#how to write backstories

[leahkentwriter]

Backstories for girls and women in stories that *don't* involve sexual assault.

I beta read a lot, and am involved in writing communities of various kinds, and I briefly taught English way back in the day, and I consume storytelling media in general - and one of my biggest pet peeves is sexual assault backstories. While I think this is improving, it's still annoying to me that a lot of writers (of all genders, but particularly men) fall back on a sexual assault backstory whenever they need to make a girl or woman in a story complicated or haunted or fucked up in some way.

Unless your story is dealing with the topic of sexual assault in some way, please don't use it as a way to give a character depth or angst.

Here are some prompts, just to get you started with some ideas.

Why would a woman be trying to escape her past? Why would she be seeking a fresh start?

She hated her small town; the people there didn't understand her and she never felt like she fit in - she's queer, she has a weird birthmark, she's got unique interests, she has magical powers, etc.

She's a criminal - she robbed banks or stole cars and she wanted a fresh start

She was an addict and hurt people, and she wants a fresh start now that she's sober

Her parent is a criminal or an addict and she's trying to outrun the stigma of being related to them

She didn't get along with a stepparent and skipped town as soon as she turned 18

She had big dreams of being something else, and left to pursue them

Her childhood home was haunted, but no one believed her

She got married young then divorced, and wants to start over somewhere that no one knows her

Heartbreak of any variety - she's leaving a place that reminds her too much of someone she lost or couldn't have

She wants better; maybe more money, or a career, or simply a higher quality of life

Some other violent tragedy occurred - a school shooting, an explosion at the plant, police brutality, her best friend was killed, etc.

Her hometown no longer exists (climate change, the main factory shut down, it was overrun by rabid squirrels, etc.)

What would make a woman distrustful of others?

Heartbreak; being lied to, cheated on, left for her best friend, etc.

A big betrayal - her former best friend told everyone a secret about her, someone weaponized her trauma or her past or a major flaw she's sensitive about, etc.

She witnessed a traumatizing event as a child

Her mother was a grifter and used her as part of her scams

One parent cheated on the other and broke up the family

Her older brother isn't dead after all, he was disowned for being gay and now she's questioning everything her parents ever told her

She has problems with her memory, and is never quite sure what the truth is

She's bad at reading people and has been taken advantage of

She finds out a dark secret about someone she loves and is having trouble processing it

She gradually comes to see that someone she idealized as a child is not at all what they seem

Someone she thought was a good, kind, and genuine person is arrested for a terrible crime

Spiritual abuse - the worldview she was taught was right turns out to be exploitative, represses women, etc., so she leaves

What would cause a woman to have mental health issues?

Any form of abuse - doesn't have to be sexual

Her parents had really high expectations that she couldn't live up to

It simply runs in the family

Survivor's guilt - she survived something that someone else did not

She was bullied and no one protected her

Her parents were very controlling and destroyed her confidence

Her sibling was the golden child and she was the scapegoat

She's had issues since childhood but her parents refused to admit there was anything wrong with her, so she didn't get help

Being a part of any oppressed group of people who experience discrimination - she's a person of color, she's an immigrant, she's got a disability, she's queer, etc.

Any major trauma, either witnessed or being a part of - weather events and natural disasters, infrastructure collapse, crashes and accidents, fires, a shooting or a murder, etc.

You're a writer - get creative. There are lots of ways to traumatize and haunt a girl/woman character without having to resort to a sexual assault backstory. You can even make her the problem! Maybe she's the one who did something bad and is trying to outrun the guilt.

Let's also let go of the idea that it's meeting and falling in love with a man that saves her from her trauma. Let her have a healing arc that doesn't involve a man - a love story can still be there, but it can't be the magic healing balm that fixes her. Make her have to save herself. Give her autonomy to both make her own mistakes, and improve her own situation. Don't let your man go into savior mode - let him get frustrated with her. Let her push him away without him clinging to her in a desperate bid to show her what unconditional love is. Don't let him be a martyr to her trauma.

Women are complicated for many reasons. We have trauma for many reasons. We have mental health issues for many reasons. We may want to escape our past for many reasons. We're angsty and weird for many reasons.

Please pick literally anything other than sexual assault.

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

[First] Prev <–-> Next

[3hks]

How to Write an IMPACTFUL Backstory

Honestly, writing and reading about backstories is probably one of my favorite parts of a character's story! It's a strong foundation for a character's goals, motives, thoughts, and actions! Its most powerful effect, on the other hand, is its ability to change one's view on a character. So, then, how do we write such an impactful past?

