The Story Of Exposition
The story of exposition
Exposition is a trap that writers fall into all the time, even without intending to do so. I critiqued a story recently that started about where the story began, as it should—but then nosedived into a montage of flashbacks to explain things that didn’t need explaining yet. I suggested the writer rip it all out to sprinkle into the story later, but let’s start with this:
What is exposition?
Simply put—exposition is the act of explaining things. This can be done piecemeal, or in massive doses, or anything in between. Exposition can be used to explain a character’s history, the background of a particular setting, why the cat has a shaved stripe down its spine—anything.
All summed up, the dictionary says that exposition is “designed to convey information or explain what is difficult to understand.”
But let’s take a look at that word “explain”. I like to think that “explaining” is best used in a technical essay. For those familiar with the mantra of “showing versus telling”, exposition falls into the category of telling the story instead of showing.
Yes, a reader will have to know an event that occurred in a character’s history if it impacts the plot. Yes, the reader will have to know about the history of a fantasy setting if it impacts the plot (or sets up the plot, of course). However, there are ways to do it without directly telling the readers “Main character shaved a stripe down the cat’s back because the cat was his nemesis.”
(Why did I choose cat harassment as an example? Cats and I are like the same people.)
A different example:
Erin gave the spider a wide girth. She hated spiders ever since she’d been threatened by one in the mall when she was six. It had lured her into a quiet hallway and pulled out a knife on her.
This is telling and follows the same formula of a technical essay: bringing up a topic sentence and unloading the information.
Erin gave the spider a wide girth. Marcus erupted with laughs and turned to watch. “Afraid of spiders? How unlike you.”
She shot him a glare. “Have you ever seen a spider pull out a knife? I have, and I was only six.”
Dialogue is an awesome tool for showing history and spiders with knives, and because it involves character interaction, the writer also has a chance to propel the character arc or allude to different character traits, what with how Marcus says “How unlike you.”
Be careful, though. “Reader feeder” is another trap that a writer can fall into. Reader feeder is when characters unload information to each other that the characters themselves would already know, only for the sake of the reader. Here’s a fancy example:
“Hey, Erin, remember in our math class a half hour ago when you saw the spider?”
“Yeah. I freaked out and told you a spider pulled a knife on me.”
“When you were six, at the mall, right?”
“That’s right, Marcus.”
Avoid this. It’s poison. It’ll make the spider take out an AK-47 next time.
(W-W-Why did I choose spiders instead anyway? That’s a terrible visual to have.)
Now, exposition doesn’t have to be labeled as a bad thing, but like dialogue tags, a story can be written better with as few uses of it as possible. As I mentioned in the beginning, the story I critiqued unloaded a mantra of flashback scenes to explain why the character’s setting was the character’s setting and why her relationship with her mother was the way it was. In this case, the exposition cheats the reader out of wondering WHY. If you’re aiming for a fast-paced story, abstain from exposition wherever you can and leave the question of “Why is this the way it is?” for the reader.
Why is Erin so afraid of spiders?
Why is it unlike Erin to be afraid of spiders?
Why did the spider pull a knife on her?
(Why am I still using this as an example?)
A reader will read on to answer questions. If done correctly, exposition can tease a reader with the answer, or even ask more questions that’ll have to do with the plot. Bits and pieces of exposition can create riddles, in a sense, which was why I suggested the writer sprinkle these bits of history throughout the narrative.
Flashback scenes in general also serve as exposition to explain things—HOWEVER, flashback scenes can pull its weight to be a strong proponent of the plot if not used as a gimmick.
What’s a gimmick?
I like to refer to a plot gimmick as something that’s included as a theatrical act to enforce drama. Michael Bay uses a grotesque amount of explosions to enforce drama. Prologues often do this, and flashbacks can as well. Again, if you intend to have a fast-paced story, setting your reader back in time is the exact antithesis of what you want to do, generally. A fast-paced story must always be moving your reader closer and closer toward the climax of the story. Throwing your reader into a time rift instantly slows down the propulsion.
However, flashbacks don’t need to be exiled. I’ve written a story that essentially utilizes flashbacks to set a separate story arc concurrently with the present story arc, and by the end, the two collide for a greater climax. The two arcs intertwine and feed off each other throughout the story, so it’s not like reading two different stories in one book, but two different halves of one story. Both halves constantly move the reader toward the same big question, so both halves generate a quick pace. In a sense, it follows the same formula as having two separate narrators.
Exposition and flashbacks can harm your story, but they can also be made into a great and unusual feature to your story if you don’t treat them as gimmicks. And if you’re doing something atypical with exposition or flashbacks, make sure you have the right critique partners to objectively tell you whether it’s working or not working. Whatever you do, learn the rules, rehearse the rules from memory, then break all of the rules.
More Posts from Doubleloner and Others
I watched When Harry Met Sally yesterday so now I'm curious how everyone's parents met. Any and all stories are welcome!
Writing ship-able couples
Here are some tips for writing relationships your readers can get behind:
1. Give them reasons to click
The two characters must have things in common - a hobby, a philosophy, a background. There has to be some element that connects them.
Your readers will root for relationships in which the characters fit together better than they would with others.
Also, make their traits compatible. Have them share some characteristics or have their strengths and weaknesses be complementary. Is the one hotheaded? Maybe the other keeps their cool well in situations of conflict.
