In this week's episode, we take a look at creating good backstories for characters and how that can advance the plot. We also discuss two articles about the problems of generative AI.
This coupon code will get you 25% off the ebook versions of books in the Sevenfold Sword series at my Payhip store:
SEVENBOOKS
The coupon code is valid through October 13, 2025. So if you need a new ebook this fall, we've got you covered!
Here are links to the articles mentioned in the episode.
Writer Beware:
Ed Zitron:
https://www.wheresyoured.at/the-haters-gui/
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 271 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October 3, 2025, and today we are looking at how to create character backstories. We'll also look at some good articles about the problems created by generative AI technology. If you hear occasional drumming noise in the background, it seems like the elementary school a few blocks from here is practicing their marching band. Hopefully it won't be too disruptive.
First off, let's start with Coupon of the Week. This week's coupon code will get you 25% off the ebook versions of books in the Sevenfold Sword Series in my Payhip store, and that coupon code is SEVENBOOKS. And as always, the coupon code and the link to my Payhip store will be available in the show notes. This coupon code will be valid through October the 13th, 2025. If you need a new ebook for this fall, we have got you covered.
Now let's have a progress update on my current writing projects. As of this recording, I am 83,000 words into Cloak of Worlds, which will be the 13th book in the Cloak Mage series. I'm thinking the book will end up about 110,000 words, so hopefully I will finish up the rough draft next week. We'll see how things go. I'm also 8,000 words into Blade of Shadows, which will be the sequel to Blade of Flames from last month, and that will be my main project once Cloak of Worlds is published (hopefully by the end of October, if all goes well).
In audiobook news, I'm very pleased to report that recording and all the work is done on Ghost in the Siege (as excellently narrated by Hollis McCarthy) and we will actually close out this episode with a preview from that audiobook. It's currently up on my Payhip store and probably Google Play as of this recording, but it should be showing up on all the other stores before too much longer.
00:01:52 Generative AI
Now onto our next topic, which is two very good articles about the problems of generative AI I read recently. The first (and I'll have the links to both articles in the show notes) is from Writer Beware, which talks about how generative AI is causing a new round of super targeted scammers. These scammers feed your book into the chatbot, which then generates a highly personalized email praising the book and offering marketing services. I got a ton of these scam emails after Stealth and Spells Online, Ghost in the Siege, and Blade of Flames came out in the past couple months and a bunch more after Malison: The Complete Series did well on BookBub at the end of August. So if you are a writer and you publish a book and a few days later or perhaps even the very same day, you get a very detailed email praising the book with very specific plot points and offering marketing services, beware, it's probably a scam that will give you no value whatsoever for your money.
Journalist Edward Zitron wrote a great article explaining in extensive detail why generative AI is a bad idea that's probably going to cause a serious market crash in the next few years. I admit I started out with a mildly negative opinion of LLM based generative AI tools in 2022 and 2023, but I wanted my opinion to be an informed one. I've experimented with them on and off and read a good bit about them and as I've experimented with them, my opinion has moved from mildly negative to highly negative and finally arriving at completely anti-AI this year.
I never used AI for any of my books, short stories, or cover images. I experimented a bit with using AI images for Facebook ads, but people generally hated them, so I stopped entirely with that. In fact, Facebook ads have become far less effective this year because of all the AI stuff Meta has crammed into them, but more on that later.
So why did I arrive at a highly negative opinion of AI? It's because these tools do not actually do what their advocates promise, they're hideously expensive to run, and the enormous costs and downsides significantly outweigh any benefits. In addition to the problems mentioned in the Zitron article like cost, false promises, economic bubbles, and the companies blatantly lying about their capabilities, I think the fundamental difficulty with generative AI is that it's essentially a cognitive mirror for its users, like a Narcissus Machine like I've called it before.
What do I mean by this? In Greek myth Narcissus was enraptured by the beauty of his own reflection. LLM based AI is essentially very fancy autocomplete, which means it guesses the most likely response to your prompt based on a statistical likelihood. In other words, it ends up mirroring your own thoughts back at you. So I think LLMs are highly prone to inducing an unconscious confirmation bias in the user. Confirmation bias is a logical fallacy where one interprets new information as confirming one's preexisting beliefs. It's healthier to reevaluate one's beliefs based on new information that comes in, but with confirmation bias, you warp any incoming information to fit a preexisting belief.
