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10 Ways to Use Backstory in a Novel or Memoir

September 11, 2024

When we consider backstory, we see it is a crucial element in any novel or memoir. Backstory adds depth and complexity to characters and plot. But how do you use it effectively without overwhelming your readers or slowing down the narrative? In this post, we’ll explore 10 ways to use backstory in your writing, and we’ll highlight some common mistakes to avoid.

What Is Backstory and Why Is It Important in Writing?

Backstory refers to the events and experiences that happen before the start of your novel or memoir. It’s what shapes your characters’ motivations, fears, and desires. When used well, backstory adds richness to your narrative and helps readers connect with your characters on a deeper level.

10 Ways to Use Backstory in Memoir vs. Novels

For memoir writers, backstory functions a little differently than in novels. Since a memoir is a reflection on the author’s real life, backstory often serves to contextualize key moments. While novelists create fictional pasts for their characters, memoir writers use backstory to explain personal events, emotional growth, or formative experiences that influence the main narrative.

Memoir backstory also has an added layer of authenticity and emotional resonance because it’s grounded in reality. However, like in fiction, memoirists must balance how much of their past they reveal at once. The trick is to provide enough backstory to make the present compelling without overwhelming readers with unnecessary details.

1. Drip Backstory in Slowly

Instead of overwhelming readers with all the details at once, reveal your character’s past gradually. A slow, steady reveal builds intrigue and keeps readers invested.

What Not to Do: Avoid info dumps—long, dense passages of backstory that stop the story in its tracks.

2. Make Backstory Relevant to the Plot

Use backstory to explain character motivations or drive the plot forward. If a backstory detail doesn’t affect the present, leave it out.

What Not to Do: Don’t include backstory that doesn’t have an impact on the character’s current journey or decisions.

3. Reveal Backstory Through Dialogue

Let characters naturally reveal parts of their backstory through conversations. This adds depth without slowing the plot.

What Not to Do: Don’t make characters awkwardly state known facts. Dialogue should flow naturally, not feel like an exposition dump.

4. Use Flashbacks Sparingly

A flashback is a narrative device that shows events from the past as if they’re happening in real time, in a fully dramatized scene. This allows the reader to experience the moment vividly, as though it’s unfolding in the present. Flashbacks are powerful but should be used with caution. A well-placed flashback can shed light on pivotal moments in a character’s past.

Memoir writers often use flashbacks to return to specific memories that explain personal transformations or life-changing events. Just like in fiction, memoir flashbacks should illuminate something relevant to the current timeline.

What Not to Do: Too many flashbacks can disrupt the pacing of your novel or memoir.

5. Tie Backstory to Character Motivation

Ensure that your character’s backstory explains their present behavior. This gives readers insight into why your character makes certain choices.

What Not to Do: Avoid backstory that feels disconnected from the main plot or doesn’t influence the character’s actions.

6. Show, Don’t Tell

Instead of telling readers about your character’s past, show how it impacts their present through actions and behavior. For example, a character with trust issues may hesitate to form close relationships, hinting at their backstory.

What Not to Do: Don’t rely on long internal monologues to explain the past.

7. Use Sensory Details for Backstory

Ground backstory in sensory experiences like smells or sounds. This makes the flashback or memory more vivid and emotional for readers.

What Not to Do: Avoid sensory overload. Too many details can overwhelm the reader and detract from the main story.

8. Let Readers Fill in the Gaps

Allow readers to infer parts of the backstory on their own. This can create a sense of mystery and make the eventual reveal more satisfying.

What Not to Do: Don’t leave critical parts of the backstory too vague—readers need enough information to understand the story.

9. Show How Backstory Affects Relationships

Backstory is essential in showing how characters’ relationships evolve. Conflicts or bonds formed in the past can explain present tensions or alliances.

What Not to Do: Don’t let backstory drive all character dynamics. Present interactions should develop relationships, too.

10. Use Backstory to Create Conflict

Use unresolved issues from the past to add tension to the current plot. A buried secret or a past failure can create conflict and keep readers engaged.

What Not to Do: Don’t let the backstory overshadow the main plot. The past should enhance the present, not dominate it.

Avoid These Mistakes When Applying Any of the 10 Ways to Use Backstory

Don’t Overload the Beginning: Introduce backstory gradually; readers don’t need to know everything upfront.
Avoid Clichés: Overused tropes, like tragic childhoods, can feel stale unless you bring a fresh angle.
Don’t Use Backstory as a Crutch: Characters should still be accountable for their actions, regardless of their past.

In Conclusion: Backstory, when used effectively, can enhance the emotional depth of your novel or memoir. By introducing it gradually, making it relevant, and tying it into character motivation, you’ll keep your readers engaged without slowing down the action. Mastering the balance between past and present will enrich your story and deepen the connection between your characters and your readers.

Backstory: Writing from the Rear View Mirror

May 6, 2019

YOU KNOW HOW THINGS LOOK DIFFERENT IN THE REAR VIEW MIRROR? A backwards glance can offer us a new perspective on where we’ve been. Like a literary rear view mirror, backstory lets readers know where we—or our characters—have come from. In doing so, backstory can reveal a character’s motivation, which, in turn, may elicit sympathy for that character’s present, less-appealing actions or attitudes.

What is backstory?

A definition
Whether we’re writing memoir, fiction, or a piece of literary journalism, backstory gives context to the story being told. It comprises events—internal (an anxiety attack, for example) or external (loss of a child, for example)—which have occurred before the story starts and are relevant to the story being told.

