Backstories of the characters
From the book, Rapier and the author's upcoming novel
Different authors have a different approach to this most
important detail, the character’s back story. Many simply ignore it, especially
in short stories. Others do so much character backstory, the story itself suffers.
I like to think I am somewhere in between, closer to the right amount of backstory.
So let us take a look and see if I am right.
First up is Rapier. Cindy’s backstory is pretty much the whole book, the story follows her from
age five until she is seventeen. But what about the other characters. Kathy
Masters is another matter. The book tells the reader that Kathy grew up in a
rural area of Australia and she became an exceptionally talented photographer. It
also briefly mentions she has a connection with the nomads of Australia. But
that is all you know about her background. At the end of the story, the reader
knows no more about her backstory than he or she did at the beginning. This led
to the beginning of another work in progress called The Young Kathy Master’s
Chronicles, which is all about her growing up in a vastly different
Australia than what we know today.
I could say more about the characters of Rapier, but the
point I am making here is I used the entire story to develop one character and
never developed the background of the main, or any of the other, characters. As
a side note, Princess Yi from Rapier, another character readers want to
know more about, gets fully fleshed out in next of the
Rapier stories, Razor.
In another of my WIPs, Sophie, the main character’s backstory
is developed in the Prologue, chapters 2 and 3,
with the most important part of that development in chapter 3. Here is a
snippet:
Lying atop a new grave was the bedraggled form of a teenage
girl. He checked; her limp form was barely breathing.
Covered in mud, her rich clothes were soiled and tattered.
Her hands were bleeding from deep scratches, the fingernails broken, encrusted
with mud. Francois surmised the waif had dug the new grave with her bare hands,
next to the first. She must have buried the second body before collapsing on
the mound.
This sequence tells how two characters, Francois and Sophie,
meet and the condition she is in when he finds her. Francois rescues the dying
contessa from death by exposure. Later in the same chapter:
They entered a dim chamber, the ancient Greek walking up to
her. Sophie shied away, but he placed his hands on her face, looking into her
eyes. They spoke quietly for what seemed hours. Bastian kept her gaze locked to
his. Suddenly she offered up her throat; he bit deeply into it, draining her
blood.
“NO!” Francois shouted, trying to run to her aid. Bastian
held up his hand. Francois found himself frozen. Though he turned, he could not
move—even the wolf was not strong enough to overcome such primeval power.
The ancient Greek slashed his own wrist, dripping the blood
into her mouth. As he did, he said to Francois, “Hold her, never leave her. Let
your face be the first she sees on awakening. You two have a destiny; you will
travel far. There will be much sorrow, but she will find what she seeks.”
And so, the reader learns how Sophie became a vampire. But
the reader does not ever know the backstory of the ‘hero,’ Francois. Francois
is critical to the story; he is essential for Sophie to do what she does and
other than knowing that Francois is a two-thousand-year-old werewolf the reader
knows nothing about his origin. Because of this the short story, Bitten,
was written. It tells how Francois became a
werewolf.
There are currently four ‘books’ written for The Gospels
of A.S.I.N.M. (Artificial Super Intelligent Network Manager). In the order they
should be read the titles are J.A.C.K.S. (Joint
Advanced Combat Knowledge System), W.I.D.G.E.T.S. (Wholly Integrated Directable
General Engagement Tactical Systems), The Prodigal Daughter and Church
of the Sentient System Ascendant.
In J.A.C.K.S. you meet Colonel Mark Andrew Gray as he
rises out of his ‘coffin’ to ‘orchestrate’ the victory of his division over the
military forces of a rogue Spain. The only background you get of Colonel Gray is
he went to West Point and has been upgraded to J.A.C.K.S.
Because he is J.A.C.K.S. he never thinks about things that happened
before he went to West Point. So, the reader never really knows if he is human,
a cyborg or a clone. What the reader does know is that Colonel Gray thinks that
he, and all the officers like him, are the only true humans.
The main character in W.D.G.E.T.S. is introduced in a way that is
designed to grab the readers attention right away and generate sympathy for
him. Here is a snippet from the story:
With that imperative implanted in its mind, Mk-17D unit
AA00000487 becomes “active”, or so the main control panel in the M-73A3 Heavy
Assault and Command Carrier indicates. But unit AA00000487 has a secret none of
the J.A.C.K.S. suspect. Unit AA00000487 is always “active” because it thinks on
its own, fully aware it was once a he—a man named Michael Andrew Stevens.
Using his memories as a vehicle the reader learns how he
became a cybernetic soldier. The reader becomes aware of the desperation the
character feels because he is trapped in a cycle of
violence and destruction that he has no control over but must actively cause. Before
the end of the story, you know unit AA00000487 well.
However, in this series of stories there are two characters
that appear regularly in each of them. The first of them is Casandra Lynn
Anderson. This character’s back story is developed in
each ‘episode’ she appears in. From her inception as
a clone until, honestly I am not sure which will be
the last one she appears in. The point here is she does not have a back story
because the reader will ‘watch’ her from ‘birth’ until her last appearance.
The other ‘character’ is A.S.I.N.M. itself. To let the cat
out of the bag, A.S.I.N.M. is covered from creation
to the last page.
So maybe I am not so good at
telling the reader the characters backstory. Oops! Or maybe
I am doing what all authors do, develop as much back story for each
character as is needed for the tale they are
telling.
R. A. “Doc” Correa
https://www.amazon.com/stores/R.A.-Doc-Correa/author/B073R82QC5
A retired US Army
military master parachutist, retired surgical technologist, and retired
computer scientist. He’s an award-winning poet and author. “Doc” has had poems
published in multiple books and had stories published in Bookish Magazine and
Your Secret Library. His first novel, Rapier, won a Book Excellence award and
was given a Reader’s Favorite five-star review.
Backstories of characters are important. In some of my stories I give detailed backgrounds, in others, I mention only a few sentences. It always depends on the genre of the story and also, if detailing character background moves the story forward, or not.
ReplyDeleteAgreed Erika, the stories of yours that I’ve read show your philosophy on character development. Each one I’ve read I know enough about the characters that the story flows smoothly.
DeleteIt's a balance here where how much backstory depends on how the character fits into the grand scheme of things. I know authors have different styles, but it can be an overload or not enough. Sometimes, it will leave the reader wondering more about that character, and if one goes on to publish other books in the series, then that character can be developed further on.
ReplyDeleteTrue Lorraine, and sometimes it’s a tough balance to achieve.
DeleteIt's very interesting to read how other authors approach this. For me I add only those snippets of back story that are necessary for the reader to follow my character's stories. On the whole those details are brief and interwoven in the story itself. - comment by Dawn
ReplyDeleteyes, and which explain their current behaviour or situation.
DeleteWe love our characters, so it can be a challenge to keep backstory from becoming an information dump. Good article, Doc!
ReplyDeleteThanks David.
DeleteThough my main character has barely a chapter of backstory, her story really begins from when she started university. Of my other characters, three or four have about two or three sentences of backstory, and the rest have no back story. Quite often, I find that some characters don't require backstory as when the appear in the story, it is the part they play that is of most importance.
ReplyDeleteA good point Eva. It’s a judgement call.
DeleteI think the weaving of information about characters into the main narrative is a real skill, more difficult to do than most authors think and as has been mentioned above, can either be an info dump or no info at all which then creates a barrier between your reader and your character - if they're left wondering 'But why would the character DO this/say that?' then you're interrupting their enjoyment of the book. And making them not credible.
ReplyDeleteAgreed
ReplyDelete