Posts Tagged back story
Hit the ground running with your first pages – 5 book openings critiqued by a literary agent (and me!) at Litopia
Phew, this blog has been busy this week! Last Sunday I was the guest of Litopia, an online writers’ colony and community. Every week they have a YouTube show, Pop-Up Submissions, where five submissions are read and critiqued live on air by literary agent Peter Cox and a guest. This week, that guest was me!
The genres can be absolutely anything, so I found myself assessing a young adult fantasy, an urban American thriller, a travel memoir, an Irish literary character piece (aka ‘upmarket fiction’) and a humorous fantasy crime. We picked out issues such as where to put back story, establishing the tone with the writing style and the choice of events, trying to make a character too likeable… and lots more. It was a fun challenge, and also fascinating to see Peter’s commercial instincts in action. While I concentrated on elements craft, he was asking: ‘Are there too many of this kind of book already? How do you stand out in today’s market? Or is it right on trend?’
We had some technical difficulties, so for some reason the video is a whopping two hours long, even though the show was only one hour. I’ve set it up to start when we actually start talking…
Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.
7 swift storytelling hacks for back story, description, dialogue, exposition, point of view and plot
I’ve just finished a developmental edit and, as always, I enjoyed how it refreshed my appreciation of storytelling essentials.
I thought I’d share them here in case they’re useful.
Don’t make back story about the past. Let back story tell us about the characters in the present. Their attitudes, aspirations, aversions, aptitudes… Also, remember back story is only half the equation. The other half is how it affected that individual.
Physical description does more than create a visual image of a character – this person is tall, this person has long hair. It also tells us about the experience of being in someone’s presence. For instance, a person might have an unsmiling aura that makes other people feel like they’ve said the wrong thing. Or a worried expression, as if they’re always expecting calamity.
Some writers always tell us about characters’ eyes, or the kind of shoes someone wears. That’s fine if they have one narrator or viewpoint character, but if they have several, it looks weird. Vary your descriptive tics!
Actions can help with description too. If characters are having a conversation and one of them pushes their hands through their hair, what is conveyed by that action? Is it a random fidget, a gesture of thinking? Is it a reaction so something the other person has said?
Which brings me to…
Dialogue is more than information. It is a way for characters to affect each other, and for the reader to witness it. Think beyond speech. Show how the characters maybe make each other uncomfortable, or amuse each other, or infuriate each other. Or how one is comfortable and one is not. So don’t miss out reactions in dialogue – they’re just as important as what characters are saying.
This usually works best if it has an emotional dimension – the character notices something because it illuminates something about their mood or feelings. So they might notice the décor because they are irritated by it, maybe because it reminds them of something they once hated; or they might feel cheered up by it.
There are two narrative steps to giving information (exposition). Step one is the information you want to give the reader. Step two is finding a way to give it that is as natural, interesting and intriguing as possible. Usually, you have to give it in a way that also serves another purpose – such as demonstrating something about the viewpoint character. It might show us they’re good at something, or afraid of something, or traumatised by something – or bad at something! Check you’ve done both steps – create the information (eg character background), then make it serve another narrative purpose as well.
Choosing point of view
When you have an event that could be described from a number of viewpoints, opt for the one that will experience most discomfort. This may not always be the person who is doing the most action – it might be someone who is observing, thinking ‘what on earth am I going to do about this?’
If you’re ever stuck for a plot idea, look for your characters’ interesting difficulties. Write your prose so that it highlights struggle, conflict, hard decisions. That way, you’ll keep the reader gripped.
And on the subject of writing, here’s what’s been happening in my creative world this month.
I’ve begun the same novel a couple times and it relies so heavily on back story that I’ve begun to wonder if I should just write it as a separate novel.
But I want to write a novel about AFTER the hero saves the world – and in doing so has forgotten HOW he did it and WHAT happened, which is a huge plot point. I want to avoid the ‘zero to hero’ shtick that is so overdone – and I want the reveals to be important with emotional impact. I’m not sure it will work. Thoughts?
(Here’s the post that started it, and the question in full. Scroll down and look for Mark.)
I like this concept of exploring the save-the-world scenario from an unusual angle. And I don’t see why you can’t make it work – with a few considerations.
First, do you have a convincing reason for the amnesia?
Second, you have a convincing mechanism for paying out the story surprises? Why doesn’t he remember all at once? (I tackled both these problems in Lifeform Three, although it wasn’t a save-the-world.)
As for the emotional impact, focus on how the revelations affect what your hero is doing now, what he wants, and the people who matter to him. Set those up so that the reader cares about them, then deliver your blows from the past. Did he betray someone or renege on a promise? Has ne now got a family who will be threatened by what happened? Make sure we’re involved with characters who will be hurt.
Also, have you got enough story in the ‘aftermath’ chunk? Otherwise the reader’s attention will wander and they’ll just skip to the flashbacks. Make sure the resolution in the ‘present’ is more interesting to you than the resolution of the big hero story. Make sure you have enough in your aftermath story to keep the reader’s attention firmly on that, rather than the questions of how he saved the world. (This is on my mind at the moment too; Ever Rest has a lot of major events in the past, but my biggest interest is the mess in the present.)
Will you tell the back story in chronological order? If so, you’ll need a convincing reason for the discoveries to happen in such a convenient way. If you tell it out of order, that might be more realistic, but it might also be confusing. Non-chronological order isn’t always muddled, but remember that readers are much more adrift in your book than you are. Chronological order is the easiest for them to understand. You, as the writer, can hop around the timeline easily because you know it so well. You might write a romantic scene and then flash back to the hero’s love life before the big heroic act, because they seem thematically linked. But your reader might think ‘did this happen before that?’
On the other hand, you might want this fragmented approach because it’s how memory works. Send the reader on unraveling trails if that will enhance the emotional effect you’re looking for.
So in summary, you need:
A convincing mechanism for the amnesia and revelations
A current scenario that will be threatened by the past revelations
A disciplined approach to the revelations so that the reader doesn’t get confused.
And psst…. the Bourne Trilogy is great study material.
There’s loads more about handling back story in Writing Plots With Drama, Depth & Heart: Nail Your Novel 3.
Have you had to tackle a story where the hero is rediscovering a hidden past? What problems did you encounter? What smart solutions did you come up with? Let’s discuss!
Misusing back story is one of the most common problems I see as an editor. Writers bury their best events in the back story, and then struggle to think up enough spectacular ideas for the main narrative. Or they rely on secret, past wounds instead of character development. Or they set up secret traumas that are never used in the forward action. Lastly, they heap all the back story into the beginning of the book, stalling the action – the famous back story dump.
But back story is also important. It lets you write with authority. And there are moments when you can play it out and deeply enrich your readers’ experience. So how can you wield back story with panache?
Hop along to Jane’s blog to find out.