# Best way of handling long back story?



## SerenataImmortale (Jul 22, 2012)

The sci-fi/fantasy story I'm working on has roughly 30 years of various events that lead up to the actual story. The only problem is, I'm having some trouble finding a good way to introduce this backstory, given that: 
- It is necessary to understand the basic premise of the "present day" story (so when I've tried simply "not mentioning" it, or shortening it, there's a lot that stands confusingly unexplained.)
- The characters all know about these events because they're a natural part of life. 
- I've tried including the backstory in character conversation as a means of introducing it, and every time I've approached it, it's come off as very artificial - given that no one is just going to sit down and spew out decades of known facts unless they're lecturing a historical analysis class, etc. 
- There are a number of reasons why I'm not a fan of the "write out everything that happens before 'starwars crawl' style", and a number or reasons why I'm avoiding it - however, I do understand and accept that others like and prefer this method, so I'll keep my mouth shut. 

Any advice you can offer is much appreciated - thanks!


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## wee_clair_064 (Jul 22, 2012)

what kind of events are we talking about?


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## SerenataImmortale (Jul 22, 2012)

wee_clair_064 said:


> what kind of events are we talking about?


A major war that leads to several new nations, an altered political structure, and people with superhuman abilities.


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## wee_clair_064 (Jul 22, 2012)

a prologue perhaps at the beginning of the story with someone who is living through the war thinking about it? Or someone who had just lived through the major war thinking back on it? Someone who is living in the new nation explaining how it come about to a child etc?


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## Kyle R (Jul 22, 2012)

One approach would be to cut the backstory into pieces and sprinkle it throughout the narrative here and there.


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## Nicky (Jul 22, 2012)

Man this is scary because it sounds too similar to what i'm writing. I broke my back story up into flashbacks of conversations the main character(s) had with their parents when they were just children.


here's an example i posted here (this is a very old draft now that i read it again)


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## Elowan (Jul 23, 2012)

Use 'flashbacks'


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## Eluixa (Jul 23, 2012)

Geez, this is sorta how I am stuck too, and flashbacks have crossed my mind, but I fear it will dilute and give away an important meeting of characters. I've not been able to move forward for weeks.
At the end of each chapter, or just scattered about, might you have a paragraph or two , maybe in old news clip form or letter form, maybe letters between parents, grandparents, I don't know how long ago, but I think important but big drops of history are easier and more interesting in smaller, almost unrelated bites, or by characters that while they don't have a part in the immediate story, can shed light on it. One of my favorite authors does something similar, but it is more like a side story adding dimension than back story. Even so...


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## SerenataImmortale (Jul 23, 2012)

Alright, thanks for the advice, everyone! It really helps! 
I actually did try out a parent/child drabble after reading this thread, and it worked out so well (since it tied up some non-backstory loose ends, too) I think I might use it as the prologue, and scatter the remaining backstory where necessary. 
Once again, thank you all so much!


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## JosephB (Jul 23, 2012)

Sometimes a straightforward approach is fine. I remember in _Revolutionary Road, _the author simply recounted how the two MC's met at the start of a chapter. It didn't come off as the dreaded info dump either, because that point, I was vested in the characters and wanted to know how they got together. It was also very well written, of course.

As mentioned, dialog is a great way to do it. If you're creative about it, it won't seem obvious. In a short story of mine about an old lounge singer, I had one of his devoted fans approach the stage after a show and she enthusiastically recounted a show of his she'd seen years before -- when and where etc. -- it was all a device to reveal back-story in a way that was transparent to the reader. 

In another story, I had the CEO of a company make a motivational speech to his  employees -- in which he bragged about his and their accomplishments. I was able to pack in a ton of back-story as a quickly delivered time-line that sounded completely natural.

You don't have to be too fancy with it either. At an appropriate place, you can simply say, "Jenny recalled how..." etc. etc. You just have to evaluate how much and when to reveal it. It's just like any other part of the writing process -- you have to use you're own best judgement and imagination.


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## Gamer_2k4 (Jul 23, 2012)

Keep your backstory in your notes.  Readers are smart enough to understand that this is fiction, and that the world in your book is going to have differences from the world we live in.  Are superhuman abilities common? Then they're going to show up often enough for the reader to understand that this is an element of the story.  Are they rare? Then it's only natural for a character to gasp, "He must be one of the Enlightened!" after someone activates their powers (substitute whatever your fancy word is in place of "Enlightened," obviously).  As for war and political structure, I've got similar advice.  The political climate will be revealed naturally as the story progresses; if it doesn't, then it was never really important in the first place.