For beginners, the more tragic the backstory, the better. While this does hold some truth, let me re-iterate that it's for beginners. The idea behind it is that a pure, devastatingly pitiful backstory is unique and pulls at your reader's heartstrings. Unfortunately, instead, we're left with an origin story that feels superficial, overly-dramatic, unnecessary, and shallow. However in this post, I will give you some tips on how to avoid creating such 2D backgrounds and actually bring your character's past to life!

First, your character's backstory can be made with whatever components you choose, but the key is that you must balance them out correctly. Additionally, the majority of the time, you do want their story to stick out, so I suggest trying to come up with something original! It's much harder than it sounds, but honestly, every other protagonist has dead parents at this point. Be creative, add details, and don't be afraid to let your character go through things if you feel that it's fitting!

Second, don't extend their past for too long. The point of introducing the backstory is to elaborate on a (few) certain event(s) that affected your character the most and forever changed their lives. Keep it centered around one, or at most, a couple events.

Next, most writers tend to use sadness and/or to fuel the character, but it should not be overbearing and excessive. Alternatively, it should feel GENUINE. Not dramatic, but genuine. Different genres do form different types of backstories, yes, but the core concept behind it should be something natural. It should be something that your readers will be able to understand; something authentic. They should feel some sense of relatability, even if it's just a little. This could be like family issues, broken friendships, betrayals, leaving someone, mental struggles, loneliness, etc. Complexity can surround these concepts, but the basic, fundamental ideas should still be present.

Furthermore, be sure that their backstory makes sense. Even if you're introducing it through quick, brief flashbacks, ultimately, you want the reader to have all the pieces to solve the puzzle.

Last but not least, make your backstory feel personal to your character! Build it in a sense that if it were to go to any other character, it wouldn't have an effect that's as severe. Make it targeted to its owner. While this is something that can be difficult to execute, it really provides insight to your character, and is an easy way to add some intricacy to a simple backstory! A good place to start is thinking about the things personal to your character. For instance, this could be their past before the event, people they care about, their morals, etc. Then, add it in said event so that it pushes and/or challenges your character in a way that makes them re-evaluate that value.

There you go! Here are my personal tips on how to upgrade your character's backstory and have it really impact your reader! Be creative, keep it centered around a couple things, make it genuine, and make it targeted to the character!

Happy writing~

3hks <3

[shywhumpauthor]

A Whumper with fire powers branding their Whumpee not just with their name or initials, but their handprints.

Two palms scarred against either side of Whumpee’s neck, fingers wrapping around their throat in a collar that can never be removed. Hands on their sides, just below their broken ribs, a touch that will never relent. Fingers wrapped around their wrists in shackles that won’t be unlocked. A handprint against their face, cupping their cheek that had already suffered so many punches. The small of their back. A single hand just between their shoulder blades. Dragging down their thighs.

Just. Branded handprints.

[v-poreons]

OCposting..... This is Coven :3 she's a witch who specializes in luck magic! I need to post her so I can yap about her more, she's rotating in my brain at top speed

(Also her bf belongs to @oodliedoodlies hiiii hiiiiiiii hi hi hi)

[reds-skull]

Been thinking about Farah a lot lately...

[beanghostprincess]

A bit tired of people complaining about Sanji's principle of "not hitting women" being misogynistic when it has been clearly stated multiple times that he does not choose it and it's heavily tied to his trauma and admiration for his dad and respect for women and definitely not from seeing women as somehow weaker than him

[necrotic-nephilim]

i personally have very complicated feelings on the Gotham Knights video game and the routes it takes with characterization. i think it has a charm to it and it goes in an interesting direction with everyone (especially within the confides of the plot of the game) but it does have certain moments that veer painfully fanon for me. (such as: the dialogue where Tim drinks too much coffee) it's an interesting story for what it is but i don't view it comics-based for characterization and therefore don't care to interact with it much for like. fanfic purposes.

that *said* though. i do have to give the game some kind of credit for giving one of the top five JayTim moments that lives rent free in my mind. every since i played the game, the cutscene lives in my mind daily. it's the specific cutscene where Jason and Tim are arguing about whether or not Jason's non-lethal bullets are too dangerous for the field, and the argument leads to TIm *standing in front of the target* Jason is shooting and telling Jason to shoot him. it lives rent free for me. i never stop thinking about this.