For example
In a story about a dissolving marriage, the loss of the couple’s child would certainly be relevant. If the child died before we meet the couple, then the death and the characters’ subsequent emotions are backstory—relevant past events.

However
In a story about a woman wanting to break the World Land Speed Record, the loss of the main character’s best friend’s child would likely not be relevant to the unfolding of the main story thread.

How can we use backstory most effectively?

Wait, wait, don’t tell me!
Opinions (of course) vary about how soon is too soon to incorporate backstory. For instance, brilliant film-and-novel-writing guy Robert McKee of STORY fame says to avoid backstory completely for the first three chapters! He believes this gives readers a chance to attach to the forward-moving story, creating a reason for them to care about what’s come before.

Other quite successful writers, however, actually start with backstory. In fact, thriller writer Julie Compton and I created a backstory workshop based on her well-received novel RESCUING OLIVIA, which introduces a fairly lengthy backstory passage quite early in the book. (CLICK HERE to read a post that uses RESCUING OLIVIA’S opening for an example.)

It is typical, though, for writers to hit the ground running. They’ll often start a first chapter in media res (in the middle of the present action), and then, in chapter two, turn back to consider earlier events to give their opening context.

Just say no to the info dump!
An “info dump” is a big chunk of information—especially backstory—“dumped” onto the page all at once. Whether your dump truck delivers your backstory via dialogue, narration, or internal narrative, readers will have trouble processing, and thus, remembering, backstory given in too big a lump.

Breadcrumbs
Instead, think of backstory as breadcrumbs. Scatter small bits along the unfolding story path, informing your reader of what’s happened in the past on a need-to-know basis.

Ways and means committee
Among other techniques, you might deliver backstory via

flashback (a past experience given in scene—including sensory detail and a “real-time” unfolding of events)
dialogue (your characters simply discuss events that happened before the story started)
or as internal narrative (your character remembers events and considers them internally).

Light touch
No matter how you deliver it, though, use as light a hand with backstory as you can. Err on the side of less is more.

Novel-writing resources

Enough about me! What do other folks have to say about backstory?

I’ve already cited Robert McKee’s STORY, but it bears repeating—and reading.

Tom Farr of The Writing Cooperative has some good pointers in his “The Art of Revealing Backstory,” up on the TWC site.

You might also like this WRITER’S DIGEST article: “How to Weave Backstory Into Your Novel Seamlessly,” by Brian Klems

Finally, if you want to thumb your nose at my light-hand-with-backstory approach, here’s a super-successful memoir that shovels in about one full ton of backstory—in pretty large doses—and does so beautifully: WILD, by Cheryl Strayed.

***

Thanks to Caleb Whiting on Unsplash for Creative Commons photo.

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June 14, 2021

From one writer to another

As a writing coach (and as a writer) I’ve gotten to walk beside many other writers on their creative journeys. Wherever you are on your writer’s path, I hope what you find here helps you feel seen, well met, and encouraged to do the single most important thing a writer can do: keep going.

A writing coach’s welcome

Hello, dear writer. It’s a brave and wild undertaking, writing a book. Wondering how a writing coach might help? Whether you’re writing fiction or nonfiction, a novel or a memoir, you’ll find a treasure trove of articles here to support and inspire you—and to let you know some of what a writing coach might mean for you. I’m glad you’re here. May you discover exactly what you need among these pages.

Begin Here

I’m writing coach Jamie Morris

Over the last two decades, I’ve helped many writers shape their stories—and find and develop their voice. In return, they’ve deeply influenced my understanding of what it means to be committed to a creative process. Now, although I still meet with a few writers one-on-one, I’m elbow-deep in new projects—like books and podcasts. It’s so exciting to have new avenues to share what I’ve learned! Stay tuned.

Meet Jamie

Coaching resources & support

Throughout these pages, you’ll find practical and meaningful support—for the craft and the process. You’ll see blog posts like “Why Your Story Matters” and articles on topics like book-writing and choosing a writing coach, as well as links to off-site literary resources, under the Resources for Writers tab. (I’m also offering limited, select consultations to writers who are considering their next step. So I might be a resource for you, too!)

To Explore

Let’s connect

Writer’s blog: tips and inspiration

Master the Art of Showing, Not Telling: A Curated Resource for Writers

Master the Art of Showing, Not Telling: A Curated Resource for Writers As writers, we often hear the advice to “show, not tell,” but putting this into practice can be one of the most challenging aspects of storytelling. To help you deepen your understanding and refine this essential skill, I’ve… Read more… →
Why Butt-in-Chair Doesn’t (Always) Work for Writers

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Am I Even a Writer? On Writing Identity and Practice

Am I Even a Writer? On Writing Identity and Practice I’m excited to share that I’m working on a new book titled Am I Even a Writer? This quick-read, available on Amazon in January 2025, explores questions at the heart of what it means to be a writer, including issues… Read more… →
6 Types of Writing Practice to Help You Become a Better Writer

Whether you’re just starting your writing journey or looking to improve your craft, writing practice may be helpful to you. Here are 6 types of writing practice to help you become a better writer. Each method helps sharpen different skills, offering you a variety of ways to develop your writing… Read more… →
10 Ways to Use Backstory in a Novel or Memoir

When we consider backstory, we see it is a crucial element in any novel or memoir. Backstory adds depth and complexity to characters and plot. But how do you use it effectively without overwhelming your readers or slowing down the narrative? In this post, we’ll explore 10 ways to use… Read more… →
How to Plot Your Novel Without Losing Your Mind

