How do I reveal backstory in introductory chapters

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hearosvoice

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Hello! I'm writing a memoir but I struggle with plotting so I'm trying to soak as much knowledge from you novel writers as possible!

I'm guilty of approaching my project with an autobiographical approach, wanting to include so much compelling backstory from childhood even though the crux of my story is a medical malpractice incident in my late teens resulting in bodily damage culminating in (but not limited to) hospitalization for acute depression.

Tentatively, I start the book with the scene of me getting hospitalized for depression without revealing the medical malpractice root issue, then I go back to the beginning and proceed chronologically.

I almost feel my book overlaps with two genres: first a David Sedaris-like humor book where plot is less important, then a more proper narrative memoir story.

However, part of me insists the robust backstory events dating back to childhood is important both thematically and to the book's plot.

One major theme of my book is the loss of innocence. Or you could say my book is about "how I lost my sanity." Thus, it's important to establish the "before" world where I was confident and stable (and sane) before it deteriorates to the "after" world (as a result of abuse, abandonment, bullying, yada yada yada), whereby the medical malpractice incident is almost just like a symptom of a larger shift of my character/wellbeing.

In terms of plot, the medical malpractice incident takes place during the "after" world and the timing of the deterioration of my confidence and stability is therefore important to the crux of the plot because if I wasn't already so vulnerable I might not have suffered the incident. In fact, a cathartic event where I came out of the closet as gay was what ultimately rejuvenated my senses, priorities, and stability and prompted me to cease the erroneous and damaging medical treatment.

That said, I'm trying to figure out just how to reveal the backstory starting in chapter 2.

I'm trying not to make it feel like a laundry list of happy and fun anecdotes that simply imply "look at how innocent, happy, sensible, and confident I used to be!" then "look how effed up my family was and how mean kids at school were!"

Being gay is important to the book because it shaped my experience and in some cases was the explicit reason why specific friends and family members abandoned or abused me. It's also important toward my writing voice as I can be very campy and humorous as times.

Therefore, I'm wondering if I should frame my early backstory chapters in terms of me being gay, to present a conflict between my identity and personality and others around me and my conservative community that I grew up in.

I'm hoping that if i frame it this way, I can steer away from the "laundry list of anecdotes" vibe and create a sense of causes and effects and plotted action. Specifically, instead of just dumping a bunch a cute anecdotes of me as an imaginative gay child, I'm thinking about starting with an event where I got in trouble for wearing women's clothes to convey a conflict.

Basically, I'm trying to find a way to include these compelling and relevant backstory anecdotes in a meaningful way without just info-dumping and talking about myself in tangents. Establishing a sense of conflict between my being gay and my environment seems like a good way of achieving this.

Any other tips for techniques and ways in which I should reveal this backstory?
 
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cornflake

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Hello! I'm writing a memoir but I struggle with plotting so I'm trying to soak as much knowledge from you novel writers as possible!

I'm guilty of approaching my project with an autobiographical approach, wanting to include so much compelling backstory from childhood even though the crux of my story is a medical malpractice incident in my late teens resulting in bodily damage culminating in (but not limited to) hospitalization for acute depression.

Tentatively, I start the book with the scene of me getting hospitalized for depression without revealing the medical malpractice root issue, then I go back to the beginning and proceed chronologically.

I almost feel my book overlaps with two genres: first a David Sedaris-like humor book where plot is less important, then a more proper narrative memoir story.

However, part of me insists the robust backstory events dating back to childhood is important both thematically and to the book's plot.

One major theme of my book is the loss of innocence. Or you could say my book is about "how I lost my sanity." Thus, it's important to establish the "before" world where I was confident and stable (and sane) before it deteriorates to the "after" world (as a result of abuse, abandonment, bullying, yada yada yada), whereby the medical malpractice incident is almost just like a symptom of a larger shift of my character/wellbeing.

In terms of plot, the medical malpractice incident takes place during the "after" world and the timing of the deterioration of my confidence and stability is therefore important to the crux of the plot because if I wasn't already so vulnerable I might not have suffered the incident. In fact, a cathartic event where I came out of the closet as gay was what ultimately rejuvenated my senses, priorities, and stability and prompted me to cease the erroneous and damaging medical treatment.

That said, I'm trying to figure out just how to reveal the backstory starting in chapter 2.

I'm trying not to make it feel like a laundry list of happy and fun anecdotes that simply imply "look at how innocent, happy, sensible, and confident I used to be!" then "look how effed up my family was and how mean kids at school were!"