In my own story, there's plenty of backstory required for my world to differ from the real one as drastically as it does.  There's sort of a one-world government going on, as well as a worldwide disarmament.  Global warming has taken effect to some degree, and the world is quite a bit different than present day.  But that doesn't bother me.  I have three brief paragraphs in the first chapter that set the scene, and the rest is revealed as the story goes on.  Even the name of the government, the Eurasian-American Alliance, says all there is to say.  South America, North America, Europe, and Asian are all united as one country.  Africa and Australia don't enter the story.  I don't need to explain that because the name itself explains it.

Or for another example, there's a scene where it's snowing.  One character asks another if it snowed where she lived, and she tell him that it's the first time she's ever seen snow fall.  He agrees, explaining that while there's snow on the mountains near his house, it's been too warm for decades for actual snowfall.  In five sentences of natural dialogue, I've explained to the reader that global warming has set in.  Does it matter in the story? Nope.  But it's part of the world, and because it's part of the world, it doesn't hurt that the reader is aware of it.

So, perhaps it's time to reevaluate just how crucial it is for the reader to know the backstory of your world.  If it's important, it'll come out naturally.  If not, it never belonged in the first place.


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## movieman (Jul 23, 2012)

Yep. I'd agree to tell the reader what they need to know when they need to know it, and write a prequel trilogy about the rest.

The novel I'm rewriting at the moment would be set six novels into a series if I write the other books, and the back story pretty much comes down to half a page of dialogue between one of the 25th century characters and one of the 21st century characters explaining why the bad guys are the bad guys and the good guys are the slightly less bad guys. The rest is just the characters dealing with the situation they're currently living in.

Of course if you're the next Tolkein you can write sixty page digressions on Elvish folk dancing and readers will love it. So that's just a suggestion rather than an absolute rule.


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## Bilston Blue (Jul 23, 2012)

> A major war that leads to several new nations, an altered political structure, and people with superhuman abilities.



It's not set in Syria, is it? Give it a couple of years and this story might be prophetic, 'specially the bit about superhuman abilities; relocating chemical and biological weapons and all that.  :shock:


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## Morkonan (Jul 25, 2012)

SerenataImmortale said:


> The sci-fi/fantasy story I'm working on has roughly 30 years of various events that lead up to the actual story. The only problem is, I'm having some trouble finding a good way to introduce this backstory, given that:
> - It is necessary to understand the basic premise of the "present day" story (so when I've tried simply "not mentioning" it, or shortening it, there's a lot that stands confusingly unexplained.)
> - The characters all know about these events because they're a natural part of life.
> - I've tried including the backstory in character conversation as a means of introducing it, and every time I've approached it, it's come off as very artificial - given that no one is just going to sit down and spew out decades of known facts unless they're lecturing a historical analysis class, etc.
> ...



Sometimes, backstory is necessary. Actually, when writing something like the piece you're discussing, it's always necessary. How else will the reader be able to frame the setting appropriately? But, you don't have to restrict yourself with long expository paragraphs.

Using a Foreward can be acceptable, but it's not the best way to get information to the reader. It disconnects the reader from "now" when "now" is the most important thing you're writing about - The story taking place at the moment. Similarly, putting the backstory in Notes or an Addendum isn't always helpful, especially if your characters make frequent references to it or the plot depends on it. The reader will be forced to go somewhere else in the book for the necessary information and you never want the reader doing anything but reading the pages they're supposed to be reading, else they may decide to turn on the television instead of riffling pages to the back of your book to hunt down an obscure reference...