If you’re a writer looking to plot your novel without feeling overwhelmed, you’re in the right place! Whether you’re just getting started or stuck in the middle, plotting doesn’t have to be complicated. This guide will show you how to structure your story, build tension, and keep your readers hooked—without… Read more… →
Why Your Story Matters in Today’s World

As a writer, you’ve probably heard that little voice in your head—the one that whispers, “Is my story really worth telling?” Let me assure you, it absolutely is! Whether you’re penning the next great fantasy epic or crafting a heartfelt memoir, your unique voice brings something to the world that… Read more… →
“Novel” Solutions for Writing a Novel

In this article, you’ll find some “novel” solutions for writing a novel. Based on tarot and oracle cards, the ideas below will give you concrete, yet imaginative, ways to home in on and resolve stuck places in your book or writing process. You’ll need a tarot or oracle deck for… Read more… →
A Memoir Book Coach Can Help You Write a Book That Sells!

A memoir book coach knows what agents and publishers are looking for. She can help you prepare your manuscript to give it the best chance of success. She’ll also guide you as you prepare your marketing materials. These include query letters, synopses, and a nonfiction book proposal (if you need… Read more… →
Writing Coaching for Older Writers

In the past week, I’ve been contacted by four writers, all in their sixties or seventies. Each of them is relatively new to writing. And they are all excited to finally embark on their long-held writing dreams. But where to start? When I offer writing coaching for older writers—perhaps like… Read more… →
Writing Coaching Inspiration: One River Is Like Another River

Working with writers can be tricky. They’re on a wild and unpredictable journey. As a coach, I want to help—but sometimes a writer’s goals can prove out of their (current) reach. That’s when I reach deep into my bag of writing coaching inspiration. I need to pull out something that… Read more… →
A Memoir Coach and a Wild Writing Exercise

As a memoir coach, I’m always on the lookout for fresh writing exercises. In particular, I love memoir writing prompts that invite us to see past experiences differently. This particular memoir exercise is a weird trip. It will turn your writing—and your insights—inside out! Called “Cut and Paste,” the exercise… Read more… →
Why Hire a Book Coach: Jen’s Story

Perhaps you’re wondering, Why hire a book coach? Jen’s story, below, will give you a novel writer’s first-hand experience of working with a professional book coach. When Jen first contacted me, she’d completed a Young Adult (YA) novel and had already been under contract with a literary agent for a… Read more… →
Book Coach Tips for Writing a Successful Novel

As a professional writing coach, I always want to support writers in their quest for success. This month, my post “Book Coach Tips for Writing a Successful Novel” focuses on the most important aspects of novel writing. I also include resources that will help you level up your novel-writing game.… Read more… →
Writing Coaching: The Hard Stuff

I’ve been in the trenches, coaching writers, for well over a decade. From long experience, I can tell you that, with writing coaching, the hard stuff is the stuff that can make or break a career. And by “hard stuff,” I mean whatever you currently don’t have in your writer’s… Read more… →
How to Write a Fantasy Novel: Quick Tips!

Wondering how to write a fantasy novel? As a professional writing coach, I’ve learned that following a few important guidelines can make all the difference! Here are some magical tips to help you write fantasy fiction, from me—and NEW YORK TIMES best-selling fantasy author Lev Grossman. Quick tips for writing… Read more… →
How Long Should a Novel Be?

IN THE BOOK WRITERS’ CRITIQUE GROUP I LEAD, we recently discussed the differences between works of narrative fiction. While word count is not the only distinguishing feature, it’s certainly the easiest to grasp. Perhaps you’re wondering, “How long should a novel be?” As a professional writing coach, I’m asked about… Read more… →
Outline Your Novel with ChatGPT

Did you know you can outline your novel with ChatGPT? No? Me, either. But I asked my super-smart techie novelist friend MK Swanson if she had used ChatGPT, and she said she had. Specifically, she told me that she now believes “novelists can use ChatGPT to supercharge their process. For… Read more… →
Book Writers’ Coach

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How to Write a Mystery: 10 Tips

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Writing Young Adult Fiction

If you’re writing Young Adult fiction, also known as YA, you’ve probably already created an angsty, yet sympathetic, teenage main character (MC). What else do you need? Well, when we’re writing Young Adult fiction, we first need to give our angsty MC a problem to solve. We’ll also want to… Read more… →
Tarot’s Judgment: Your Writing Coach

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Tarot for Writers: 9 of Coins

When we writers consult tarot and see the 9 of Coins, it may signal a high-five from our muse! Have we graduated in some way? Had a step up in our writing life? Have we made the leap from student or apprentice to master of our writing domain? If so,… Read more… →

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Jamie Morris is an outstanding resource for writers who want to reach the pinnacle of success. She’s a warm, encouraging angel on your shoulder, but she’s also got the skills, experience, and good judgment to help you vanquish your weaknesses and capitalize on your strengths. If you’re a writer with serious ambitions, work with Jamie. —Elizabeth Sims, YOU’VE GOT A BOOK IN YOU: A Stress-Free Guide to Writing the Book of Your Dreams (Writers Digest)

Hey, J. Just wanted to say “THANKS!” for the coaching session today. It was

amazingly productive. I now have actionable clarity for revising one novel that’s been giving me grief, and finishing another that had stalled in the middle. Pretty good work for one hour, no? —Ryan G. Van Cleave, Head of Creative Writing, Ringling College of Art and Design; author of THE WEEKEND BOOK PROPOSAL (Writers Digest) and MEMOIR WRITING FOR DUMMIES (John Wiley & Sons)

