The Mysteries of Exposition

As a plot evolves, the writer needs to decide how to spoon in backstory (exposition), which involves breaking from the main storyline to give the reader information relative to the plot. But too much exposition can be deadly. Backstory, either in dialogue or narrative, should be kept to a minimum and not continue for more than a page unless the plot contains an historical subplot.

Well-handled exposition provides perspective, dimension, and needed context to connect previous events with the present. A micro history, if you will. But exposition should be handled carefully. Comic strips and soap operas use the technique frequently, but novel characters should rarely use exposition to reveal past events, especially if they’re not relevant to the plot. Mystery novels should be written in a straight line with the story’s conclusion in mind, as though running a marathon with blinders. Forget those spectators on the sidelines. Always look toward the finish line.

An example of unnecessary exposition:

“Remember that key you gave me?”
“Which key is that?”
“Tied with a yellow ribbon.”
“No, I don't recall . . .”
“You said it was the key to your heart.”
“Was I drinking champagne?”
“You dropped the key in my slipper.’
“Come now, Carla, what’s the point?”
“Nothing, David. Nothing at all.”

If the above dialogue is a lead-in to a romantic scene that's central to the plot, it’s okay, or if Carla is planning to kill her lover. Otherwise, it should be deleted. An agent once called a similar conversation nonessential and advised me to revise it because it added little to the plot. Dialogue that doesn’t contribute significantly to the plot should be eliminated, no matter how much you like it.

When the first draft is finished and polishing begins, eliminate conversations that don’t characterize, provide limited exposition, or carry the plot forward. Any asides, cute expressions, and nonessential chit-chat need to go, no matter how cleverly written. Save them for the next novel and build a plot around them. Editors consider nonessential dialogue “padding,” and if the work is accepted in spite of padded prose, the copy editor will delete it for you. It’s better to do that yourself.

All a Matter of Perspective

It's amazing how perspective can differ amongst people and even with myself.

On the way home from Wisconsin near Wausau

I got back from our North Woods vacation yesterday. Almost every day, the weather was my ideal - 60s and 70s. I know some people  would say that's not warm enough. They prefer at least 80s or 90s. That's them. I was happy.

So was the DH, who set out in his fishing boat almost every day to catch "The Big One." He tried, but never caught that elusive dream. Still he did pretty well, hauling in some keeper walleyes, bass and a nice-sized crappy. On the days he couldn't catch fish, he'd say, "I guess you can't have good weather and good fishing at the same time."

In past years, when we had no cable and no Internet in our cottage, the DH was fit to be tied if the fish weren't on a feeding frenzy. Now, he takes it in stride, and occupies himself in other ways.

Morgan's dog. Rascal

In the old days, without other entertainment except for eating binges at local restaurants, I went through many books, also lay out in the sun, weather permitting. I walked the dog, did crossword puzzles, and went to Bingo when I could. I worked full time then, and my vacations were relaxing. At times, I'd even go fishing with the DH.

Nowadays, on vacation I can watch TV, read on my Kindle, surf the net, and after walking the dog, I prefer sitting in the shade, while my dog lays in the sun.

I have no day job anymore, except writing. A bit of relaxation is fine and dandy, but I much prefer excitement and variety. Bingo is no longer enough, when the thrills of the casino beckon to me. I haven't fished in two years, and don't miss it.

I bet you're wondering what this has to do with writing. Well, I'll tell you.

To make your book characters come alive, perspective is important. Each character needs to be and see differently, even those who share some basic views or values. Notice that I and the DH both loved the weather and modern conveniences, but still differed in some ways as to our entertainment. Even minor distinctions between characters is important.

Readers should be able to distinguish each character, even without the author continually pointing out which one it is.

Be sure to include clues, even if they're physical mannerisms, such as lifted or furrowed eyebrows, smiles or frowns, or maybe trembling or firm hands. Age can also be a factor in a character's perspective, although you can have fun with that in a mystery by having a senior be spunky and a teenager timid.

When there's a murder involved, which is often the case in mysteries, you can have more fun by showing atypical reactions. A reader might expect an innocent party to exhibit sadness at the death of a family member, but that might not always be the case. Wrongs, either perceived or real, could hinder what seems an appropriate reaction.

You can also allow your characters' perceptions to change. Maybe after more evidence is revealed, the very person who despised the dead party, now feels saddened and guilty for prior feelings.

Lots of possibilities to play around with perspective. Have fun!

Morgan Mandel - http://www.morganmandel.com
Morgan writes mysteries, thrillers and romances
Her latest thriller: Forever Young: Blessing or Curse
Her current romantic suspense: Her Handyman
Her Amazon Author Page:
http://amazon.com/author/morganmandel