In my opinion, the best way to relate the backstory is through the words of the characters and in brief inclusions of exposition in descriptions of the setting. ie:

_Big Cool Castle's __gate had never been repaired since the war. Thirty years ago, the Dark Lord's army had broken it from its foundations during their assault and its remains had since been pushed to the side of the castle's main entrance to allow the frequent traders from Grabtuckymootfelwatheheck easier passage._

There. We have the information needed - The Dark Lord, whoever he is, assaulted the place thirty years ago and the castle is frequented by traders from someplace that the reader is not ever likely to learn how to spell correctly. The reader is also informed that whoever owns the castle isn't very creative when it comes down to selecting place-names. Alternatively:
_
"What's that?" asked Fritch.
"That? That's whats left of the castle gates." replied Klitch. "It's all the Dark Lord left of them after the attack, thirty years ago."
"Why didn't someone clean it up?"
"Hell, I dunno. Do I look like the mayor or something? It's probably because those traders from Grabtuckymootfelwatheheck with their big wagons need to get inside and nobody wanted to shut them out while they fixed things around here."
"That makes sense." said Fritch. 
"I know it does. That's because I said it. Are you done asking questions, yet?" asked Klitch.
"What's the name of this place, anway?"
"It's called Big Cool Castle. And, no, I didn't name it so it don't make sense." declared Klitch.
Fritch eyed the somewhat dilapidated castle that wasn't very remarkable and certainly wasn't very big. "That's a stupid name." he said._
_"Yeah, so now you're a critic? Get back in formation."_

For large pieces of historical backstory, with ancient peoples, nations, complicated motivations and magic, the question you have to ask yourself is this - 

_Is all that backstory more interesting than the story I am writing about, right now?_

Think hard about that answer. If you find yourself devoting a large amount of time explaining the backstory, you may find that it is probably more interesting than the events you're describing during the story you're writing. If that's the case, then you know what you should do - Write _that_ story.

If not, and neither of the above sorts of strategies work very well to relate your backstory, then you may have to write a long exposition piece, many smaller exposition pieces that are setup by current events or even an entire Forward, Addendum or Glossary section. Lastly, there's always the "Footnote" approach, but that doesn't usually serve anyone very well when it comes down to backstory.

While those sorts of methods work very well and readers are familiar with them, the best method is to include your backstory in such a way as that information is relayed as the reader reads the story as it occurs. There are substitutes, to that technique, but they're not quite as well liked by readers.


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## AAvertigo (Jul 26, 2012)

As previously said (in probably much better ways than I could), tell the reader what they need to know when it comes. 

The way I see it, the more you explain the more mystery you end up killing for the reader; and mystery always has appeal. 

For example: You describe a fantastical scene full of warships but you don't go into detail as how those warships work or why they're there and you instantly create some form of reader interest in your lore. Give them as little as possible, the characters live in this world in the same way we live in ours. We wouldn't rightly think/explain the history of a computer/how a computer works (which when put through the lens of an outsider can seem like a very strange object.)


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## Jeko (Jul 26, 2012)

The best way to handle a long back story? Shorten it.

Think of it in its most basic form, the simplest elements. The most important things, the most relevant things to your characters. Onloy take what you need for the story to be told.

One way of presenting is with inserts at the start of each chapter. In one of my old WIPs called 'Freelancer', I had the sarcastic comments of the sarcastic AI Saberline explaining tiny bits about the universe and the organisation the book is centred on (the Freelancer's Guild) as little snippets of advice (they were taken from the manual he wrote - Saberline's guide to Guild and Galaxy). Eg:

_‘There’s no ‘I’ in team. That is, unless you’re spelling it in Ancient Katorian. If so there are forty-seven.’
_
_From ‘Saberline’s Guide to Guild and Galaxy’, Chapter 1: Being a Freelancer.

__
‘The Federation says it gives us the jobs it doesn’t have time to do. It’s amazing that they’re so busy. They don’t even have time to secure their own facility from a 1[SUP]st[/SUP][SUP][/SUP] degree Skholl raid.’

From ‘Saberlines Guide to Guild and Galaxy’, Chapter 7: Our benefactors.


‘Some say we live in a peaceful society. Most of them are dead.’

From ‘Saberlines Guide to Guild and Galaxy’, Chapter 8: The galaxy and you


‘There are numerous bandit groups that every Freelancer should know. That means I’m not going to tell you them.’

From ‘Saberline’s Guide to Guild and Galaxy’, Chapter 5: Your adversaries.


‘If you don’t like my morning wake-up call, you can solve that issue by waking up earlier.’

From ‘Saberline’s Guide to Guild and Galaxy’, Chapter 3: Living in the Guild.