For decades, writing was a comfort, and when life was turbulent an anchor to help steady my boat. In my fifties, however, it dawned on me that I actually wanted to become a writer. A really good writer, if that was possible. I read an article in THE NEW YORK TIMES extolling the virtues of writing coaches and how, if you were lucky enough to find a good one, you might very well become a good writer. And so I found Jamie Morris. Fast forward five years and a few books’ worth of short stories, and I believe I have become a much better writer. I could wax poetic about Jamie’s coaching genius, but I won’t. It would spoil the fun. Instead, I’ll let you discover Jamie Morris for yourself—this writer’s best-kept secret. —Hugh Holborn, The After-Fifty Adventureman

Whether you are struggling to finish a manuscript, ready for a developmental editor,

or simply need someone who understands you, Jamie Morris is incredible. She maps out action plans, gives firm yet reasonable goals, and takes the terror and mystery out of the writing process so you can get to the work at hand. Do yourself and your writing life a favor. Hire her immediately. She’s the best investment you’ll ever make! —Sasha Graham, TAROT DIVA (Llewellyn)

Jamie Morris is a true genius at her craft. She’s intelligent and thoughtful, with bone-deep wisdom about how to make a story. It took me fifteen years to get serious about this book, and I swear on my stack of all-time-favorites that I was waiting to find Jamie. She’s the creative midwife of my dreams! —Heather Rosser

Still absorbing the awesomeness with Jamie Morris!

We nailed it! Amazing brains clicking together, and I now have a solid first act, broken down scene by scene. So many thanks for your dedication and willingness to stick it out, Jamie! —Anne Hawkinson, author, THE MYSTERY AT MOZ HOLLOW; co-author, SCOTLAND’S KNIGHT, Royal Palm Literary Award winner

The foundation you have helped me set will help me to write many books with audacity and finesse—a great combo to have. They don’t call you the guru of writing for nothing. —Dr. Simi Ahuja

Jamie: I am so freaking in love with you, this process, and my book! People dread asking me how I am because I tell them in nauseating detail how much I love my book and my writing coach! I feel like I won the lottery! —Cara Gubbins, PhD, THE DOLPHINS OF HILTON HEAD (University of South Carolina Press); DIVINE BEINGS: The Spiritual Lives and Lessons of Animals

I’ve always dreamed of being a writer. There’s been 65K words of what I now know is backstory sitting in a file on my computer for over a year. It seemed more a journal than the memoir I was aiming for. Would anyone want to read what I’d written? Does my story really have what it takes to touch hearts? If so, how can I make it most effective?

The answer to all those questions showed up in my inbox one morning, in the form of a magazine article on writing coaches. Jamie was the featured coach. Within an hour of reading the article, Jamie and I were on the phone. I knew before I’d hung up—she’s the answer to my questions.

Although I’m otherwise a stranger to her, Jamie has an innate sense of where more is lurking in my memories that will add depth to the story. She’s a great listener and gives exceptional feedback that has enabled me to believe I am a writer. The woman is a genius. I didn’t know a “low point” from a “climax,” and now I’m researching agents. I cannot recommend Jamie enough. —Terrie Reynolds

Jamie, I just wanted to thank you for all of your time and mental energy. I felt strange about this story for the longest time. I think it was an awful mess, partly due to how I was holding it at arm’s length and trying to think about some vague idea of what Young Adult books should be. Once you told me to pay attention to the emotional beats, it got SO, so much better.

You are such a great writing coach. I’m incredibly grateful and just stunned at how much ground you covered. Oh, my gosh—I learned a ton from every session! Thank you so much. —Megan Cooke, writer, videographer; graduate, Ringling College of Art and Design Creative Writing Program

Jamie, thanks for the session Friday morning. It was helpful on so many levels. You are someone to treasure, for sure. I’m so glad you are part of my team. All my interactions with you make me—and my world—saner, happier, more optimistic. —Beth Lambdin, author of LOVE YOU, SWEETIE

Jamie Morris is such a fantastic coach! Her approach is very intuitive, so no matter what I’m working on, from plotting to character development, Jamie always has an intelligent, unique perspective to present. If you’d like to take your writing to another level, I strongly recommend Jamie! —Alina Smith, songwriter, music producer, at LYRE

Jamie! You’re so wonderful!

Our time together is so magical. Thank you for reigniting my passion and gifting me focus and insights. I’m thrilled about the new direction for my book. So profoundly grateful for you and the forces that guided us together for this. —Kristen Schneider, author, YOUR LIFE IS MEDICINE

Jamie, I do believe you are this story’s fairy godmother. You are not only making sense of what’s already been done, but giving a new perspective on what is yet to be. Big Shared World is better thanks to your involvement. I am better because of you. Wow! —Colleen Waterston, BigSharedWorld.com

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Plotting a Novel: 3 Tips (with Tarot!)

April 13, 2020

Tips for Plotting a Novel

TERI ANPOWI SAVELIFF AND I WERE TAROT FRIENDS before we were writer friends. Many’s the evening we’ve spent on the phone throwing cards for one another or sharing images from our newest decks. Then I read her charming NaNoWriMo-inspired novel, SIGNATURES, and was delighted to learn we had a whole other dimension of commonality to explore—including plotting a novel!

