Back Story Doesn't Have To Be Depressing

I don't know if it is the phase of the moon, the weather or something in the food writers are eating lately, but I have to say, but the stories I have been reading lately have been pushing the boundaries of sheer depressing plots. It isn't the main plot that is really the issue, although there are impacts on that, it is the back story of each of the characters.

It seems that, in an effort to create a real conflict and to create real drama in the characters, authors are going to such extremes that back stories are sounding like either true crime novels or those case stories we hear about in social work. It is as if the authors feel, the more the better. Instead of having the hero's dad just being someone who took life seriously, we have now moved to that dad being not just serious about life, but abusive to the kids, an alcoholic, and heck, let's throw in suicidal, or even better, the last three generations have been suicidal. Arrrggghhhh!!!!

The problem with this approach is the impact on the plot. It becomes a distraction. It becomes a character that needs equal representation in the story. In the case of a romance, not only do the characters have to work through their relationship with one another to that happily ever after, they now have to contend with that outside conflict you added plus all of the personal baggage each of the characters have. This is really going to turn into a counseling session from hell. In fact, these two won't even be able to deal with the relationship because of all the back story. But remember, the main story arc is that romance. It is that central story line. Add in all of that other "stuff" makes the book cumbersome, tiring and frankly, something readers will not continue reading.

It is OK to keep things simple. It is that simplicity that makes the characters people the readers can relate to. Going over-board simply makes your characters look ridiculous.

Baggage in Your Writing

This is a repeat from an earlier post.

Could you maybe clarify the difference between "too much baggage" and "good internal conflict"? I think I get what your saying, but characters do need a good dose of internal conflict.

This is really a good question and I have to admit that a lot of writers struggle with this issue. You are not alone and honestly, much of the problem with this stems from feedback that you have likely gotten from critique partners. Of course, in turn, a lot of writers pass this on to other people as well.

Let's start with good internal conflict. This is something "emotional" and "personal" that drives a character to do things they do, act they way they do, and say the things they do. In essence, this is material that comes from their personality. The internal conflict is something emotionally and personal that the characters have to work through to move on to the next level in their life.

Now, the problem here stems from asking yourself what led the characters into acting and behaving this way. This is where all of that external baggage comes into play. In all likelihood, someone (or even you did this personally) asked you "Why is your character acting this way? You need to have a reason for the character to do this." That part is true, but you have to understand that people in general act and behave in a lot of ways without an extensive history or a lot of baggage. In other words, you don't need to go overboard.

Think of it this way. Your heroine is the President of a company. She worked hard in school, she knew what she wanted and she clearly demonstrated that she is the right person for the job. Enter the hero. Maybe he is just a neighbor that she meets at a neighborhood block party. So, what is her internal conflict. She sees that it is important to separate business from pleasure. We don't need to create a big drama of a past boyfriend, or a father that mentally abused her for now doing well in school. We don't have to add in sexual relations or abuse that happened in college. She just has to decide if she can be the corporate powerhouse and be a simply woman in love. That's all you need.

The simple truth is that stories with too much baggage become unbelievable. Readers cannot relate to ALL of the problems the characters have. Along the same lines, if this was happening in the real world, the odds are there would be no romance because the characters would have too many other things to worry about.

The answer? Keep it simple. Your plot can be about the growing attraction. We can see the characters trying to deal with these internal conflicts and not bog it down with the extra plot stuff. You don't need to have all of the extra baggage just to make it interesting. Let the romance and the characters do it for you.

Scott

Why William and Kate are models for "true" romance

If you are someone who follows this blog on a regular basis, you will frequently hear me going on and on about how I am looking for stories with no baggage. In other words, I am begging for stories about "real" people, in "real" relationships, truly falling in love.

In reality, if we think about the romances in the real world that we remember and cherish, the stories don't come out of crisis and drama. There were no stalkers, no demons, no missing babies. If we think about William and Kate, we really do see many of the same things.

I will admit that being a "royal" does tend to tweak things a bit, but let's put that aside for a minute. What you have with these two are college kids who fell in love and moved into doing what everyone seems to want to do with their life. They have a small 5 bedroom home, they hang out with their friends and family, the cook meals for each other and they love "regular" food.

When you see these two together, you really see two people in love. Too often, we see these "celebrity" relationships that appear too forced. Sure, with all of the drama around them, we really seem to "grub" on this. No, it isn't because we want to see them fall in love and live Happily Ever After. I honestly believe we want to see them fail. With a true romance, however, we want to see them succeed.

This success doesn't come from overcoming obstacles. We want to see the success of the couple just simply being happy.

We have to remember that in romance, not only is the central storyline supposed to be the romance and the relationship, but we want to have them succeed. I always say that when I close the book, I want to know that the hero and heroine are still living in their cozy little home we left them in.

And with William and Kate, I want the same thing. I want to know, without the cameras and the drama, that they are hanging out together in their small little house. I want to have that image that he comes home from work and they kick back on the sofa, sitting in trashy sweats and eating nachos while they watch the latest edition of Desperate Housewives or The Office. Heck, the dream world is that we know they watch Family Guy.

The point is, keep it real people~

Scott

Question from a Writer - More Baggage Than An Airport

Could you maybe clarify the difference between "too much baggage" and "good internal conflict"? I think I get what your saying, but characters do need a good dose of internal conflict.

This is really a good question and I have to admit that a lot of writers struggle with this issue. You are not alone and honestly, much of the problem with this stems from feedback that you have likely gotten from critique partners. Of course, in turn, a lot of writers pass this on to other people as well.

Let's start with good internal conflict. This is something "emotional" and "personal" that drives a character to do things they do, act they way they do, and say the things they do. In essence, this is material that comes from their personality. The internal conflict is something emotionally and personal that the characters have to work through to move on to the next level in their life.

Now, the problem here stems from asking yourself what led the characters into acting and behaving this way. This is where all of that external baggage comes into play. In all likelihood, someone (or even you did this personally) asked you "Why is your character acting this way? You need to have a reason for the character to do this." That part is true, but you have to understand that people in general act and behave in a lot of ways without an extensive history or a lot of baggage. In other words, you don't need to go overboard.

Think of it this way. Your heroine is the President of a company. She worked hard in school, she knew what she wanted and she clearly demonstrated that she is the right person for the job. Enter the hero. Maybe he is just a neighbor that she meets at a neighborhood block party. So, what is her internal conflict. She sees that it is important to separate business from pleasure. We don't need to create a big drama of a past boyfriend, or a father that mentally abused her for now doing well in school. We don't have to add in sexual relations or abuse that happened in college. She just has to decide if she can be the corporate powerhouse and be a simply woman in love. That's all you need.

The simple truth is that stories with too much baggage become unbelievable. Readers cannot relate to ALL of the problems the characters have. Along the same lines, if this was happening in the real world, the odds are there would be no romance because the characters would have too many other things to worry about.

The answer? Keep it simple. Your plot can be about the growing attraction. We can see the characters trying to deal with these internal conflicts and not bog it down with the extra plot stuff. You don't need to have all of the extra baggage just to make it interesting. Let the romance and the characters do it for you.

Scott