Axing The Backstory
Welcome back guest columnist, Bobbye Terry, as she reveals why we need to axe our backstory. What do you think about backstory?
Ah, a round of applause for the backstory, all of that information that you, the writer, painstakingly put together to understand what makes your characters tick. If it weren’t for all those events from the past, the people in your book wouldn’t be where they are at the start of the story. However, sometimes you fall head-over-heels in love with your backstory, excited to impart every miniscule detail, because surely the reader will adore it as much as you do. You decide to showcase it. Why not tell all about what happened in the past before the hero and heroine go on their journey? It deserves to be put there at the front of the book, right? Not!
If there is anything that signals a newbie, it is the writer’s dump at the beginning of a novel—one big pile of doo-doo. I judge a lot of contests, and, in everyone I judge, at least one of the entries has pages of backstory at the front of his novel. So, I do what I always do. I try with tender loving care to explain to the writer that his first fifteen pages need to be axed—whacked—eliminated—lost. For an inexperienced writer, the thought of losing five thousand words of his manuscript is more than he can bear. Why, he’ll be lucky if he can make his determined 70-80,000 word count (unless he’s one of those who ends up with a 220,000-word opus that could have been told in 70,000 tightly written words—you know who you are).
My co-writer and I hacked off one hundred pages of the first romance book we wrote. Was it all at one time? Shoot, no. I mean, it was our first book and the writing was cherished, every phrase labored over with tender loving care and long hours of BICHOK (Butt in chair hand on keyboard for those who don’t know). No, we did it the painful way, sort of like cutting off a finger at the first knuckle and working your way down in segments until you severed the whole hand. That’s what it felt like.
It’s not going to be easy, but the book will be oh, so much better if you lose the stuff. Most of it will come out over the course of the book anyway, but will be better off for being filtered in over many pages.
I’m better at this than I used to be, but do as I say and not as I do. I’ve given you an example of what backstory looks like at the beginning of a book and then what it looks like after it’s removed. The original opening of my novella, Frozen Assets, was written seven years before I returned to that story idea and completed it.
Here’s what it looked like then:
1889, New York City
“Dead, are you sure?” William Davis’ words came out barely louder than a whisper. His head hung in defeat.
“Completely. I sent Robert to find her myself. Seems your Julianna was ill, consumption. Her son died at her side of the same awful disease.” Millicent was pleased with how well she played the part of the sympathetic wife. Her nails dug into the lounge. Despite the fact his mistress and bastard were involved.
“I can’t say that I’m dreadfully sorry, William, but you did deserve to know what became of them. I was determined to help. Now you know.”
Published book’s opening:
Caleb Cash stared upward, panic seizing him as the huge blob of frozen matter exploded. Swirling crystals showered down. Icicles stabbed the snow, gouging the earth, piercing it like daggers. Blinding snow raged. Stinging needles slashed the army-issued blanket with a relentless rain of spikes. Pulling his coat off, he threw it over his head. Ablaze, a bright green light flashed, its blast rocketing it toward the cave. The red hot ball of flaming ash surged from the sky, prepared to claim the landscape. He turned and ran inside the cave. Sizzling heat crackled in his ears, and exploded through the opening, bent on destruction.
One starts with his father when Caleb is a child. The second one starts with action when Caleb is an adult—the action that takes Caleb on his journey. Do you see the difference? I’d love to hear your stories about losing the doo-doo, uh, I mean backstory.
Bobbye Terry writes mystery/suspense, romance, fantasies and dystopian fiction. The Marriage Murders, the sequel to Buried in Briny Bay, is slated for release on July 4. Bobbye and Linda Campbell, writing as Terry Campbell, also have a new cozy mystery short story collection, Slam Sisters of Serendipity. Kenada, a “Ladies of the Chronicles” novelette in the Cash Chronicles series releases next week. For more about Bobbye, visit her at www.BobbyeTerry-MysteryHappens.com, www.DarynCross.com and www.BobbyeTerryRomance.com.
I can easily throw in too much backstory- my current and first novel I had to change the begining far too many timews to count because of the backstory! It all seemed important to me 🙂
I hear you Alica. I still change my beginning at least several times.
This was one of the first things I learned when I began writing and I struggled with it. It’s not hard to know not to dump, and not to put backstor/info in early, what’s harder is knowing how much the reader really needs to know and at what part of the story it really needs to go in.
Some of my backstory/background info in Lethal Inheritance isn’t until 3/4 of the way through the book, most of what readers need to know to understand what’s going on comes in ch 5, a little bit in ch 3 and ch 6. It’s peppered in and often hinted at rather than made a big thing of. I still don’t know if I’ve said too much, but I hate gaps when I read others stories, so I make sure there’s enough there for the story to make sense.
How much backstory to leave in or take out is challenging! I often err on the side of too little! LOL I love figuring out though the telling details to add at just the right now so the reader will know why, for example, Henrietta became a dragon slayer! 🙂 Thanks for the post, Bobbye!