In this post, Teri draws from our shared worlds, offering three ways to use tarot—a system of evocative visual images—to develop your novel. Here are her tips for plotting a novel.

* * *

Before I published my first novel, SIGNATURES, the main characters and the bookshop where they worked had been inhabiting my head for decades. But characters, and even settings, have lives of their own, and they may insist on telling their story in ways you might not anticipate. As an avid student of tarot, I knew the cards would play a role in my novel. And I was right. Once tough-talking, tattooed Paloma—complete with her tarot deck—strolled into the bookshop and insisted on joining my cast of characters, she and her cards played a very large part in my novel, indeed.

In the past, I’ve often used the images, symbolism, and divinatory meanings of tarot cards to illustrate a point or move a plot along. In SIGNATURES, however, I didn’t merely toss the appropriate card into the story at the right time—I conducted actual readings for my characters. If you have some experience with tarot, I highly recommend this strategy when you need additional backstory for a character, want to test a character’s mettle, or want to explore secondary themes in your novel.

You don’t need to be a tarot expert to find the cards useful, however! Here are three different ways you can use a deck of tarot cards to explore your novel.

Tip #1 for Plotting a Novel

Know a smidge about tarot? Conduct a tarot reading as part of a scene.

One late addition to my cast of characters was Hanz Lippman, an author clinging to past achievements. He enjoyed holding court in the bookshop and flirting with coeds studying his book in their literature classes. I didn’t anticipate developing his character, further, though, until Paloma conducted a reading for him:

“Don’t draw more than one card,” commanded Hanz. “I don’t think I could stand any more than that.”

Paloma made a face and drew a solitary card. It depicted a young man, a small dog nipping at his heels. The man was perilously close to the edge of a cliff, but seemed unconcerned.

“The Fool,” said Paloma. “You seem to be at the beginning of a journey or undertaking.”

“Ha!” crowed Hanz. “I knew these cards were nonsensical bullshit. Tell me, dear, what sort of journey am I beginning? What project am I undertaking?”

“Well, this is usually why my client and I work together,” Paloma answered irritably. “I’ve told you, I’m not a fortuneteller. I would also draw a few more cards to answer the question. One card doesn’t always say enough.”

“My sweet little dove,” Hanz said with a smile, “I am far too old to be a fool, at the beginning of a journey or otherwise. You should have drawn an old man … a man without even a dog to accompany him on his travels.”

“The Fool can also represent someone at the beginning of a spiritual journey … or an emotional journey,” Paloma added.

“None of this resonates at all,” Hanz insisted stubbornly. He turned the card face down and slid it back toward Paloma.

“Of course, you could also be getting ready to walk right off the cliff,” Paloma retorted. “Not looking where you’re going, too confident in yourself. The good news is, the fall won’t be fatal.”

“Good news for whom?” teased Hanz. “I have a feeling you wouldn’t mind if I broke a bone or two.”

Paloma smiled noncommittally and gathered the cards into a single stack.

This reading added some depth to Hanz’s character and inspired me to create for him a much bigger role in my novel.

Tip #2 for Plotting a Novel

Not a tarot reader? Just one image can add intrigue or foreshadowing

Even a single card can add dimension or reinforce a theme in your story. The card may appear very straightforward, such as the card of Justice, usually depicting a blindfolded woman with a sword in one hand and a set of scales in the other, or The Tower, often shown with lightning striking its peak and people falling from its windows.

In the case of this little scene, Maggie, the main character in SIGNATURES, draws her own card out of curiosity, and that card adds a bit of foreshadowing.

[Maggie] spied Paloma’s tarot deck sitting on the low round table not far from the window. On an impulse, she shuffled the cards and then drew one from the deck. She had to laugh. “The Lovers,” she smirked.

It so happens that Maggie pulled this card just before she goes on a date!

Tip #3 for Plotting a Novel

Don’t know the first thing about tarot cards? Tarot is character-centric! Let the figure on a card suggest an attitude or trait for one of your less-developed characters. (P.S. The internet abounds with pictures of tarot archetypes. Just Google “tarot cards” for a free treasure trove of inspiring images!)

You don’t need any experience with the cards to put them to work as a literary aid! Since tarot’s visual language can be said to be universal, even the most random tarot draw can spark fresh ideas. For instance, If you are looking to add a character to your story, or describe a character you haven’t fleshed out, you could draw a card to give your character a face.

One of my favorite decks, the GAIAN TAROT, depicts people from numerous ethnic backgrounds and cultures. When I was looking for a bit more information about the character of Paloma after she barged unexpectedly into my book, the GAIAN Seven of Fire suggested her multiple tattoos and air of independence.

Whether you utilize a few captivating illustrations on the internet, purchase an intriguing deck of your own, or become a full-blown tarot enthusiast like me, tarot can enrich and add dimension to your writing endeavors. Above all, have fun exploring a new tool!

* * *

WRITING (AND TAROT) INSPIRATION

If you want to try this tip for plotting a novel there are literally thousands of tarot decks to choose from. You might visit Amazon and search “tarot decks,” to get you started. However, the AECLECTIC TAROT site might be a better place to start. AECLECTIC offers decks categorized by art style, as well as sample images of all decks and even reviews of many decks.

Corinne Kenner’s TAROT FOR WRITERS offers many approaches to applying tarot imagery and meaning to enhance your creative writing project.

You’ll also find dozens of tarot-based writing prompts on this website. Just search “tarot,” using the magnifying-glass icon you’ll find in the top right hand corner of every page.

