Last week I started this perilous journey. Talking about author mistakes. I hate to even start down this road. Author mistakes? Really? Is there such a thing? I read all kinds of books that defy craft rules and guidelines. They sell well. They win awards.

But for new authors, it’s really important to watch a few key things, to watch the writing pitfalls we easily fall into. I found this web site talking about author mistakes, but the author talks about small things that can easily be overlooked and fixed. An editor probably won’t reject a manuscript for most of these reasons. Nevertheless, the site highlights good things to be on guard for as you write. If you Google “author mistakes” you’ll find a plethora of sites.

The first of July, I taught at the Minnesota NICE  ACFW chapter’s retreat. I went through the “ten common mistakes” from a craft point of view. I listed items that might hinder your story telling success. Things that might get your manuscript rejected. An editor or agent might say, “the writing is good, I just didn’t like the story.” Or, “the story didn’t grab me.”

My list is designed to help discern where your story might be sagging and dragging.

Here’s the first one from last week! I Was Born the Son of a Sharecropper — Starting the story with too much “pipe.”

Here’s number two:

Once Upon A Time, In A Land Far, Far, Far Away

Breaking the action with too much back story.

By the way, what exactly is back story? Definition: Back story is the purposeful introduction of events and history of the past that does NOT relate to the current action.

Weave in back story as it relates to the current events on the page and answers or helps round out the “why” question of the goal and motivation of the scene.

How to know if back story is relevant? Ask yourself these questions: Does it help us understand the protagonist motivation? Does it create an intimate moment between the protagonist and another character, thus deepening the emotional layer? Does it help round out the story world? Does it add a layer of likeability to the protagonist(s)? Does it hint at or reveal a secret that is part of the character journey?

We need back story to help round out characters and create empathy/sympathy. Even to help the reader understand the plot. But make sure you’re not telling back story for the sake of back story. As writers we do a lot of research and character work before the story even begins. It’s tempting to layer all of that work into the story. But you don’t need it. You only need a very little.

Back story is best delivered in dialog or small prose snippets (as it relates to the current scene dilemma) and introduced around page 50.

But what about Flashbacks? Flashbacks are subplots. They are not back story or a fancy way to deliver back story. A flashbacks must have a plot, goal, motivation, why/why not, fears and desires, black moment, epiphany and resolution. In other words, all the same elements as the main story.

A flash back is used to help define or highlight motivation for the protagonist in the present day. Flash backs use dialog, prose, action, all the great elements of a normal scene.

Flash backs must end up tying into the main plot action for a satisfying ending.

In the Songbird Novels, I used flashbacks. They told the story of Jade’s tragic youth which then told the story of why she had such a hard adult relationship with her mom. The flashbacks were in and of themselves, pieces of the plot, and tied into the main story.

Back story and flashbacks MUST relate to the motivation and goals of the main plot and protagonists. Readers do not need to know via back story or flashback that the heroine loved to play dolls with her grandma while she’s in the dilemma of taking a job in Chicago or not. Those kind of interjections interrupt the action and emotion of the scene. Readers are a gracious lot and will endure it one or two times, but not much more. They’ll walk away from a book if the author keeps jerking around their emotions.

Rule: No backstory until page 50. Back story must relate to the current scene’s dilemma and conflict.

Workshop It: go through your WIP and remove back story.