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
Elizabeth – An excellent discussion of backstory. You’re right that it’s a challenge for a writer to put in enough backstory to make the characters real without ‘dumping.’ One of the things that your post makes clear is how important it is that backstory be relevant. That is, the parts of the characters’ stories we learn need to feed into the larger story in some way even if it’s tangential. We may want to tell readers that Joe and Fred went to the same high school if we want to establish that they know each other. But we don’t need to know that Fred’s first pet was a Scottish terrier unless it’s relevant for the story.
I have to work very hard at not doing expository dumps in my writing. Like Alex, I use mostly dialogue to inject backstory with a sentence here an there to explain further.
Nice insight. Thanks.
This post was timely. I’m aware that I ought to re-write my protagonist’s first chapter…why? Because of backstory. I know it’s a big no no to do the dump. But I did it anyway…and now I’m trying to figure out how to keep some of what I’ve got. Her backstory explains how her parents ended up destitute and how she felt somewhat responsible, so it’s relevant, but it’s also about 5 pages long.
I try to slip it in with just a line here and there. Dialogue is usually the easiest way to do it.
I wouldn’t even know how to write in a red herring. Must be why I don’t write mystery.
I like the tip about short tags.
Alex–I think so, too.
Margot–Right. Especially in a mystery, where readers are actively looking for real clues.
Karen–I like using dialogue, too. :)
jack–Thanks for coming by!
donnaeverhart.com–Can it be spread out? Or can it be hinted to early in the book and then trickled out over a period of time?
Diane–They can be tricky, for sure! (And are supposed to be, of course.)
I have a trilogy in the works. I may need to ask you a question or two as I go along. Great post!
Elizabeth, perfect timing for this posting for me, at least. I just started on my 2nd story in my YA paranormal mystery series and have to have some backstory in the first few scenes basically because they are relative to establishing the paranormal aspect as well as continuing characters, which I just found out (haha – isn’t that the way a mystery is supposed to do – keep you interested in the characters as well as the plot?) that there are some connections to my characters that even they don’t know of yet.
As a reader, I find that I won’t read stories if there is too much information dumping near the beginning of the story, and I don’t want to do that to my readers (hopefully I do have some readers, LOL) – so I’m trying to make sure that the backstory I have is relevant to the story and keeps my readers going – trying to figure out the mystery along with my characters, especially since they are now being classified as “A Kelly Watson paranormal mystery”.
Thanks for the timely posting – E :)
Elysabeth Eldering
Author of FINALLY HOME, a Kelly Watson paranormal mystery
http://elysabethsstories.blogspot.com
http://eeldering.weebly.com
Good writers find a way to include just enough and not too much of their backstory. You’re right. It’s so important to get that backstory right.
Thanks for visiting The Write Game today. I love the title of your blog! It made me laugh.
New follower.
http://cleemckenziebooks.com
Great timing – I’m currently going through one of my stories to ensure some tidbits are included without being dumped :)
Great post, Elizabeth! I’m in the process of writing a series myself and wondered how to handle mentioning character from another book without doing an information dump. Thanks!
I like to reveal my characters backstories through other characters observations, their own internal dialogue, and regular dialogue.
cleemckenziebooks– And thanks so much for visiting me here! :)
Carol–Of course you can! Excited for you.
elysabeth–I can imagine that establishing the paranormal aspect would *definitely* require some set-up, even in books 2 or 3!
Congrats on the paranormal mysteries! I think somehow I missed that info. Sounds like a great series.
Jemi–It’s tough, isn’t it? I think that’s because we’re sort of dumping info as we create it…more natural to *write* it that way, but then the poor readers have to *read* it…ha!
Elke–Oh, yes, those are great ways of doing it. My favorite is the Gossip. Always spilling the beans on some aspect of a character…then readers can find out more later. Just enough to create a little intrigue. :)
Very useful post, Elizabeth, as always.
Yes, in the first draft we are finding the characters ourselves. Since I generally start out knowing nothing more than the immediate situation, a first-draft info-dump isn’t a problem for me. Usually. Now if it’s a story I’ve been growing for a long time, the backstory can get huge, and can take over my imagination. Bad, bad, bad.
Love the work you do–fiction, and this blog, too. :)
Hi Elizabeth .. back-stories keep popping up now – with prequels being written …
Cheers Hilary