the absolute certainty Tim has that he is in no danger standing in front of Jason, who has a loaded gun pointed at his face. the way Jason *hesitates* for just a moment before lowering the gun. he thinks about it for just a second. Gotham Knights JayTim seem to get along very well and can rely on each other, but Jason still clearly holds a bitterness about his death and Tim that flickers through in some lines of dialogue under the guise of jokes. especially since this game deals *heavily* with concepts of Pit Madness causing an altered state of consciousness, i think it's believable that occasionally, Jason fights the urge to fight and hurt Tim for the feeling of being replaced.

i like their tension so much in this canon. they get along but you can *tell* Tim is afraid of addressing Jason's trauma or even addressing Jason head-on, and Jason leans into spooking Tim about it. which isn't very comics feeling in their dynamic, but it is an interesting way to place their dynamic if you're playing with a more timid Tim who's newer to the role of Robin. (which he seems to be in-game) he really doesn't want to offend Jason, or worse, piss him off. but he'll still face Jason head on for things like this, while completely aware of what Jason could be capable of.

and Jason seems very protective of Tim and respecting Tim as a Robin in typical Jason fashion. if Tim pushes, Jason *will* relent. he knows this is a kid who's proved himself and should be treated with equal respect, sometimes even more than Dick and Babs do in-game.

so for all that to culminate in Tim stepping in front of Jason's loaded gun that he *knows* is on the edge of being too dangerous, just to force Jason to listen? it's the most unhinged way Tim could've gotten his point across in this scene. he was literally daring Jason to hurt him and playing with a very dangerous fire. but he did it anyway bc he believed he could make Jason heel just at the thought of hurting Tim. and he was *right*. they're gay and i'm feral ty.

[a2zillustration]

I've been waiting for an excuse to tell you why Croissant is called Croissant for SO LONG

| First | | Previous | | Next |

[[ All Croissant Adventures (chronological, desktop) ]]

[[ All Croissant Adventures (app) ]]

[nenoname]

stan twins the canon cptsd brothers i will always think about all your unaddressed issues that would make perfect plot fuel for your spinoff

and also the whole 'stan getting that poem by bill via a website which contrasts with bill getting one from the axolotl via a website' foreshadowing thing

like idk i would love something like su future but like more optimistic, aka not an accumulated breakdown that has to be mostly resolved off screen at the end :/// but something thats being kinda addressed throughout? (although would love to see one of them turn into a monster thats always fun lol)

stan having severe issues from his dad and those years of being homeless that we keep on getting more info on but never really getting confronted on (the drifter catalogue and tijuana incident...), him being completely alone for like twenty years when running the shack before soos comes along to the point that 1998 is noted as his low point, and him not really learning about bill+what he did to ford until ages after he killed him if he ever did get the full context

while i think amnesia and everyone seeing him as a hero actually helped with stan's 'i'm a worse version of my brother' thing its still a lingering issue too and we now got him being insecure over his own hands

ford being immediately thrown from 'being tortured by bill' to 'being stuck in the multiverse and being chased by bounty hunters constantly', him fully expecting himself to die when destroying bill, and him only now being safe for the first time in 30 years ....relatively safe, he's still in constant danger because of course he is

idk in the end the series wants them to be happy and they deserve it, its why i wasn't too worried about the book being like 'ooh bill is back!! and the book is haunting ford' thing cos i knew they'll be ok

[isthatacalzone]

me: *seeing people yell about how they did Glintshore & Percy's death in the show*

also me: ..................anyway

[sappho-rose]

"The world doesn't know me yet."

[travalerray]

The funny thing about my Shen Jiu transmigrates into Shen Yuan's body at the same time Shen Yuan transmigrates into Shen Jiu is that it takes place in the same universe wherein PIDW got rewritten into the SVSSS we see (just from LBH POV with the necessary plot holes of the side villains filled in) which means that SJ had to go through the agonizing ordeal of learning about what YQY did through web novel format. And I think that's going to fuck him over for days

[reineydraws]

Hi hi! For the spotify wrapped art game, can I suggest akataka with 56?

oh, i think i was doomed before i began

56 is special girl by dodie. a particular fave, so im glad u chose mishanks for it since they've been on my mind. :')

wrapped 2023 game

[buildoblivion]

yes i totally agree that one of the protocol crew is definitely not coming back from the hilltop centre -but what if it’s not a matter of life and death?

what if someone goes through a door

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.