For example, let's say you have the preexisting belief that you're immortal and nothing can kill you, and then you accidentally shoot yourself in the arm with a nail gun and you bleed. The correct interpretation of this is no, you are not in fact immortal and you can in fact die.
Someone suffering under confirmation bias would say the fact that they accidentally shot themselves in the nail gun in the arm with a nail gun and didn't die is proof that they're immortal. That's obviously a logical fallacy, but you see why it's called a confirmation bias.
I think even highly intelligent people using LLMS are prone to this kind of confirmation bias because the AI model settles on what is the most statistically likely response to the prompt, which means that consciously or not, you are guiding the LLM to give you the responses that please you. This is why you see on the tragically hilarious side, people who are convinced they've invented a new level of physics with the LLM or taught it to become self-aware or think that the LLM has fallen in love with them. And on the outright tragic side, people who have serious mental breakdowns or blow up their lives in destructive ways because of their interaction with the LLM.
Grimly enough, I suppose the problem is going to sort itself out when the AI bubble crashes, whether in a few months or a few years. As one of the linked articles mentioned, AI companies have no clear path to profitability, save for chaining together infinite NVIDIA graphics cards and hoping they magically stumble into an artificial general intelligence or a super intelligence. They're not going to and it's all going to fall apart. The downside is that this is going to cause a lot of economic disruption when it crashes.
I know I'm very negative about AI, but in the end I see hardly any good results or actual benefits from the technology. Lots of technology products are becoming worse from having AI stuffed into them (like Windows 11 and Microsoft Office) and what a few good results have come about will not last because the data centers are burning cash like there's no tomorrow. So again, you can see the links to these articles in the show notes and those are my thoughts on generative AI at the moment.
00:07:04 Writing Backstory for Characters
[Note: Contains some mild spoilers for early books in the Frostborn, Half-Elven Thief, The Ghosts, and Cloak Games series]
Now let's move on to a happier and frankly more interesting topic and that is writing backstory for characters. I will define it, talk about why backstory is important, give three tips about writing effective backstories, and share examples of good backstories from my own work and other media.
First of all, what is a backstory? It's what happens to a character before the story begins or details of situation that happens before the story begins. Very often you'll have characters who have preexisting pasts before the story begins. It's very rare the story will begin when the main character is born and go from there. Even if that is the case, then some of the supporting characters obviously will have backstories.
One example of a backstory could be a detective who had a twin sister who is kidnapped, which explains why he gets overly invested when a similar case happens. An example of a location's backstory would be knowing that a particular country was once part of another one and split off after revolution or war. That detail influences how people in that country currently treat people in the other nation. And you can see that a backstory is also an important component of world building as well, especially for fantasy and science fiction novels, though even novels set in in the contemporary world like mysteries and contemporary romance will often have backstories as well that require world building, because the location is very often fictional or will have fictional elements to it.
Now, why is backstory important? For one thing, it makes a story feel more realistic and "lived in", for lack of a better word. It's not realistic that absolutely nothing of interest happened to the protagonist before the story begins, or that nothing from their past would influence their current beliefs, behavior, and decisions.
Backstory also gives characters clearer reasons for doing things. Returning to the earlier example of detective who had a younger sister who was kidnapped. What if the detective was a very procedural and by the book until a sudden similar case happened? Backstory can explain his unorthodox methods and willingness to solve the case at any cost.
Backstory can also drive the plot in many ways. Continuing with the detective example, the detective's knowledge of his little sister's case leads him to find similar patterns in the new case and sends him on a search to prove that the cases are connected. As we can see from that, backstory is also a good way to set up plot hooks for later characters, such as we could have our detective here with his twin sister who disappeared in circumstances similar to his current case. It could be a fantasy hero who had previous battles with orcs and explains why he doesn't like seeing orcs. It could be a contemporary romance heroine who is reencountering her old flame, in which case the backstory would be central towards the plot, essentially.
And now for three tips for writing backstory. First, it's important to not stop the plot to reveal backstory. Infodumping is generally something to be avoided when you are writing a novel. A little bit of it is unavoidable, but you want to avoid infodumping as much as possible and to reveal only as much information as necessary, partly because that creates a less cumbersome read for the reader and partly because that can also inspire a sense of mystery that sort of helps hook the reader and propels them forward into the story.