There are endless possibilities. Just make sure there’s a reason these two people like/love each other.
2. Have them be vulnerable in front of each other
Personally, this is the best way to get me to love a couple.
Have them share secrets, open up about their feelings and tell each other things they haven’t told anyone. Have them cry in front of each other and comfort each other.
This can be taken to a whole new level by having them understand the other’s emotions even without speaking and already offer comfort. Keep in mind that this will probably only be possible with long-established couples.
And having them open up is also a great way for them to discover all the things they have in common/love about each other.
3. Build up the tension
I cannot emphasise this enough: DO NOT MAKE YOUR COUPLES GET TOGETHER TOO QUICKLY.
One of the best elements of a romantic subplot (or even main plot) is the tension. Your readers want to see the pining! They want the build-up.
And no, I’m not saying that you should introduce endless, petty obstacles. That can become tedious and appear forced.
Just give your characters time to sort through their feelings. Make them fall in love slowly. Have them be unsure. Insert SOME obstacles/conflicts.
Have them almost kiss a few times. Not all the time. Too many almost-kisses can become frustrating. But you should throw a few in there.
And, if you feel comfortable with it, add some sexual tension. Have them notice each other’s bodies and imagine what they’d like to do to each other (that sounds more explicit than I intended :) )
4. Write a healthy relationship
This could just be me and my rejection of unhealthy romances, but I will not root for abusive relationships.
Have your characters be kind to each other, support each other and truly care for each other.
If your characters are constantly putting each other down, physically/emotionally abusing each other or going against the other’s wishes, they’re not in a healthy relationship.
A great way to write a healthy relationship whilst still maintaining the tension, is to have the conflict in the relationship be external. Instead of having the conflict be due to internal struggles between the two characters, have obstacles enter from outside.
Your readers should want them to be together and for that, they should be good for each other.
5. Have their friends/family see their chemistry
I find it beyond adorable when two characters are still figuring out their feelings for each other, but the fact that they’re perfect for each other is crystal clear to everyone around them.
Have their friends tease them about the relationship. Have family members ask after the them. Have their loved ones conspire to get them to admit their feelings.
If your other characters are rooting for them, your readers will probably do so as well.
Plus, this means that the chemistry between the two characters is so strong that it’s obvious, which is always good for an exciting romance.
That’s all I’ve got for now. If you have any further questions about writing OTPs or any other aspect of writing, feel free to message me or pop me an ask.
Reblog if you found any of this useful. Comment with your own tips. Follow me for similar content.
Early morning sparring becomes routine, Pros- Cullen & Ali are able to reach mutual understanding & respect, Cons - Josephine thinks its ridiculous (Leliana thinks it’s hilarious)
Cullen & Ali argue non-stop even while sparring, but by the time their at Skyhold its more about challenging each others views/plans/fighting style to improve each-other rather than mindless disagreement. Plus both of them are out of practice, so sunrise training is just convenient (nothing more.. definitely not becuase it helps them see the other as more human).
get off dating apps. the love of your life is from a video game!
im just a girl who sleeps for 12 hours and still cant get out of bed bc shes imagining romantic scenarios with her favorite comfort character
once again!! men moaning !! men groaning !! men breathing heavy !! men just making noise !!
Things to do instead of talking to your f/o on c.ai:
draw something with them
write something with them
make an edit or other graphics of them. screenshot edits where you add your headcanons or other changes to their design are great too even if you don't commit to the new design
revisit your favorite scenes or even reconsume their entire source
go hunt for pictures of them you didn't save yet
go look for new fanart, fanfics, or other fan content made by others
gush to other people about them
talk about them in general even if it's not a gush. share your favorite fun facts, talk about their source, or share some headcanons
find someone to roleplay your f/o for you
make a journal page dedicated to them
write them a letter (and maybe write a response letter from their perspective too)
listen to songs that remind you of them. you could also make a 2010s style AMV of them with that song
Christmas comic in October? It's more likely than you think.
Also I would die for young Kyle and Simon
the look of love (for writers)
"it's all in the eyes i was once told"
catching the stare of someone across a crowded room
subtle furrowing of eyebrows beyond a blank facade
coldness easing into warmth
a fond mothering gaze
corner of the lip nudged upward
forced glower/glare as they break underneath
batting their lashes, playful
a boisterous laugh
intrigue piercing the stoic
proud smugness at the other's success
lingering glances
a childish joy bursting through
pupils dilate
eyelids shut in a look of peace, calm and trust
look of longing/betrayal
"there was once a time when they were mine"
terseness
features fold into a scowl
an urgent flinching back
coldness returns (as though the warmth had never come)
lips part then purse
invasion of shock
slow stare at the floor
the ripple effect of a swallow
frustrated breath/sigh
bitter laugh in reminiscence
dread tearing through the seams of their composure
look of hatred
"darkness"
mean smirk- teeth bared grimace- scowl
dismissive gaze
gaze of contempt/impatience
threat lowering the voice
sardonic goading grins verging on manic
rolling one's eyes
flicker of irritation in the eyes
stares stubbornly ahead despite distraction
gritted teeth, clenched jaw
fierce biting remarks
even measured complexions betraying no thought
strangling oneself back from violence
utter apathy
murderous silence hanging in the stare
snobbish laughter
smiling at another's downfall
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