Skip to main content

Save the Backstory For Later

Ever wonder why you hear that it's "taboo" to include backstory in the first chapter of a novel? I always did, too, until I discovered some psychological reasons why it's best to keep it out of the first chapter for the modern reader. I wrote an article, which originally appeared on Suite101.

Save the Backstory For Later

Why Not to Present Backstory in the First Chapter

There are three reasons why it’s usually best for a writer not to include backstory in a novel’s first chapter.

Writers often hear the advice to not include backstory or the character’s past history within the first chapter of the story.

Many balk at this. After all, a character’s backstory explains things, makes the character’s actions make more sense. Otherwise, the reader will be confused or, worse, dislike the protagonist for his actions because there’s no explanation for this aberrant behavior.

Also, backstory sets the stage for future conflict. Past secrets often cause problems for the story characters. If the reader has no knowledge of those secrets, there’s no conflict opening the story.

While all this is true about the role of backstory, there are three reasons it should not be in the first chapter.

The Reader Is Not Yet Invested

While in days past, readers would be willing to stick with a book through a chapter or two, meandering through long setting descriptions and character backstory, this is no longer true for the modern reader.

Many buyers in a bookstore will read a page or two to determine if the book interests them. If those two pages fail to do so, the buyer puts the book back on the shelf.

Two pages. Sometimes only one.

If a book has backstory within the first chapter, whether in a flashback or expository dialogue, the writer risks losing the reader’s interest.

The reason is that the reader doesn’t yet care for the characters. Since she doesn’t know the characters yet, she’s less likely to be interested in a character’s childhood or past secrets.

You don’t want to risk boring your potential book buyer.

The Past Cannot Be Changed

Readers usually are not interested in the past simply because it is not dynamic, it’s static. It happened. It can’t be changed.

Most readers expect a story to be about what is happening now. They want to see what will happen to these characters they’ve been introduced to.

They want to decide if these characters are worth spending money and time for. They want to see the characters “in action.” They want to see a hint of what the story conflict is going to be.

Writing about what happened to the characters before the story opens makes it harder to grab the reader’s interest. Typically, the reader wants to see the story “in action,” not a reminiscence about what happened “before.”

Mystery Hooks the Reader

When characters engage in conflict and a mysterious hint is given as to motivations, it compels the reader to keep reading simply to figure out the mystery.

By giving tantalizing hints, the writer forces the reader to need to know what happened. This writing technique is a surefire way to keep the reader turning pages.

This is why it’s often good to eliminate backstory from the first chapter, and perhaps only give a hint as to the character’s past, especially as it relates to the current conflict. The reader is hooked by the conflict, but she’s also hooked by a need to understand the deeper currents running beneath that conflict. She’ll keep reading to find out.

A Hooked Reader Wants Backstory

Once you open with an active scene, the reader will be more likely to need to know more about these exciting characters she’s just read about, and a bit of backstory in the next chapter will satisfy that need.

The key is to hook the reader first.

Once the reader is intrigued by a self-explanatory opening scene, with interesting characters engaged in conflict, the natural lull in the story rhythm is the perfect place for some backstory to bring deeper clarity.

Comments

  1. Informative article, Camy! Now I feel like I need to go check my first chapters!! :)

    ReplyDelete
  2. Camy, I stumbled on your blog and have found it to be so helpful! This post was very timely as my critique partner just pointed out backstory in my 1st chapter. Now it's back to work... :-)

    ReplyDelete
  3. Thanks, Sarah! I'm glad this article's timing was helpful for you!
    Camy

    ReplyDelete

Post a Comment

Popular posts from this blog

Writing Fight Scenes

I love martial arts movies and action flicks. So naturally I'd write action scenes. I discovered that it takes a slightly different writing style. These are some of the things I learned, although this list isn't exhaustive by any means. Action-Reaction A fight scene is always Action-Reaction. He punches, she staggers back. She kicks, he blocks and swings a fist at her. Watch out for putting your reaction before your action: She staggered back when he slammed his fist into her shoulder. The rule of thumb is to have each action-reaction have its own paragraph, although that’s not always possible. Sometimes the sentences are too short for their own paragraphs and can be combined. It’s up to the writer how to format it: He swung a roundhouse punch. She bent backward and felt his knuckles swish past her nose. versus: He swung a roundhouse punch. She bent backward and felt his knuckles swish past her nose. Short sentences = fast reading flow Use short sentences and phrases to make re...

The 50-word elevator pitch

The 50-word elevator pitch: Basic story elements and a two-sentence novel summary Writing a 50-word summary is good to help you condense your thoughts and themes for your novel. This summary can be used when you pitch to editors or agents, and it can also be used in a query letter to an editor or agent. Swain gives this excellent method to come up with a 2-sentence (or 50-word) summary of your novel. This can be done before you write it or afterward, whichever works best for your writing style. This is similar to steps 1 and 2 of Randy Ingermanson's Snowflake method : https://www.advancedfictionwriting.com/articles/snowflake-method/ Each novel typically has five basic story elements: Character --Your protagonist or focal character. You can sometimes have two protagonists, but even then, often the story of one character is slightly more dominant than the other. Situation --The troubling situation your character is stuck in that forces him to act. Objective --What y...

How to write a kiss

There was a question on the writer’s Discord server that I’m on where someone asked how to write a kiss. They weren’t specifically asking me, but I was able to give a short answer for how I write kisses. I write and read traditional romances, so my kiss scenes tend to be heavily influenced by the genre and by how my editors critiqued my manuscripts. You basically want to focus on the emotion of the kiss and how the kiss makes the point of view character feel, as opposed to going deep into physical detail. Ideally, the description will show that the kiss is something special and not just them macking. For example the kiss made her feel ___. Or the kiss was ___ which made it seem that he felt ___ for her. “The kiss made her feel as if she were incredibly precious to him.” “His lips were gentle and almost tentative, as if he were afraid of frightening her.” “The kiss surprised her and yet felt as familiar as if they’d kissed a thousand times before. The kiss felt like home.” I...