It's also good to only reveal backstory that serves the plot or provides key information. For example, you could have in your detective's backstory that he went to high school and he was only a mediocre student and graduated with a GPA of 2.9 while doing well in athletics. Unless that's actually relevant to the story or has some significance to the plot, it's probably best to not include that. You can always tell when a writer has done a lot of research on a particular topic like firearms or travel or the history of a particular country because they are going to put that information in the book whether you want it or not. And if you're inventing an elaborate backstory for your character, it's best to avoid that impulse and only bring in details from the backstory as necessary.
It's also important not to have the characters tell each other backstory that they would already know. For example, if you have two characters who've been married for 20 years, it would not be good to have them appear in dialogue as, "As you know, beloved wife, we have been married for 20 years this Tuesday." It would be better if it's important to the plot to reveal that information like they're going out to a 20th anniversary party or their friends are throwing them a 20th anniversary party, that kind of thing, rather than having it come out in sort of a cumbersome conversation like that.
Additionally, it's also important to only do as much backstory as necessary. For your main character, you may need a good deal of backstory or for the antagonist, but for supporting characters, it's less important to have a fully realized background. You need just enough so that they feel realistic and can contribute to the plot without overburdening the plot with too many details.
Now, a few examples from my own books, mild spoilers here, nothing major but mild spoilers. I have written characters who have one key backstory element that influenced the plot. Ridmark Arban from Frostborn would be one and his major backstory point is that he was unable to save his wife Aelia from being killed five years before the story starts. Later on, there would be additional backstory that comes out for him in relation to his father and his brothers, but that is the main backstory point that defines his character for easily the first half of the series.
Another example would be Morigna, whose parents were killed by the dvargir and then she was raised by a mysterious sorcerer who called himself the old man. And that is a major defining part of her character, that backstory that happened before we meet her in the narrative.
I've also written characters with a lot of backstory, and the chief example of that would be Calliande from Frostborn as well, where she wakes up in the first book with no memory of her past and discovering what her backstory actually is a major driving force in the first eight books of the series. So that is a good example. Not to toot my own horn or anything, but that is a good example of using backstory as a mysterious narrative hook to pull the characters forward.
Rivah from Half-Elven Thief is another character of mine who has a lot of backstory. In the backstory, she was raised in a noble household, her mother died, her father was about to sell her into slavery, so she fled into the streets and then she met Tobell and became part of his thieving crew. Tobell suffered a serious injury, and the thieving crew broke up and Rivah had to sort of strike out on her own while coming under debt to the procurator Marandis. So there is a lot of backstory there and all of it is important to Rivah's character and I think I've done my best to sort of feed that into the story as necessary to drive the plot rather than hopefully unloading it all in a massive infodump.
And I have written characters with very little backstory, and the prime example of those would be Caina and Nadia. In Caina's series, the series starts when she's 11 years old and living with her parents and we develop Caina as she goes along and follow her she grows to adulthood and then increasing prominence in her world. With Nadia, the very first scene in the book is her first day of kindergarten pledging allegiance to the flag, the United States, and the High Queen of the Elves, which is the first indicator that Nadia's world, while very similar as to ours, is nonetheless very different. Like Caina, the book's narrative starts when Nadia is very young and then we see her develop along the course of the books.
In a good example of backstory used well from another book would be Aragorn from J.R.R. Tolkien's Lord of the Rings, where Aragorn's backstory is extremely important because when the hobbits first meet him at The Prancing Pony in Bree, he's just this mysterious wanderer known as Strider. But later on, we learn that he's actually the last heir of Gondor and Arnor and the rightful king of Gondor. His desire to reclaim his heritage and fulfill the role destiny has prepared for him is a major part of his character and that actually grows organically out of his backstory.
I'm not usually fond of prequels, but a good example of a prequel using backstory effectively would be the combination of the Andor TV show and the Rogue One movie, where they create this excellent backstory for the Star Wars movie [Episode IV]. They do it through good characterization so you can see all the motivations of the characters as they go about their various missions and errands. So hopefully that gives you a good look into the process of creating backstory and how best to use it for writing your own stories.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found this show useful. A reminder that you can listen to all the back episodes of the show at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
And now let's close out with a preview of the audiobook of Ghosts in the Siege, as excellently narrated by Hollis McCarthy [audiobook excerpt follows].