_They're not amazingly informative, and much more is explained throughout the story, but I think they help with creating a perspective on the world and the also build the character. It works the same for back-story too. You have to explain things that will be relevant to your tale, and some things that might not be, but are important nevertheless. Never feel like you simply have to spoon-feed it to your reader at intervals. The creative genius inside you can do anything it wants.


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## Deleted member 49710 (Jul 26, 2012)

I'm struggling with this some as well. I've got two character backstories that I think provide a lot of insight into the characters. One of them is not an introspective kind of person and would never talk about herself very much. The other is pretty secretive up to the point where he decides to tell everyone about himself, and out of the picture shortly afterward. Plus I enjoy them. So I sort of frown sadly at the thought of cutting them up a whole lot. I also frown sadly at the thought of boring people though.

The comments above seem to largely treat historical background information - how do people feel about character background information? Equally dull? Depends on how it's written, of course, but let's assume written decently well - is it necessarily boring if it's in a big chunk?


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## katemcginnis (Jul 26, 2012)

Hi!


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## Marige (Jul 26, 2012)

I agree that a prologue may be the answer.  But be succinct.  Think, the Star Wars IV prologue in the movie, i.e., "_A Long Time Ago... in a galaxy far, far away..._" 

Or, as close as you can get.  

Flashbacks could work, too, but they can be confusing.  

Also, consider extending your book... maybe your background is enough to make a "first" book... ?  It's just a thought.  

Ultimately you, as the author, must decide how best to tell the story.  

Me, personally?  I plan to use the back story of my next novel as a series of short stories, to be given away for free as a way of promoting the novel online.  In my case, the back story only adds texture, not substance, to the main story so I can do this.  

M


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## AAvertigo (Jul 26, 2012)

Same deal as with background. Tell them what they need to know when they need to know it. If you have a particularly quiet character then do some PoV chapters with that character. Avoid info-dumping at all costs. It's like a good steak, if you try to eat too much steak in one sitting it's going to taste like dirt near the end.


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## Jon M (Jul 26, 2012)

lasm said:


> The comments above seem to largely treat historical background information - how do people feel about character background information? Equally dull? Depends on how it's written, of course, but let's assume written decently well - is it necessarily boring if it's in a big chunk?


I wouldn't think so. If the backstory is decently written--has strong, active verbs, imagery, and _profluence_ (a sense of always moving forward)--then I think it just becomes part of the narrative, and personally I would not have an issue with reading large chunks. Yate's _Revolutionary Road_ comes to mind. His telling of the character's backstories was wonderful to read.


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## Deleted member 49710 (Jul 26, 2012)

Thank you for the reassurance, Jon M. I'll have a look at your recommendation.

Of course, looking over my first chapter, it is _all_ backstory. But I still 70% love it. The other 30% is more historical and I was probably going to scrap it anyway.


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## Morkonan (Jul 26, 2012)

Cadence said:


> The best way to handle a long back story? Shorten it...



Outstanding! I guffawed when I read that line, more for it's ironic truth than the intended humor. Spoken like a true writer. Well said!

I'm reminded of two contrasting works by Glen Cook. One is "The Black Company" series. The other is "The Instrumentalities of the Night" series.

In The Black Company series, Cook doesn't delve deep into the backstory, revealing the history of his setting. In fact, it's more common to find the characters thrust into situations that are full of backstory and history, which is only revealed when it is necessary. So, as a result, the characters end up treading ground that is steeped in "history", but only find out about it later. That's fine and meshes nicely with the characteristics of a mercenary company - They care about living long enough to get paid. Many of the questions a reader would normally wish answered are left to the reader's imagination and that is exactly the best thing to do for this sort of novel. It's full of action and "things happening" and you can't build that sort of imagery if you spend five pages out of every chapter exploring the backstory. The pace is set and Cook takes us on an enjoyable romp.

However, in the "Instrumentalities of the Night" series, Cook goes to great length to describe the backstory and history, just about on every page. It's filed with obscure names, mostly unpronounceable, and the machinations of empires and daring-do of historical individuals the reader will never remember. It's quite confusing, actually. But, it adequately presents an "Epic" setting and that's likely why he wrote it the way he did. As a result, the story has a very epic feel, with ancient histories, scores of characters, scattered locations and all sorts of political maneuvering and skullduggery. If Cook had only lightly touched on the history and backstory of the setting, much of what appeals to a reader would have been lost.


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