Guys and Dolls-
It's the age old problem of "To Backstory or Not To Backstory".
I have a crime drama involving an escaped convict. I'm torn between spelling out the original crime to the audience (i.e. what got him in prison in the first place) and leaving it up to them to decide. The latter is obviously a bigger risk, creatively, but it's also more rewarding if it works out.
Maybe he opens up at the very end, but it's very subtly, talking in short hand and more about the emotions behind the crime (as opposed to "I needed fifty grand for my daughter's college tuition so I robbed a bank").
Of course, I'll know. I'll write it out for myself.
But I am just wondering if this is going to potentially alienate a reader? Or intrigue them more?
"Drive" is a great example of how to get away with very, very little.
It's the age old problem of "To Backstory or Not To Backstory".
I have a crime drama involving an escaped convict. I'm torn between spelling out the original crime to the audience (i.e. what got him in prison in the first place) and leaving it up to them to decide. The latter is obviously a bigger risk, creatively, but it's also more rewarding if it works out.
Maybe he opens up at the very end, but it's very subtly, talking in short hand and more about the emotions behind the crime (as opposed to "I needed fifty grand for my daughter's college tuition so I robbed a bank").
Of course, I'll know. I'll write it out for myself.
But I am just wondering if this is going to potentially alienate a reader? Or intrigue them more?
"Drive" is a great example of how to get away with very, very little.
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