Writing coach

Need help with your book? Wondering “why hire a writing coach“? I’m available for book coaching and manuscript review! And check out “Should I Hire a Writing Coach” in THE WRITER magazine.

* * *

Thank you to U.S. Games Systems, Inc. for kind permission to use the image of The Fool, from the RIDER-WAITE (SMITH) TAROT.

Thank you to Llewellyn Worldwide for kind permission to use the image of The Lovers from the LLEWELLYN TAROT.

Thank you to Joanna Powell Colbert for kind permission to use the image of the Seven of Fire, from her GAIAN TAROT).

And special thanks to Teri AnpoWi Saveliff for her generous sharing of a few of her tarot-centric novel-writing tips and tricks!

Dublin Murders: Is the Book Always Better than the Movie?

January 6, 2020

JILL AND I MEET EVERY SUNDAY TO WALK, talk books and life, and watch something on TV. Lately, our book chat and viewing choice have coincided as we’ve watched—and discussed—DUBLIN MURDERS. This eight-episode series is based on two Tana French mysteries: IN THE WOODS and THE LIKENESS.

Both books have powerful, intricate plots. So we were interested to see that screenwriter Sarah Phelps’s television adaptation has dovetailed their plot lines—creating a single interwoven narrative of the two stand-alone mysteries.

The novels (spoiler alert!)

IN THE WOODS: When Detective Rob Ryan was a kid, he and two of his friends went into the woods near their home in Knocknaree, Ireland, to play—but only Rob came out, and he remembers nothing of what happened that day. Author French flings wide a door on the possibility that the mysterious disappearance of the two other children had a supernatural cause. Certainly, the incident continues to haunt Rob twenty years later, its long shadow creating an enticingly spooky atmosphere for the present investigation, the murder of young Katy Devlin, whose body was found in those same woods.

Rob and his partner, Detective Cassie Maddox, are assigned the case, giving Rob the opportunity to reopen inquiries into the still-unsolved disappearance of his childhood friends. But what only Cassie knows is that Rob—who was once called Adam Ryan—is the same kid who emerged, alone, physically unharmed but profoundly disturbed, from the Knocknaree woods in 1984.

Having hidden his identity for twenty years, Rob is confident no one will associate him with young Adam. This identity sleight of hand is important because, if anyone besides Cassie knew who he was, Rob would be thrown off the case—and now that he’s back in the woods, Rob is not going to rest until he finds out what happened to his friends, and to Katy Devlin, and whether the tragedies are connected.

THE LIKENESS: French’s second novel, THE LIKENESS, picks up some months after IN THE WOODS ends. Although Rob is mentioned here, he is no longer a relevant character; it’s Cassie’s story entirely. While an unlikely coincidence pulls the trigger on this story, there is no hint of the uncanny in the book—only a healthy dose of psychological drama. Hoping to tease out her doppelgänger’s killer, it is Cassie, now undercover for “Operation Mirror,” who is playing cat and mouse with her identity.

The screenplay (spoiler alert!)

DUBLIN MURDERS: As I mentioned, for the TV production, the plots from these two novels have been twisted together to make a single story. This has been accomplished in several ways. Among them is the anticipated construction of a roadway, which originally threatened just the titular forest of IN THE WOODS, but now also touches the manor house at the center of the action in THE LIKENESS.

Also, in the DUBLIN MURDERS script, the plot from THE LIKENESS has been twisted to create a follow-up to a tragic childhood accident for Cassie—one that’s scarred her psyche every bit as much as Rob’s mysterious experience in the woods has scarred his. But while in the original telling of IN THE WOODS Rob’s backstory is as deeply entwined with the current-day tale as the vines winding among the trees of the Knocknaree woods, neither IN THE WOODS nor THE LIKENESS includes much of Cassie’s backstory at all. From them, we discover little about her that predates her time as an undercover officer, just prior to her partnership with Rob on the Dublin Murder Squad.

But, like author French does with the disappearance of Rob’s young friends, screenwriter Phelps imbues the tragedy in Cassie’s childhood with more than a hint of the supernatural—developing both a parallel to Rob’s mysterious backstory and giving the heretofore no-nonsense Cassie as tangled a personality as Rob’s by doing so.

With this addition, Phelps inflates an issue of identity confusion that’s at the foundation of THE LIKENESS’S murder investigation. In the TV version, when Rob’s and Cassie’s stories diverge, and Cassie leaves Rob alone with the investigation of the Knocknaree murder to go undercover on Operation Mirror, that now-sensationalized thread colors Cassie’s experiences, quite lividly.

Sensational? Or sensationalized?

Jill and I agree that DUBLIN MURDERS is a dynamic, suspenseful—often pulse-raising—adaptation. It was exciting to find ourselves in the midst of unfamiliar narrative territory, rather than just watching a stylish retelling of books we know so well. But for me, this retelling feels over-hyped, relying as it does on Cassie’s manufactured—gratuitous—response to an early tragedy. (In this opinion, Jill and I are not in absolute agreement.)

As much as the series titillated me as a viewer, as a reader, I leave it feeling overstimulated, as if I’ve eaten an entire fluffy cone of hot-pink cotton candy and now there’s too much sugar racing through my brain. (I’m planning an early 2020 re-read of THE LIKENESS to settle myself back down!)

