Maybe it’s just my own declining attention span (thanks Jim for another reminder of the issue in yesterday’s blog post!), but I’m increasingly growing weary of complicated, anguished backstories in crime shows. I admit I haven’t been reading much in the way of mysteries lately, as I’ve been focusing on research for my latest WIP, but I often turn to TV crime shows (usually of the British variety) to relax. Lately, however, I’ve found my interest waning as the backstories in the latest crop of shows I’ve started (but not finished!) have become increasingly overwrought and intrusive.
I like to watch as characters take shape slowly over many episodes, evolving alongside their cases, rather than having a backstory thrust upon me right from the get go in a way that I find intrusive and (often times) underwhelming. The current show that’s got me peeved the Netflix original series Paranoid. In the first few episodes we get an intriguing murder but also (in my opinion) a rather heavy handed introduction to the backstory for each of the main protagonists – a panic attack ridden investigator, a know-it all junior officer with a lying alcoholic lying mother, and a female investigator who goes from cocky to crumbling wreck after her boyfriend dumps her (she wants children, she’s in her late 30s. etc. etc.). While I will probably persevere with the show, I feel like I’m already experiencing backstory fatigue and I’m only up to episode 3!
The best crime/mystery shows and novels allow the protagonist’s backstory to unfold and inform the story as well as intrigue the reader. I wonder, given the crowded marketplace, whether we’re currently experiencing a bit of ‘backstory overload’ as a means of trying to differentiate the show/story/characters. For me, however, this often feels like a character’s backstory is being foisted upon me right from the start in an effort to either impress or unnerve me (neither of which usually work!). In Broadchurch, I was willing to buy into the multitude of character ‘issues’ because their stories evolved alongside the case and thus felt organic. I’m not sure the same can be said for Paranoid (for me the jury is still out).
So how does this help inform the writing process when it comes to character development and backstory? For me, my current irritation has helped solidify the following advice…
- A character’s backstory needs to evolve rather than be rammed down a reader’s throat. That means no huge exposition dumps or digressions too early on and no ‘overloaded’ backstory for a character that feels imposed rather than organic.
- The ‘iceberg’ approach works best – let the reader know there is far more beneath the surface of the character than the tip that the reader sees initially. Let the water recede to reveal the extent and depth of the backstory as the plot/story unfolds.
- Make sure to consider the multifaceted nature of human beings. Sometimes genre characters can feel too ‘one note’ (the classic depressed, alcoholic loner as a detective for example) but sometimes they can also feel way too overwrought and unnatural…so make sure you feel like you’re creating a real person.
- Don’t try too hard to create the world’s most anguished or unusual detective. Again, this seems to be evident in TV shows more so than novels, but after a while, backstories can start to feel like gimmicks rather than genuine human foibles.
So what do you think about when creating your characters’ backstories? How do you approach backstory development? Which TV shows or novels do you think have explored backstory well, and which have given you (like me) a bit of ‘backstory fatigue’?