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Source: https://writers.stackexchange.com/a/47136
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/47136
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

# The bare minimum is not the backstory

The bare minimum that you need to show is not the backstory, but whether the MC is convinced about Matt's good character.

For instance, Arthur Conan Doyle does that by having Sherlock Holmes explain to Watson why he believes the good nature of the person they just talked to. Quite often the explanation is based on some cues that derive from the characters' backstory: a certain posture, or certain signs on the hands could indicate a certain profession, or the use of certain terms may indicate a good education, or a specific tattoo may indicate having travelled to exotic destinations. Sherlock Holmes has a way to connect these cues so that we the readers get a glimpse of the character backstory without the need to read it whole. In addition, by doing so, the conversation focuses on the details that are relevant to build tension relative to the plot, rather than forcing an information dump, pumped by unnecessary "I don't believe it" lines.

# Showing the backstory

If you need to show the backstory anyway, rather than showing through the eyes of your MC, then consider spreading it over the course of the novel. Matt can say whatever he wants, but unless he is a great actor, he will let both his habits and his past slip through his actions and look. It is an extended version of the Sherlock Holmes summary. He may claim to be a construction worker, but his hands have thin fingers like a musician, and his working boots are clean to a mirror. He may say that music is his hobby, and display a perfect pitch in that random occasion in which he recalls the tones of a dial phone.

The advantage of this approach is that you may make a few claims about Matt at the beginning of the novel, which foreshadow details that will be relevant later in the story for the progression of the plot. In this way you can keep the conversation between Matt and the MC to the bare minimum: "tell me the problem" - "tell me the facts" - "I'll pretend to believe you for now".

# Showing the backstory in a dialogue

In the extreme case in which you really need to show the backstory in a dialogue between Matt and the MC and still wish to avoid an information dump, then consider alternative options:

- MC and Matt have a common acquaintance. MC recalls some stories, mentions them in passing, skips to the next relevant fact.

- Matt is sufficiently well known to be mentioned in the press, on the media. MC may know him. Someone close to MC may know him, and mention _"are you that Matt that is famous because of...?"_

- MC has asked his "connection" to give him a file on Matt. The dialogue alternates between direct speech and short flashbacks of what the MC has just read.

- Matt is in great distress. As he recounts his backstory he skips jumping between the parts that he thinks may be relevant, and even these are cut abruptly as he realizes that there may be another piece of the backstory that is relevant: _"In the summer of '74 I went to Nevada for a .... actually, now that I think of it, in '76 I returned to Nevada for work. I went to the same place. And you know what? The lady at the reception was the same one that greeted me in New York one year ago!"_ and he may even slam his palm against the forehead as he suddenly begins to connect some of the dots. You can then use the MC to make him retell the relevant bits of it _"I lost you in Nevada. What happened in 1976?"_

- Matt is not in great distress. MC can only sit comfortably, and listen. Make sure you switch from direct speech to indirect speech for a long-ish flashback. We have some great answers on Writing.SE on how to deal with these. E.g. _"It is a long story," he said, and began telling of that trip to Nevada in 1974. He had just arrived at the hotel, and the lady at the reception..._ [This, however, would be the **telling** of the backstory, which you **show** in a flashback.]

Original score: 16