Books vs. movie adaptations

When I discussed my concerns about DUBLIN MURDERS with ghostwriter/freelance editor pal Tom Wallace, he said, Reading a book is more active, and watching a movie or TV show is more passive. Books demand you be engaged. You’re doing some work, making more of a contribution to the story. When you read fiction, you have to use your imagination, bring something to the characters, the setting. This develops more intellectual muscle [than watching films], the ability and inclination to invest real thought and imagination.

Tom also mentioned the compression of story common in movie adaptations, citing Michael Chabon’s novel WONDER BOYS for example, saying, Reading the book is a much richer experience. If you read the book first, when you’re watching the film, you get to spots where you think, “It’s thin right there,” because the screenwriter [Steve Kloves] has had to connect two important plot issues with a very thin line. They’re under a time constraint. Everything has to fit into 120 minutes. Because the screenwriter doesn’t have time to fully develop the threads between plot points, those spots can feel thin. But when you read Chabon, nothing feels thin; he doesn’t write anything he’s not going to write in a rich way.

(Interestingly, where Tom finds Chabon “rich,” Jill finds him dense and says she connected more to Kloves’s WONDER BOYS adaptation than to the novel.)

Episodic

I’m glad to say DUBLIN MURDERS doesn’t suffer from this sort of compression. Too often, though, while film adaptations may be true to the events of the book, they end up feeling episodic—quick-juxtaposing one important scene after the next. Although they may hit every plot point, as Tom says, they tend to do so without creating enough space, enough context for those points to unfold organically. Instead, transitions from beat to beat may feel abrupt, making for a fractured, staccato delivery of the story.

For example, six-part British mini-series WOLF HALL, based on Hilary Mantel’s stunning historical novels WOLF HALL and BRING UP THE BODIES (screenplay by Peter Straughan) and 2011’s JANE EYRE, based on Charlotte Brontë’s novel of the same name, exemplify this rapid-fire approach. In both cases, the movies rush through the intricate emotional landscapes evoked by the books, leaving me less than satisfied. Like Oliver Twist, watching them, I wanted to beg, Please sir, may I have some more?

(Jill, on the other hand, loves the 2011 version of JANE EYRE and credits screenwriter Moira Buffini with creating both a beautiful translation of the almost 200-year-old book and one that makes the story accessible to a contemporary audience. Also, while Jill did feel rushed by the WOLF HALL miniseries, the authority with which actor Mark Rylance brings to life historical figure Thomas Cromwell made watching WOLF HALL not only a worthwhile experience for her, but, she says, an awesome one!)

Back to Dublin

But let’s return to DUBLIN MURDERS, which, as I said, doesn’t suffer from Oliver Twist syndrome. Still, watching the show as a writer, editor, and lifelong reader, I found myself wondering about this adaptation business. For instance,

What does Tana French think of the screenplay? And other authors whose books have been rewritten for the screen? How do they feel about the adaptations of their work?
Does preparing a book for the screen necessitate significant tightening, tweaking, and manipulation? Is that simply a function of adaptation? Or is such treatment a reflection of our heightened, hyperbolic times?
How often are the often contrived screen versions of novels all that most people remember of the original books? And if they are, is that a loss of some kind? Or does it just preserve the work for our fast-paced world?

And the big question

Is the book always better than the movie?

I think it may be. And so does Tom. At least most of the time. And Rick Riordan, author of PERCY JACKSON AND THE OLYMPIANS, among many other books for younger readers, agrees. In a post on his site titled “Books to Movies,“ Riordan, who is famously unhappy with the adaptations made of two of his novels, writes,

…. very few books … are turned into decent movie versions … [T]he vast majority are dreadful adaptations…. Still, hope springs eternal…. despite the fact that I have never walked out of the cinema and said, “Wow, the movie was so much better than the book!”

Jill, though? She says, “If screenwriters are mining the story in a new way for the their medium, I’m all for that.” And she found a 2013 FLAVORWIRE article titled “10 Authors Who Loved the Film Adaptations of Their Books” to back up her contention that at least some authors are happy with how the movie version of their work turned out!)

But despite our differences of opinion, Jill and I are proving Riordan right in one thing: Regarding book-to-film adaptation, hope does seem to spring eternal—demonstrated in this case by the Jill’s and my mutual very high hopes for Greta Gerwig’s new version of Louisa May Alcott’s LITTLE WOMEN!

* * *

Thanks to writer friend Teri Anpowi Saveliff for sending me looking to Rick Riordan for his thoughts on film adaptations!

Writing a Memoir? Read Memoirs!

November 18, 2019

Are you writing a memoir?

If so, reading others’ memoirs can give you a boost! The work of published memoir writers can help you in a number of ways. For instance, you might find that the structure of an author’s story is applicable to the part of your life that you’re recounting. As a memoir writing coach I can provide the following recommendations to help you with your writing.

Story structure

WILD, by Cheryl Strayed, is a great example. While the main thread of WILD takes place in the story’s present, during which Strayed is hiking 1100 miles of the Pacific Crest Trail, the reader first meets Strayed at the low point of the story, about halfway through her hike. We’re then taken into a significant stretch of backstory, before being returned to her first steps on the trail. From there, Strayed dovetails backstory with tales of the trail, all the way to book’s end.

Tone and voice

Or, if you’re seeking the right voice for your story, you might consider the difference between the cool, journalistic tone of Jeanette Walls’s THE GLASS CASTLE and the sharp-tongued young persona of Mary Karr’s first memoir, THE LIARS’ CLUB.

