Words have meaning. We use them to communicate to one another, and what we communicate depends, in part, on which words we use. What words mean varies from language to language. In many cases, we can communicate the same thing in different languages, but require different words to do so. And conversely, sometimes the very same words communicate different things in different languages.
The post Lies, truth, and meaning appeared first on OUPblog.
Here’s a question from a reader:
Is it ok to use dialogue to tell the main character about the fantasy world she just entered via her sidekick who lives there? I’m not sure how else to do it. Is there such a thing as too much dialogue?
Thanks for the question!
Where to Include Exposition
You’re really asking about a couple things. Exposition is the explanatory text that tells the reader about the setting, the time period, backstory, etc. It’s important that the reader know what’s going on and the tendency is to try to explain everything.
But think about this: when you first meet someone, you know nothing of their back story, their history, how they reacted the first time they ate cotton candy, or whether or not they are scared of dogs. You don’t know their family history, or anything about their job or how well they do in school. You only know the immediate situation.
That’s what you must focus on, is the unfolding of scenes that tell you story.
But, you want to know how to get all that other stuff in there. Is it okay to tell it in dialogue? Maybe.
Unfortunately, little in fiction is set in stone. In general, though, you should trust your reader to understand implications of what you write. Maybe add in a line here or there of explanation, or occasionally a paragraph of description or just plain explanation. But overall, the exposition must be naturally worked into a story AS A SCENE UNFOLDS.
I’m emphasizing the use of scenes. A scene is something immediate happening; it includes action; it includes conflict; it includes immediate consequences. Nothing can interrupt the flow of that scene. In the aftermath of a scene, when the reader is following the character’s reactions to the scene, you might slip in a memory or flashback–if and only if it directly relates to the decision the character must make at this time.
Otherwise, sorry, the exposition must flow naturally.
Examples of Using Exposition
From The Green Glass Sea, by Ellen Klages, p. 43.
This is a story about the families of scientists who are developing the atom bomb. “The Hill” is the research facility in New Mexico where much of the action is set. Suze has just had lunch with mom and is trying to decide what to do for the afternoon:
Both her parents had always worked. Back in Berkeley, though, where they’d been professors at the university, they’d had regular hours. Here on the Hill, she was never sure when she would see them. Especially Mom. Suze missed having her around, which was unpatriotic, because whatever the scientists were working on was going to end the war, and she knew that was more important than playing cards.
Here, the exposition is slipped into the scene and also does a good job of characterizing Suze, who both misses her Mom and Dad, and feels the conflict of their patriotic duty. Usually, it’s better to just put the exposition into a paragraph like this, instead of trying to fit it into dialogue.
On the other hand, here’s a bit from The Hunger Games by Suzanne Collins, p. 91-92. In this futuristic reality TV show, children are supposed to kill each other in order to gain food for
