’s backstory is
frequently what comprises their motive for murder. How a suspect’s past intersects with the
victim’s past is important.
For mysteries, though, you’ve got a very
helpful element that allows you to work the backstory in fairly seamlessly: the
interview process. Your sleuth or
detective is trying to find out information to determine a suspect’s
motive.
helpful element that allows you to work the backstory in fairly seamlessly: the
interview process. Your sleuth or
detective is trying to find out information to determine a suspect’s
motive.
My suspect
backstory is frequently revealed through:
backstory is frequently revealed through:
The sleuth’s conversation with another
character about the suspect.
character about the suspect.
Or
The sleuth’s interview with the suspect
himself.
himself.
Backstory with a traditional mystery
should, in general, tie into the mystery itself. Unless you’re trying
to build in red herrings: for example, you could mention Tim is a teetotaler
now because of some terrible drunken episode in his past. Maybe that doesn’t tie into the current
mystery…but it could make readers wonder if Tim and the victim had a run-in of
some kind during that period in Tim’s life.
It provides the reader with a red herring.
should, in general, tie into the mystery itself. Unless you’re trying
to build in red herrings: for example, you could mention Tim is a teetotaler
now because of some terrible drunken episode in his past. Maybe that doesn’t tie into the current
mystery…but it could make readers wonder if Tim and the victim had a run-in of
some kind during that period in Tim’s life.
It provides the reader with a red herring.
Exceptions—the protagonist’s
backstory. If your sleuth has a past
that affects his current life in some way, that’s always relevant. Protagonist backstory can also tie into an effective
subplot when it deals with the sleuth’s family or romantic relationships.
backstory. If your sleuth has a past
that affects his current life in some way, that’s always relevant. Protagonist backstory can also tie into an effective
subplot when it deals with the sleuth’s family or romantic relationships.
What about series
backstory? What if you’re writing
book 2 or book 3 of a series and are worried that readers aren’t following
along?
backstory? What if you’re writing
book 2 or book 3 of a series and are worried that readers aren’t following
along?
I think it’s better to fill readers in,
but briefly. Keep it really succinct.
After all, you might even need to reacquaint even your regular readers if it’s
a traditionally published series…frequently, those books release once a year
and readers might need a bit of a refresher.
but briefly. Keep it really succinct.
After all, you might even need to reacquaint even your regular readers if it’s
a traditionally published series…frequently, those books release once a year
and readers might need a bit of a refresher.
Characters recurring from an earlier book
in the series could be quickly identified in a way that won’t be obvious or
irritating to the returning reader. John, Beth’s brother, commented on…. Short tags
that act as reminders.
in the series could be quickly identified in a way that won’t be obvious or
irritating to the returning reader. John, Beth’s brother, commented on…. Short tags
that act as reminders.
If you like, you could also keep some
backstory as a small mystery in itself.
Regular readers might remember that John and Tom don’t like each
other—and they’d remember why. But a new
reader might read some of the tension between the two characters, read the
terse dialogue, and wonder about their relationship. Adding hints as to the source of the problem
can keep a new reader turning pages—as long as it’s ultimately addressed or if
there are more hints to the underlying issue as the story progresses.
backstory as a small mystery in itself.
Regular readers might remember that John and Tom don’t like each
other—and they’d remember why. But a new
reader might read some of the tension between the two characters, read the
terse dialogue, and wonder about their relationship. Adding hints as to the source of the problem
can keep a new reader turning pages—as long as it’s ultimately addressed or if
there are more hints to the underlying issue as the story progresses.
You could also reveal backstory with
dialogue (make sure it’s not stilted), a character’s thoughts or memories, or
even flashbacks. All of those will work
if given in small doses and done well…if it’s not done well, it can be awful.
dialogue (make sure it’s not stilted), a character’s thoughts or memories, or
even flashbacks. All of those will work
if given in small doses and done well…if it’s not done well, it can be awful.
How do you slip in character
backstory? If you write a series, how do
you handle series backstory in your sequels?
backstory? If you write a series, how do
you handle series backstory in your sequels?
Image: MorgueFile: Mensatic