Recently published

While all of these are wonderful works to learn from, if you’re aiming for a traditional publishing deal for your memoir, reading work that’s been published more recently (within the last five years) will give you a sense of what’s in fashion, memoir-wise. Taking your cue from what’s currently being sold, you might freshen up your own approach to improve your chances of capturing an agent’s interest.

Apply liberally to all genres: young adult, women’s fiction, self-help, sci-fi, fantasy!

These ideas are applicable to all genres. For instance, a few years ago a rumor was circulating through my writing world: A writer, deciding she wanted to write middle grade (MG) fiction for a living, started her new enterprise by reading two hundred recently published examples of MG.

As I heard it, after finishing that research, she wrote her story, taking into consideration all she’d learned from what she’d read—and got a two-book deal with a big-time publisher!

Now, I never confirmed the details of this story, so I can’t send you hieing off to read this woman’s no-doubt fabulous blog about her diligent investigation into what gets agents and editors to pull the trigger. But I can tell you this: From what I know about the wild and woolly world of publishing, this (mythical?) writer’s approach seems likely to get any would-be traditionally published writer out ahead of the pack.

Writing coaching

I’m available for book coaching and manuscript review! Check out “Should I Hire a Writing Coach” in THE WRITER magazine for more insights on hiring a writing coach.

Thanks to U.S. Games Systems, Inc., for kind permission to use the image of The Chariot from the DREAMING WAY TAROT. http://www.aeclectic.net/tarot/cards/dreaming-way/

Tarot Writing Prompt: Better Than 1000 Days

March 25, 2017

BETTER THAN A THOUSAND DAYS OF DILIGENT STUDY is one day with a great teacher. So says an old Japanese proverb. But you won’t even need a whole day for this exercise! You might, however, want to set aside an hour or two … perhaps with a cup of tea at your side. You’ll also want to gather some supplies: paper, a pen, and something to bookmark passages—highlighter? sticky notes? We’re going old-school, here!

Tarot writing prompt

First, choose your “teacher.” This would be a writer whose style you really admire. Grab several examples of her work—articles, books, essays, stories, poems, depending on her genre—to have at hand. Next, take your time browsing through the pieces you’ve chosen. Be on the lookout for passages (lines? paragraphs? scenes?) that are particularly pleasing to you, and bookmark them in some way.

After you’ve made it through your stack, revisit the passages you’ve marked. Now, grab that pen and a piece of paper and, simply, but with Zen-like attention, copy one (or more) of the passages exactly. This will give you almost a literal feel for the way the author puts together a paragraph (or composes a stanza or delivers a punchline). As you write, notice which parts of the passage give you particular pleasure to copy.

Once you’ve completed your copy-catting, take a few moments to name (in writing—bullet list, anybody?) what you think the writer is doing particularly well in that passage. Then, imagine how you might benefit from (further) developing the skill(s) the author demonstrates there.

FOR EXAMPLE
I picked a passage from the first chapter of Julie Compton’s Rescuing Olivia (used with permission) which I particularly admire.

“Mr. Mayfield?”

[Olivia’s] father looked up over the top of the reading glasses as if he was surprised to see Anders still in the room.

“Did I do something to offend you, sir? Is there a reason you don’t want me to see her?”

The man leaned back into his chair and sighed. “Olivia’s mother and I think that you have done quite enough for her, Andy. I’m sure the two of you have had a hell of a time together—God knows I cringe to think of the details—but it’s time for her to come home and be with family. If she’s lucky, that is.”

For a moment, Anders stood speechless, staring at him and trying to process the meaning of what he’d just said. What he’d just accused him of. If Anders had been a different sort of man, more like Lenny, he would have considered taking a swing at the guy. But if he’d been more like Lenny, he would never have been standing there discussing Olivia with her father. Olivia would never have been in his life.

“Are you saying you think I caused the accident? That it was my fault?”

Her father had turned his attention back to his damn papers, and he answered this time without even looking up. “You were driving the motorcycle, weren’t you?”

As I was copying out this passage (long hand!), I noticed how much I enjoyed the “For a moment …” paragraph. As internal narration, it both adds depth and meaning to the immediacy of the back-and-forth of the dialogue and balances it well. Also, I love the way it takes me winging out of the present of the scene with Olivia’s father into consideration of Lenny, a character I’ve yet to meet, but now am eager to—implying backstory, as it does so.

Not only does Compton’s use of internal narration and back story not slow the forward motion of the scene, but, somehow, she uses them in a way that creates suspense and builds tension. I’d like learn from this piece how to make internal narration do triple-duty in my own work—and tuck it in as seamlessly as Compton does!

UM … AND THEN?
Once I’ve completed this exercise, I trust my inner writer to take what it likes and leave the rest. At times, I find that I assimilate something of an author’s technique into my own work with little further attention. Evidently, in the words of my pal Kathleen (quoting a Zen master!), “The work will teach you how to do it.”

This post was inspired by the Hierophant, the teacher of the tarot deck. The Hierophant, who knows what’s worked in the past, suggests you learn from those who have been successful. In this way, you stand on a sturdy foundation as you prepare to make your own creative mark. Or, as my friend Daily Tarot Girl Kate said about the Hierophant, recently, “There’s something to be said for learning from people who have walked the path before you and using their way of doing things to save yourself time and energy.”

Here, the Hierophant is represented by Hermione, as “The Scholar,” from nasubionna’s Harry Potter Tarot (used with permission). Hermione is a character who studies conventional ways and wisdom—before putting her own brilliant spin on what she’s learned.