At the Midwest Writers Conference a couple of weeks ago, I critiqued ten manuscripts for conference attendees. As is frequently the case when I do these things, I learn new things about writing.
One of the more intriguing manuscripts I looked at was a historical mystery, set aboard a sailing ship crossing the Atlantic from England to the New World. Through beautiful prose, the author introduced his hero out on the deck, wind in his hair, watching the sunset. Then the author went into pages of data dumping. He told us that the ship was owned by so-and-so, and that it was primarily used for the transport of such-and-such. He told us that the ship had cabins for passengers, and that among the passengers were a carpenter with his wife and four children. The data dump section ended with the author telling us that our hero—we’ll call him Edward—had struck up a friendship with a junior member of the ship’s company—we’ll call him Charles—who taught him some of the basics of navigation.
A problem common to many new writers is the tendency to stop the story to reveal backstory. It’s as if the author has compartmentalized character background from character development, and has trouble bridging the gap. It’s entirely unnecessary. By shifting gears mentally, it’s a simple challenge to use front story to propel backstory. Using the example of the historical mystery, consider this:
Open the chapter with Edward learning navigation from Charles. As Edward learns, so do we. Then, in the middle of the lesson, suppose Charles is angered by the sound of children playing on the deck, getting into things that children have no business getting into. He yells at them and sends them on their way back to their father, the carpenter whose passage is partially paid for by performing carpentry on the ship during the voyage.
In this proposed approach, the story continually moves, is continually engaging, and the reader gets to witness events that otherwise would be dumped on them. It’s a win across the board.
I urge every writer (and frequently remind myself) that every scene needs to be about a character. Whatever happens has to happen to someone, and whatever the reader learns should be learned through the filter of the character’s world view. I’ve always believed that it’s the characters’ job to speak to my readers. If I ever find myself doing it directly, I know it’s time to rewrite.
What do y’all think? What are the other ways to subtly reveal backstory?
If it’s truly backstory then we probably don’t need it at all. Even so, info dumps are sometimes required because the information is relevant to the story and we have no way of showing the reader the information. For example, the security measures used to protect an object of value might be relevant, but the best way we can reveal those features is for one of the characters to tell about them. If all he does is talk about them, we might as well let the narrator reveal the information. It is just as boring either way. Screenwriters can do what Blake Snyder called Pope in the Pool. This technique distracts the viewer. While one character is telling about what they will have to do to get through the security system, the viewer is paying attention to something unusual. I don’t know that we can duplicate that well in novels. The closest I’ve come is by having the characters talking about one thing while they are doing something interesting. An example would be to have two characters talking about their family history while moving a mattress to a third floor apartment.
Thanks for the reminder. It actually makes me be more creative in my story when I catch a data dump in progress and have to resolve it into a better reveal. It always pays off to put the time in, well, to sneak the information in.
Good reminder, John. Writers simply have to remember that readers do not NEED to know everything up front. They want, instead, characters in motion, something stirring the placid waters of their existence. Trouble. Disturbance. They’ll wait a good long time for fuller exposition.
The sort of material mentioned here, which is in a historical novel, is of interest to readers of that genre, but should also be delayed until we’re in established action.
I guess the best way to include background data is to constantly look for ways to introduce it as conflict, either through action or dialogue. For example, instead of explaining that character A has a bad history with character B, have him cross the street to avoid an encounter. Then, just a snippet of background will do. Instead of a long explanation about the head of a corporation who might be an evil guy, have a secondary character bring it out in dialogue. And so on.
Jim brings up a good point. The reader doesn’t need to know everything. Authors (like me) accumulate a lot of research like a pack rat and feel a need to stick it somewhere. If it does not move the story–lose it.
One trick might be to travel with the character search out this information as part of the story. Then, character and reader learn without any data dump from the writer.
Backstory should suggest itself as the plot rolls forward.
Whether through dialogue or narrative, this information can and must be expertly woven into the fabric of the book.
One of the greatest examples of this in my memory is the way Herman Wouk incorporated the backstory of WINDS OF WAR into its massive sequel, WAR AND REMEMBRANCE. He showed the reader who may not have read the first book the events it contained WITHOUT boring those who had read it.
This is something which, IMHO, every writer must learn to do.
How to do it? Well, therein lies the challenge, right?
It’s not only WHEN to share information with the reader (I normally cut several chapters when I start writing–I need to know stuff, but the reader doesn’t; at least not right then) but also WHO should be passing on the information if there’s more than one POV character.
Terry
Terry’s Place
Romance with a Twist–of Mystery
data dumping isn’t as bad as people make it out to be. When I read professional works I constantly find good data dumps, that don’t necessarily move the plot forward, but they’re intriguing because the you learn about the character’s passions/interests. I think, when editing work, people get carried away with cutting all narrative or exposition, as if the only option for the author is to write action, action, action. I don’t think that is quite so necessary. When you info dump, make sure you’re writing intriguing stuff. This is one of the way a reader gets to know characters.