The Editing Blog - Louise Harnby | Crime Fiction and Thriller Editor

5 tips on how to introduce backstory to crime fiction

16/6/2025

Backstory helps readers understand why characters act the way they do and what their motivations are. This post offers five tips on how to introduce it so that it enriches, rather than distracts from, the main story.

In this post ...

Read on to find out more about:

what character backstory is
drip feeding the information
using natural dialogue
interjecting with narrative reflection
using other characters to reveal backstory
using sounds, objects or settings as triggers

What is character backstory?

Backstory is the fictional history of a character before the main plot begins. It could include past events, relationships, traumas or achievements that shape their present behaviour and decisions. Backstory should be:

Interesting to the reader: It should engage us. Dull or generic backstory risks slowing the pace of the story without adding anything memorable.
Relevant to the scene: It should be introduced at points where it helps readers make sense of what’s happening in a particular scene, otherwise it will feel like dislocated filler.
Purposeful to the story: It should serve the story and help readers make sense of a character’s actions and choices.
Tightly conveyed: It should provide just enough information to enhance the story. Too much backstory could turn into an information dump that encourages readers to scan over it.

To ensure you hit the mark, think about which of the following mechanisms might work best for your novel.

1. Drip feed the information

Think of backstory as the seasoning rather than the main dish. It can be tempting to give readers everything you want them to know about the past in a dedicated and detailed chapter. However, this comes with risk. Your reader, who’s itching to move forward and find out what’s going to happen next, is forced backwards.

The focus is no longer on the now of the novel, but on a different time and space. That in itself can be distracting.

Plus, by giving readers all this backstory in one fell swoop, you could lose the opportunity to introduce suspense, mystery or intrigue.

Instead of an information dump, try instead a brief but telling reference that’s related to the current action.

For example, if your character’s past involves an event that’s made them mistrustful of small spaces, you could hint at this in the narrative, but explain it more fully in a piece of dialogue later on. Here’s how that might look at first mention. The backstory nudge is in bold.

Baz legged it towards the market square but took the long way, avoiding the alley. Too dark. Too small. He’d never make that mistake again, not after last time.
Ten minutes later he was by the fountain, its mist on his face, the warm glow of festoon lights overhead. He ditched his cap, shook off his jacket and turned it inside out, then melted into the crowd. Just another tourist.

This way, you’re revealing backstory in smaller chunks – ones that invite the reader to think: What happened last time he went into a dark alley?

This builds suspense and leaves readers with questions that you can answer later. And for now, the reader stays in the moment with Baz, running towards the square and finding safety in the crowd.

2. Use natural dialogue

Dialogue can be a superb way of unveiling backstory. Depending on when it comes up, you can drip feed or go into more detail.

The key is to ensure that it sounds natural rather than being a convenient tool. For example, if Marcus already knows about Baz’s fears, the following will feel overworked. The dialogue is for the reader’s benefit only, not what these two people might actually say to each other.

What to avoid

‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
‘I came the long way,’ Baz said. ‘After that incident in November 2024 where I was left for dead in a dark alleyway, I’ve not felt able to take the risk.’
Marcus nodded. ‘Yes, I remember the doctor saying you might not make it, that the seventy-three stiches in your head were only a surface indication of the trauma beneath. And your recovery took ... remind me how long it was.’
‘Seven months,’ Baz said.

This kind of dialogue-for-convenience is sometimes referred to as maid-and-butler dialogue. To avoid it, try something like the following instead.

What to do instead

‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
‘I came the long way,’ Baz said. ‘Avoided the alley. After, you know, last time, I couldn’t bear—’
‘You need to find a way past that, mate. Let bygones be bygones. I get it, but all you’re doing is turning one risk into another.’

Again, this version hints at a traumatic event in the past, but leaves an intriguing space for more to be revealed later.

3. Interject with narrative reflection

If the time has come to reveal more, you could use the space between the dialogue to offer a little more insight.

Take care to restrain it. Give the reader just enough, then pull them back to the present action. Here’s how that might look.

‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
‘I came the long way,’ Baz said. ‘Avoided the alley. After, you know, last time, I couldn’t bear—’
‘Yeah yeah. Look, you need to find a way past that, mate. I get it, but all that’s doing is turning one risk into another.’
Easy for Marcus to say. He hadn’t been left for dead, beaten to a pulp, the seventy-three stiches transforming his scalp into something Picasso would have been proud of. Seven months he’d been laid up for. Seven—
‘Hey, earth to Bazza. C’mon. Let’s get a pint. I’ve got a plan.’
Marcus took him by the elbow and steered him through the crowd. It began to rain. An umbrella snapped open above his head.

4. Use other characters to reveal backstory

You could decide to hint at a character’s backstory through how others see them. Again, readers should be given only what they need to know, and the reveal should be relevant to the scene.

Fi touched the screen. ‘So this is our route out. I don’t like it. See here? This alley is tight. No lights. Baz might be on his own, and we both know Baz doesn’t do confined spaces … at least he hasn’t done for the past eighteen months.’
‘That’s our route out,’ Marcus said. ‘You and me. Baz is leaving through the front door, in plain sight. I’ve got it all worked out.’

Notice how we’re given a nudge about something in Baz’s past that means alternative arrangements have to be made. These add a little complexity to the plan Fi and Marcus are working on, but there’s space to explore in more detail at a later point.

If it’s time to introduce that extra detail, an alternative could see Marcus reflecting internally on a plan he’s put together. Here, the backstory is more detailed but it’s still relevant to the present issue that he’s focusing on – planning an escape.

The obvious route out was the alley. Through the kitchen, into the yard, over the wall, and they’d be gone. Two minutes tops. In theory it was good. In practice it was risky. Not for him and Fi. They were sound. But Baz would need to keep his head in the game. And for the past eighteen months, it hadn’t been. His friend had been ambushed, beaten to a pulp, the seventy-three stiches transforming his scalp into something Picasso would have been proud of. Since then, even the suggestion of a tight, unlit space had him going off on one.
Back to the drawing board.

5. Use sounds, objects or settings as triggers

The external environment can be effective tools with which to introduce backstory. Your protagonist might see, hear or touch something that triggers a memory or an emotion.

Here are two examples. Once more, they’re mere nudges that make the reader ask questions, rather than lengthy explanations that risk flattening the prose.

There was a door to his left. Baz opened it. A narrow flight of wooden steps led downwards. He flicked the switch by the latch. A light flashed on, then fizzled and died. He stepped back and shut the door. Shuddered. Too dark, too tight. Not happening.
Anyway, Marcus was due in ten minutes. He could investigate.

Fi ran her hand over the cracked porcelain sink. Same kind they’d had in the safehouse in Rotterdam. Good times. Her, Marcus and Baz. All in it together. All of them with their heads in the game. All of them thinking they were invincible.
‘Fi, join me.’ It was Marcus, his muffled voice coming from somewhere beneath her.
‘He’s down there,’ Baz said, pointing over his shoulder at a roughly hewn slatted door, slightly ajar. ‘Some sort of cellar, I think.’

Summing up

Backstory is as a tool that gives your crime fiction and its characters emotional depth at any point it’s introduced. If it doesn’t affect how the reader engages with the story in the moment, remove it.

Keep it taut so that the reader remains engrossed in the novel’s present – what the characters are doing/feeling now. Nudges and hints at first mention are often far more suspenseful and intriguing.

If backstory is dragging on for multiple paragraphs or even chapters – a within-novel biography – rethink its structure and how you might break it up so that you reveal it gradually.

Other resources you might like

Start Crime Fiction Editing: multimedia course
Editing Fiction at Sentence Level: book
Fiction editing line craft: books
How to Line Edit for Suspense: multimedia course
How to Write the Perfect Editorial Report: multimedia course
Narrative Distance: multimedia course
Resource library
Switching to Fiction: multimedia course

About Louise Harnby

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.