How to*whittle*overcomplicated backstory?

[Oomatu]

In my novel "Islandfall", my protagonist is an amnesiac who awakens on an inhabited island in the middle of a seemingly endless ocean.

The focus of the surrounds the protagonist, as he searches for information regarding his past. This propels him into a deep understanding of the Islands history, and how it relates to a race of creatures terrifying the island.

My problem is this:
The Islands has about 1200 years of history, and another 3000 years prior to the Island even existing. For the sake of my and my readers sanity, much of this is left out. Now to two main plotlines... self discovery... and evil creatures, have very little relation. This leaves two historical narratives, and I plan to explain NEITHER in the book. What I actually do is explain is how the antagonist (another backstory) came to flood their world and why.

Question:
IS THERE A WAY that I can let readers know that I know how the world and creatures came to be, and I am choosing not to tell them? More so, how can I deter the impression that I am creating things whilly nilly just for the heck of it with no explanation? (I mean, for the love of gawd, I have family trees and magic logic charts)

I've been focusing on the characters personal problems and emotions to the drive the plot thus far, but I feel that at any point my reader will say, "Does this guys have any idea where this sh#t came from?"

Sorry for a long read, but its a small problem that really shakes my confidence.

 

[ThinkerX]

I have recommended this approach before with other authors:

Begin each chapter with a short prologue, no more than a few sentences or lines, that touches on both the focus of the chapter and an aspect of your worlds history. Attribute these lines to obscure scholars, old myths, or folk songs.

 

[CupofJoe]

I have recommended this approach before with other authors:

Begin each chapter with a short prologue, no more than a few sentences or lines, that touches on both the focus of the chapter and an aspect of your worlds history. Attribute these lines to obscure scholars, old myths, or folk songs.

I've read books written in 30s and 40s where the chapter is condensed to a small paragraph of bullet points at the beginning of each chapter. It feels strange at first but give you an idea of the length and flow of the chapter.
Seven Years in Tibet was a good example of this.

 

[Penpilot]

If it's important to the understanding of the story, it should be in the book. If it isn't, then let the reader wonder. Some stories benefit from an air of mystery.

As long as you give them an internally consistent, satisfying, and engaging story, things should be fine.

Sometimes too many answers can detract from a story. No midichlorians please.

 

[Demesnedenoir]

I'm not sure there's a perfect answer for this without knowing more, maybe not even then. I would assume that if written well and with depth the ambiance of the prose will leave the reader with the sense of the writer's knowledge, the iceberg beneath the waves.

 

[Oomatu]

Begin each chapter with a short prologue, no more than a few sentences or lines, that touches on both the focus of the chapter and an aspect of your worlds history. Attribute these lines to obscure scholars, old myths, or folk songs.

This is a wonderful idea! Thankyou!*There have actually been a number of scholars and historians on the island, many of whom gained a strong understanding of the*history of world. I could write "quotes" from their writings, even cited with chapter and paragraph.

 

[Oomatu]

Sometimes too many answers can detract from a story. No midichlorians please.

I have*come to the same conclusion.*I've considered leaving much of the world a mystery, only answers*a few basic questions. If Islandfall becomes what I hope it will be, I have a number of sequels lined*up that will peel away more layers of lore.*The ultimate question "what is the island and*where did*it come from?" wouldn't be answered till the end of the series.

 

[Oomatu]

Sorry, and spaces are being replaced with asterisks for some reason.

 

[Chessie]

Weave backstory into your narrative, but remember to keep focus on the present. On story. Some ideas of how to include backstory into your narrative:

-hero's personality and how the past has changed him
-how hero reacts to situations and people because of how the past has changed him
-if he goes back to an old, familiar place
-someone he cares about from the past that may be tied into his current story

But really, backstory shouldn't be something to break your neck over. Readers care about story, not backstory. Focus on the former and I think you will find that the latter weaves itself in naturally. Good luck.

 

[Michael K. Eidson]

As I recall, someone mentioned cursing in another thread and how it is often based on the world's religion or mythology. You might be able to do something with that to help drive home certain aspects of the world's creation myth / history in dialogue without having some character reciting a history lesson.

 

[FifthView]

Now to two main plotlines... self discovery... and evil creatures, have very little relation. This leaves two historical narratives, and I plan to explain NEITHER in the book. What I actually do is explain is how the antagonist (another backstory) came to flood their world and why.

The thing about history is that it's extremely contextual.

A) building the forest implies the existence of the trees and b) building the trees gives an impression of the forest–even if you don't mention "trees" in (a) and "forest" in (b).

The personal narratives of the other island inhabitants might reveal much even if they themselves don't have an explicit understanding of their environment. Their mythologies, their memories of tales told to them when they were children, etc., might reveal something about the island to the reader that they don't know, or at least suggest a grander historical narrative than is obvious from the personal historical narratives of these other island inhabitants.

 

[Peat]

I've been focusing on the characters personal problems and emotions to the drive the plot thus far, but I feel that at any point my reader will say, "Does this guys have any idea where this sh#t came from?"

Not this reader and not many I know. I like well-told created mythology too but if the story's good, I don't need it. I only need it when the story touches on the past heavily.

If anything, the thought of getting in plenty of backstory just so the reader knows it's there makes my blood run cold. Backstory is often a lot like cinnamon; delicious in small quantities, an awful idea in larger.