Having finished this novel (first in a series), I thought I might run it through an online word counting tool. This one. I was curious to see which words I used the most, and if I needed to tweak my prose.
Yes, I needed to tweak it.
Apart from various important words used for grammar constructs (and, the, etc), and names and pronouns (very high, so high I will probably have to tweak that), I found my most common words were:
Ugh. In one paragraph I had the word ‘now’ three times. Three! How had I never seen this? In some chapters I have a higher than normal usage of certain words like table (lol, table!) and, nerd that I am, I have written down for every single chapter the most used words. I have spent the last three days rooting through and eliminating these words where they are unnecessary, and getting the thesaurus out when they are.
It’s been a fascinating eye-opener to how my subconscious strings sentences together. If you have a novel that is ‘finished’ I highly recommend using this tool. It’s free, and fun, if you like analysing stuff. DO NOT use this if you haven’t finished the novel, else you will never stop editing. Seriously.
I’ve been musing over this recently, and I think a lot of confusion comes with knowing what’s backstory, and where our stories actually should begin. It’s something I am constantly struggling with – where is the start of my story?
I think I found a clue!
Our characters are people, first and foremost. Therefore they will, like all of us, have a history. But whereas we live the whole of our lives, we do not necessarily write the whole of our characters’ lives, and our readers certainly don’t. We write only a portion.
Usually that which sees the character go on a journey. The journey may be a literal journey – such as in The Lord of the Rings, where Frodo must travel to Mordor (by going on a literal journey he also goes on an emotional journey). The journey maybe simply an emotional journey – like the death of a loved one; or a change in the character’s status – single to married, eg.
Whatever the journey is, the start of the story is not where the journey begins but just before. We need to show the character in their normal environment, in their status quo emotional state. We need to build empathy in the reader, curiosity, and hook them into wanting to find out what happens to change their state, and whether they survive. Normal, everyday situations that show their character as it is, and hint at the changes that must come, or even an unusual situation that nudges the main character (mc) in the direction of the journey they must take.
Some people go on a life-changing journey, or trip around the world. It is vital that we know who they were, so we can understand who they have become.
If the mc is at the airport, about to go on a life-changing holiday, then we can show an event that reveals that character as they are, before they need to change. So, if our character is reserved, sometimes gets pushed around, we can show that by having someone bump into her and not apologise. How does she react? Does she ignore what happened? If she is reserved, she may well do. As a reader we want to see her come out if that and stand up for herself and that’s what piques our curiosity. However, you can see that how she reacts now is key in understanding both who she is now, and who she must become.
Why is she reserved? Why does she not stand up for herself? These are questions then raised in the reader’s mind and they read on to find the answers. Does the reader need to know the answers now? No. And, they don’t necessarily want the answers immediately.
Having shown the mc as he/she is, we can then say that backstory is everything that has shaped the character to be who he/she is today, when the story begins.
So when will the reader want the answers?
That is the question, and it’s not easy to answer. There will be times when the character’s actions will need explaining.
In Pride and Prejudice, Mr Darcy acts cold and arrogant – particularly towards Wickham, which angers Lizzy and cause her to resent Darcy, but we don’t find out why Darcy is cold until much later in the book. We have hints at what happened and these come from Mr Wickham himself. By this time, the reader suspects Wickham is not what he seems, but Lizzy does not. The reader wants Darcy to be the hero, Lizzy wants Wickham.
We don’t discover the true history between him and Mr Wickham until the letter which explains much of why Darcy behaves the way he does towards Wickham.
So, we see that the reader goes on the journey with the mc, but at some point, we can see more than they can, and then comes the tension of when will the mc find out…
Darcy and Wickham’s backstories are only revealed at certain times in the book, and we certainly do not know everything about them, only the important events that have shaped them into the characters they are today.
Your important event that shaped your character might be an almighty one, like the murder of their spouse. Sometimes people choose to show these in a prologue, since they are huge and interesting and ‘hooky’, yet are still a part of the backstory to show who the character is before they must change. Perhaps the murder of their spouse sends them into a spiral of gambling and other issues. Perhaps it’s depression. What the reader wants to see is how the character gets out of this, how he conquers his demons.
The mc might be in a completely ordinary situation – like Bilbo Baggins celebrating his birthday in The Hobbit.
So what is backstory?
The events, upbringing, family issues, etc, that have shaped that character to be who they are at the start of the story. Who they are at the start of their emotional upheaval. To know where we are going, we must know where we have come from.
Also bear in mind that a novel may not start with the status quo of the mc, but of the antagonist – a murderer, for example. In Lisa Jackson’s Cold Blooded, she begins with a prologue showing the murderer hunting. This raises questions – who is he hunting and why, and why is he a murderer?
Backstory isn’t just the prerogative of the mc, either …
Who is your character at the start of the journey? What shaped their characters?