Being gay is important to the book because it shaped my experience and in some cases was the explicit reason why specific friends and family members abandoned or abused me. It's also important toward my writing voice as I can be very campy and humorous as times.

Therefore, I'm wondering if I should frame my early backstory chapters in terms of me being gay, to present a conflict between my identity and personality and others around me and my conservative community that I grew up in.

I'm hoping that if i frame it this way, I can steer away from the "laundry list of anecdotes" vibe and create a sense of causes and effects and plotted action. Specifically, instead of just dumping a bunch a cute anecdotes of me as an imaginative gay child, I'm thinking about starting with an event where I got in trouble for wearing women's clothes to convey a conflict.

Basically, I'm trying to find a way to include these compelling and relevant backstory anecdotes in a meaningful way without just info-dumping and talking about myself in tangents. Establishing a sense of conflict between my being gay and my environment seems like a good way of achieving this.

Any other tips for techniques and ways in which I should reveal this backstory?

This post is alllll over the place with different ideas and timelines and stuff, and I've no clear idea from it what your memoir is actually about.

You have 'one theme,' but then go on to define that different ways, and talk about all different things.

The reason I bring this up is that I think your best bet is to focus on what the point of the memoir is and work backwards. You probably don't need to include all of the anecdotes, but what ones should be included should be informed by what the point is, which will tell you how to plot to show that.

As to the paragraph I bolded - Sedaris' books are collections of essays, which is very different from a memoir. Even so, there's a unifying theme to them.
 

hearosvoice

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This post is alllll over the place with different ideas and timelines and stuff, and I've no clear idea from it what your memoir is actually about.

You have 'one theme,' but then go on to define that different ways, and talk about all different things.

The reason I bring this up is that I think your best bet is to focus on what the point of the memoir is and work backwards. You probably don't need to include all of the anecdotes, but what ones should be included should be informed by what the point is, which will tell you how to plot to show that.

As to the paragraph I bolded - Sedaris' books are collections of essays, which is very different from a memoir. Even so, there's a unifying theme to them.

Thanks! Yeah, I know my post is all over the place. I'm really struggling! Not a seasoned writer here, definitely a novice.

That said I think my story is about:
-the loss of innocence and abandonment
-how depression impairs decision-making
-that you can't always trust doctors

And yes, you are write about Sedaris.
 

cornflake

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Thanks! Yeah, I know my post is all over the place. I'm really struggling! Not a seasoned writer here, definitely a novice.

That said I think my story is about:
-the loss of innocence and abandonment
-how depression impairs decision-making
-that you can't always trust doctors

And yes, you are write about Sedaris.

Those can't be what your memoir is about.

What it's about is something you can encapsulate in one sentence, that will let anyone who hears it know what the book is about. As I said, what it's about informs the plot structure; nothing you have up there is plot.

The necessity of having a defined plot/focus is true of novels and memoirs. Think of the memoirs you've read - they can all be summed up in one, clear, explanatory sentence.

If you look at Sedaris' Naked, you could use: How growing up in his supremely odd and blunt family shaped his outlook.

Eat, Pray, Love, could be, from what I understand as I've not read it - A woman finds herself after journeying through different countries after divorce.

Out of Africa - A Danish woman's years of coming to understand and love life on a plantation in Colonial Africa in the early 20th century.
 

hearosvoice

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Those can't be what your memoir is about.

What it's about is something you can encapsulate in one sentence, that will let anyone who hears it know what the book is about. As I said, what it's about informs the plot structure; nothing you have up there is plot.

The necessity of having a defined plot/focus is true of novels and memoirs. Think of the memoirs you've read - they can all be summed up in one, clear, explanatory sentence.

If you look at Sedaris' Naked, you could use: How growing up in his supremely odd and blunt family shaped his outlook.

Eat, Pray, Love, could be, from what I understand as I've not read it - A woman finds herself after journeying through different countries after divorce.

Out of Africa - A Danish woman's years of coming to understand and love life on a plantation in Colonial Africa in the early 20th century.

Thank you for further clarifying...

Hmm...

How about "A medical malpractice incident causes a mother to lose her mind and abandon her son who falls into a deep depression leaving him vulnerable to a his own medical malpractice incident which causes him to lose his mind, too.

???

Is that better?
 

cornflake

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Thank you for further clarifying...

Hmm...

How about "A medical malpractice incident causes a mother to lose her mind and abandon her son who falls into a deep depression leaving him vulnerable to a his own medical malpractice incident which causes him to lose his mind, too.

???

Is that better?

