I’m seeing a lot of backstory as I work with my critique partners. I’m still dealing with it myself. What am I learning about it and what’s the best way to handle it? How can you tell if you’re using too much backstory? Are you “info dumping” unnecessarily? How can we break up with it? This is a follow up to the previous episode “Backstory.” I refer to Sandra Gerth’s book Show, Don’t Tell, K.M. Weiland, and Ellen Brock in this episode.