Also, if we know all of this, our characters will be far more rounded as people. It’s worth putting the time in to discover backstory, even if we don’t use it in the novel.
is a line from the Elizabeth Gaskell book ‘Ruth’. I finished it yesterday and this is the line that sticks with me.
The novel is about a young orphan girl, Ruth (working as a dressmaker’s apprentice).
She meets a wealthy aristocratic young man, Mr Bellingham, at a ball where she must mend rips and tears in the dresses of the the young ladies who attend. Her employer, Mrs Mason, is a tough, strict lady, and when Mrs Mason sees Ruth walking with Mr Bellingham she tells the young girl never to return. Cast-off like a cast-off, Ruth allows herself to be persuaded to go away with Mr Bellingham and is, consequently, ruined.
When Bellingham falls ill in a Welsh Inn and his mother arrives to take him home, Ruth is once more cast-off – and pregnant, but this time a Dissident Minister and his sister, Mr and Miss Benson, take pity on her and persuade her to return with them, under the guise of new widow.
Mr Benson is concerned not just with the law of the land, but also with what Jesus would do, and is persuaded by his sister to let the townsfolk believe Ruth is a widowed relation of theirs and thus the deception begins. Once the truth is out, the effects are, at first, devastating for Ruth and her son, Leonard, and the Minister wonders if they should have spoken the truth from the outset.
When politics comes to the town, and one man suggests using the weaknesses of other men to forward their own purposes, Benson says: “We are not to do evil, that good may come,”.
This stuck with me, and reminded me of that saying “You’ve got to be cruel to be kind.” I’ve never liked this saying and believe there is always a way of doing things that does not have to be cruel.
When we shrug and tell ourselves, “you’ve got to be cruel to be kind”, we are justifying the means.
Yet there is the question of the greater good. Should we agree to the bombing of a city to kill lots of militants when we know innocents will be killed?
Can cruel means ever be justified?
“We are not to do evil, that good may come,”.
Can good results ever come from evil deeds?
It’s all to easy to think the end justifies the means sometimes, but does it?
I’ve been on holiday! And while on holiday without wifi I managed to catch up on some reading – and found a new author in the process. Kate Riordan.
I must mention that the book is published in the UK under ‘The Girl in the Photograph’ and in the US and Canada as ‘Fiercombe Manor’.
I’m not usually a fan of books that flip between two different time periods, even though these two were only 1932 and 1898, but when I ‘looked inside’ on Amazon I was immediately hooked by the first couple of lines – in a Prologue no less. So much for those who declare prologues to be essentially evil. Beautifully written prose:
“Fiercombe is a place of secrets. They fret among the uppermost branches of the beech trees and brood at the cold bottom of the stream that cleaves the valley in two.”
I adore writing like this, always have. Some might say, ” How can secrets fret?”, but I’m not one of those, and anyway, by the end of the novel you understand. So I downloaded and settled in to enjoy, and was not disappointed.
I’m not going to write a summary of the novel, you can read that on Amazon, but I will say that I think the way the lives of Alice and Elizabeth are told and interwoven is beautiful. I loved the parallels drawn between the two women and found I identified a great deal with Elizabeth, who Alice gets to know through a diary and smidgens of information dropped by the housekeeper, Mrs Jelphs. I understood Elizabeth, and why she did what she did at the end.
And, another thing – I never felt annoyed when the author switched to the other woman. There are times when, in some books I have read, that the switch between pov’s or time periods has irritated me. Yes, there is such a thing as tension and keeping the reader guessing, but there’s also telling a story and using the natural curiosity of the reader to lead them into the next point of view. I thought Ms Riordan did that wonderfully.
The only thing I wanted to understand better was why Tom Stanton was attracted to Alice, but it’s quite possible I missed something in my haste to find out what happened.
This is the kind of novel I will read again, not just because I know I must have missed things, but also because this the kind of novel that leaves something with me. I’ve already downloaded Birdcage Walk. Can’t wait.
I am sitting at my laptop and can hear nothing but the gentle whirr of the fans and birds singing outside. The sun is shining on my shoulders as I sit in front of the window and it looks like spring, feels like spring.
This is one of life’s simple and precious moments.
Especially after nothing but endless grey skies the last few weeks. My youngest has been ill with fever and vomiting but is now fast asleep, curled up in a chair and his fever seems to have abated. The house is clean (relatively speaking) and I have a few moments where I could do anything I want for me. Just me. Nobody demanding attention, no food needs cooking right now and the washing is on. So, what shall I do?
I have no idea! I could write some more of my novel, but don’t really feel like it. I could critique something on Scribophile, but don’t really feel like it. I could work on my copy-editing course, but don’t really feel like it. All I feel like doing is sitting in the sunshine, listening to the birds and enjoying this moment of peace. They do not come often.
And tomorrow it will snow.
This isn’t the view from my window (unfortunately, wouldn’t that be nice), it’s a picture taken on the Ofen Pass in Switzerland. Maybe you can find a little peace looking at it:)