That's somewhat better, but there are two people, no idea which is the MC of the story, and no arc. People lose their minds... and? Notice the latter two examples I used (Sedaris is, after all, an essayist), both have an arc. An MC, a challenge, a resolution.
 

Jamesaritchie

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Honestly, I've never heard "plot" associated with a memoir. Makes sense, I guess, but it's not how I think of a memoir, and I don't think the memoirs I've read really had a plot. They just told the facts about a given time period and event in the writer's life.

But what's wrong with writing it as a pure autobiography? Most of the memoirs I read wee exactly like an autobiography, but called a "memoir" because they were fairly short. True memoirs make little sense to me. They always leave out half of what I really want to know, and what I need to know to fully understand whoever is writing it.
 

Alma Matters

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I may completely miss the mark, but, for what its worth...
From reading your post I feel that you’re unsure of how to proceed with writing a back-story which you feel may lack ‘Drama/tension’ for a reader but you feel it is necessary to show how far you have come?

I’m looking at this from a fictional point of view – so if I use the term character or main character – I’m most likely referring to yourself.

If this was a novel, opening with the scenes where you are bring hospitalised for depression is (for me) a strong opening. It’s bold; we see a character at a low point, struggling to cope. Already there are questions, namely, what happened which caused the character to end up at this point?

To then cut back and reveal how you ended up here is a natural part of storytelling. You could look to do this in sections, clearly defining the ‘After’ and Before’ sections – In fiction I think it’s fine in certain circumstances to even going so far as to name those sections as that.

You could also look to do this by continuing the story from your hospitalisation and then drip feed this into your story as it goes. I don’t have much experience with depression, but I can see how it would be a natural thing to constantly look back and reflect on ‘better, happier moments’.
Experiment with it, which do you feel would work?

In terms of your fears that you’re simply listing events you will probably find that you don’t need to list all of them, only the few that you feel are defining moments and move the story on.

Also, I want to hit on the fact that back-story is vary rarely dull in any story – I would suggest you put down everything you feel you want to and then worry about it at a later stage during the editing. As the writer, you may view your past almost as almost ‘matter of fact’ but for a reader discovering it for the first time you might be pleasantly surprised by how interesting and moving they find your words.
Write the story you want, need, to write.
 

hearosvoice

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Thanks so much. Great points.

I just reread my first two chapters. The first one, as I mentioned, is about my hospitalization. And the second one is actually about my recovery.

You might think I would save the recovery for the end, but I still have not revealed the root cause of my depression, simply a treatment that worked to help compensate for it.

I am going to write about the root cause somewhere in the middle of the story, then definitively name it as the root cause near the end with a diagnosis scene, as that is how I experienced it (the medical malpractice incident occurred, but it wasn't officially diagnosed/identified as the culprit until a few years later).

I was pretty happy with the first 2 chapters when I reread them. It felt like I was "onto something".

I'm thinking I should just try to get all the backstory down one way or the other. I will likely change my mind a lot about it and have to edit it either way.
 
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Debbie V

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I'm thinking I should just try to get all the backstory down one way or the other. I will likely change my mind a lot about it and have to edit it either way.

This. Once you finish the draft, you'll have a better idea of what needs to be in the book.

To me, what separates a memoir from an autobiography is that a memoirist can add a detail or assume certain things that aren't factual or even remembered. An autobiography is 100% true to the facts as remembered or otherwise proven.
 

mfoley

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Dialogue is my favorite method, but the hardest to pull off, because you risk coming off as an Adam West era Batman writer ("We have to get to the subway!" "You mean the one The Penguin put a bomb on, Batman?" "Yes, that one!"). The key here is to hint at the backstory rather than explicitly state it.
Exposition is the easiest, but many writers find it too boring. The truth is, as long as the backstory is interesting, the reader probably won't mind, so long as you keep the exposition as short as possible.
I personally hate flashbacks, but that's just me. Plenty of people love them. The only one that I ever remotely liked was in Edan Lepucki's CALIFORNIA, which came out earlier this year. What made her flashbacks work was that she built intrigue in the backstory by dropping tiny little hints in the dialogue and action, hints that made me wonder just how the characters ended up where they were. The flashbacks didn't explicitly reveal the answer, but provided more clues.
Another method that is often overlooked (maybe because it can't reveal backstory by itself) is giving your characters habits. If your heroine carries pepper spray or a Taser everywhere, we'll know she's a bit insecure/paranoid, perhaps because she has been attacked before. If your hero walks with a limp, from the beginning, we'll know he has a pre-existing leg injury. And if your character becomes sad (show don't tell!) every time he passes a playground, we'll probably suspect he has lost a child, or something along those lines.
 
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