I don't get it!

One of the questions I get most often is how much backstory is too much backstory?

That's not an easy question to answer since when a story is in the set-up phase, I have to know something about the characters to really wrap my brain around them. That's not to say I need three chapters of backstory. Just enough information for the characters to make their mark on the story and gain my interest.

One of the most idiotic rules to come into writing was the whole 'no backstory' rule. I honestly think this one was created to throw every aspiring author into a tizzy going, 'we can't have backstory'. Then, being new to this industry, they took it too an extreme.

Here goes - backstory.

There is a rule of thumb for works under twenty-thousand words. Set up is golden if you can do it in thirteen paragraphs but no more than twenty-five. Short stories are considered character forward so the character's/s' motivations drive the story. Now you see why the backstory coming into play is so important here. If the characters don't have roots (ie. backstory) how can the story grow?

In longer works backstory is equally important. If you stare at GMC (goals, motivation and conflict), the backstory is directly attached to the three main points of the character arc. This must work logically.

An example would be:

Basic plot - man vs. himself
Master plot - romance
Thematic Premise - permission to love

The character starts off down in the dumps. Love lost or the loss of the soul mate plays into this. His GOAL is to find love. His Motivation is directly attached to the plot - even if he doesn't know it. Crisis is the unwillingness or something along that line.

Here's a clue, if I don't know what he's lost, his motivation for being in the story, or where he is heading (plot forward), I'm lost.

In novel length romance the rule of thumb is within the first three chapters (note I did not say the characters needed to meet in the first chapter--another stupid rule).

My biggest bit of advice is explain as much as you can, but keep it brief. If you find yourself going on and on, you've gone too far. Most authors who are successful at planting their characters can do so in one to three paragraphs. In longer works you can build from the initial planting point. In short works, the springboard is there and you can drive the plot easily.

Just remember, if your readers don't get it, they aren't likely to spend much time on your story.

Questions, comments, hate mail -- just post it.

Until next time, cheers and happy writing,

T.J.

A man of substance

A hero...

The word itself is enough to send our hearts aflutter.

He is a worthy man, a handsome man (though he needs not be picture perfect), he is an honorable man. He is someone we can easily fall in love with.

In short, he is a man of substance...

But what does this entail when you're writing your hero? How do you bring substance to this persona?

Throughout this month we have brought you tips and tricks about how to create a hero, how to shape him, how to mold him to your story's specifics.

Today I'll go over them again, and add a few little hints too.

First, know who he is - what is he supposed to do in this story?

What sort of story is it? Dimensions of the hero explained how you need a 'different' man for every genre.

Then you go into how he is - archetypes come in handy here, to keep you in line when shaping him.

Next, you start fleshing him - physical appearance, among others, comes here. You can work off a picture/movie star/celebrity/your own man, whatever, as long as you know he has sandy hair when the story starts and he doesn't end up with hair like a raven's wings by the end.

You also decide whether your hero is a caveman or a metrosexual, or where along those 2 extremes he fits in. Depending on this definition, you'll know how he dresses (from Gap or from the runway shows of Armani, with a little bit of Prada thrown in), how he carries himself (is he blissfully unaware that he's got a hip movement to die for, or is he elaborately conscious that everywhere he walks is akin to a runway ramp?), what sort of lifestyle he has (stale pizza and beer at his place or the latest order from the hippest sushi bar in town?)

While I admit the metrosexual doesn't win my vote of favor, he can have his redeeming traits - up to you to make him lovable if you are using him (think David Beckham in an underwear ad).

Attitudes and values will also play in. What has made him who he is? Get yourself a well-compiled file on his backstory, and be sure to find his impact moment, which will define him for a lifetime.

And, if you are writing a romance, figure out how this man loves. I'm not talking only bedroom theatrics (though you do need to know how he fares and acts in the bedroom - room for lots of writer fantasies here *wink*). What does this man do when he loves a woman? Bring her flowers? What sort of flowers? Roses? Are they all of the same color or does he choose one flower by every color in the bouquets he brings? Does he bring a bouquet or a single flower?

Always, always, ask yourself questions. The hero is a man YOU need to fall in love with first. Treat him as any man you meet in real life - if this bloke captured your attention, what would you do? How do you think of him? Imagine you are sixteen again and start imagining your life with him, what it will be like, what he will be like.

Do this for this imaginary man, and you will end up creating a 'real' man that jumps off the page and grasps your reader's heart.

That's your aim - to make him memorable.

You have the tools. You have the knowledge. Use it.

As always, I welcome your comments! How do you go about creating your hero?

Aasiyah Qamar - Cultural romantic fiction, with a twist
With stories set amidst the rainbow nation of Mauritius, a multicultural island in the Southern Indian Ocean, author Aasiyah Qamar brings you tales of today's young women battling life on all fronts and finding love where they least expect it. Indo-Mauritian culture wants to stifle them in traditions, customs and antiquated morals while the world is opening its arms of modernity and globalisation. Where do these women belong? And more importantly, with whom?Find out more about her first release, The Other Side, here.