| We writers have a real dilemma. Modern readers | | | | course) tell her or his back-story to somebody. I |
| don't have lots of time for us to waffle on, they | | | | used this technique in my first novel Looking |
| want us to get straight to the action. | | | | Good. I had my heroine Grainne and her friends at |
| Screenwriters are advised to go in as late as | | | | a dinner party, and there was a stranger there to |
| possible and leave as early as possible, and it's | | | | whom they all told their life stories. Briefly and |
| very good advice for novelists too. Readers want | | | | succinctly as you would to a stranger, giving just |
| things to happen. They don't want to hang around | | | | the salient points. (Just the facts, Ma'am, just the |
| with lots of description. So, based on this, start | | | | facts). Because the dinner party was happening in |
| your story with the conflict or crisis and go from | | | | the 'now' of the story, it's not frustrating the |
| there. Easy, yes? | | | | reader by going backwards. And I made sure that |
| Actually, no. Not easy. A problem, actually. | | | | the dinner party itself was integral to the story, |
| Readers want to launch straight into action... BUT... | | | | rather than just a device for explaining the |
| they also need to know who our characters are. | | | | back-story, by using it to foreshadow what was |
| They need, above all, to care about our | | | | to come. It wasn't very integral to the story - if I |
| characters. They need to have an investment in | | | | could, I would have had more happen at the |
| whether our character gets what she wants | | | | dinner party, but I couldn't, and I was pleased |
| solves the problem/etc. They need to understand | | | | anyway with the way it served its purpose. |
| why this conflict or crisis is such a big deal for our | | | | Be careful with this device, however. You need to |
| character. (This last point doesn't apply to every | | | | make sure it's not contrived. The information |
| crisis. For example, we obviously don't need to | | | | should flow very naturally from whatever |
| explain why our heroine wants to escape a | | | | situation you've created. Avoid, at all costs, |
| burning building. But we might need to explain why | | | | something really clumsy, like: "Hello, I'm Jane and |
| this pregnancy is a problem. Or why she really, | | | | I'm 33 and I live alone but I used to have a |
| really, needs this job and so the redundancy | | | | boyfriend but he left me and I'm very sad about |
| notice is totally devastating rather than merely | | | | it but I've just met a new man and..." |
| problematic). | | | | There are times you need to use flashback, |
| So we have a couple of choices. The first one is | | | | however, and also scene-setting. But be aware |
| to begin the story with the back-story (as it's | | | | that each of these has a price, and use them as |
| called). Take as long as you need to explain who | | | | little as necessary. |
| your character is, where she lives, what her life | | | | So, in summary, there are three ways to provide |
| circumstances are and so on, and then introduce | | | | the back-story: |
| the crisis. The danger with this - and it's a big | | | | 1. Begin with it (i.e. scene-setting). |
| danger - is that you risk losing your reader's | | | | 2. Flashbacks |
| interest. They'll allow you maybe two or three | | | | 3. Current dialog |
| pages to set the scene, but much more than that | | | | 4. A mixture of the above three. |
| and they're likely to get bored and switch off. | | | | And which one is best? As I have said, for choice |
| The obvious solution is to use flashbacks. Begin | | | | I would go with dialog, but it isn't always possible. |
| your story with the crisis, and then flashback to | | | | Apart from this, finding the best solution is up to |
| the back-story. The reader is more likely to | | | | yourself. It's part of the balance of writing and |
| remain hooked because she wants to know how | | | | outlining your stories. It's part of the challenge of |
| the crisis will be resolved, so you're not risking | | | | writing, and sometimes there have to be |
| boring her. The problem here, however, is that | | | | compromises, and it's part of the skill you bring to |
| you risk frustrating her. | | | | the job how you manage these issues. Wouldn't it |
| 'Never mind that!' she might be thinking, 'is the | | | | be boring if somebody could tell you: 'Always use |
| heroine going to escape the blaze? I don't care | | | | x to get your back-story told'? |
| that she was the most popular girl in school or | | | | Don't forget, however, that you don't have to - |
| that she wanted to be an actress. I just care if | | | | indeed, you shouldn't - tell all about your character |
| she gets barbecued or not.' | | | | when we first meet her. Just tell enough to make |
| Stories are forward-moving... a flashback is | | | | us care for her and what's going to happen to |
| backward looking. It stops the story dead. | | | | her. (And also don't forget that the reader is on |
| A third solution, and it's my favourite one if the | | | | your side. She's picked up your book and is |
| story permits it, is to explain the back story | | | | reading it, she's predisposed to liking the character |
| through dialog. Have your heroine (or hero, of | | | | and caring about what happens. Just don't blow it!). |