As I revise my novel, one of the problems I’m working on is too much exposition, especially in the beginning chapters.
I’ve devised a little trick to help as it’s not always apparent to me when I have too much.
What is exposition, anyway?
Author Beth Amos defines exposition as “information that is offered to readers to help them understand the plot, characters, or setting in a story. Exposition is telling, not showing, and passive rather than active.”
What is too much exposition?
Amos has a nice way of explaining when you’re hitting the danger zone with exposition:
The key is to use it piecemeal, doling it out in small chunks and only when absolutely necessary. To involve readers in your story, you need to maintain their interest and pique their curiosity. You do that by revealing just enough details to make a character or situation intriguing without insulting the reader’s intelligence by spelling it out for them. And if you can offer those same revelations through dialogue and action, so much the better.
Think of real life. When we meet a person for the first time, we know nothing about their past, their personalities, or even much of their present day life. Over time, if we continue to be exposed to this person, we will glean these details through the person’s actions, interactions, and conversations. The more puzzling and complex a person seems, the more our interest is piqued. In contrast, when you meet someone who is so fascinated by his own life that he proceeds to tell you every aspect of it in excruciating detail, the impulse is to run as fast as you can in the opposite direction.
Here’s my trick to reducing exposition:
I’ve been rereading each scene and chapter looking only for tell-ish exposition — anywhere I’m stepping out of the “present” to explain something so the reader better understands the deeper context — and I highlight it in yellow. I especially look for exposition that feels like it could be taken out without affecting the action or flow of the scene. In other words, it’s just not that relevant or necessary.
If the highlighted portion is more than two lines, I trim it down to two (or less). But instead of simply deleting the offending text, I cut and paste it into a text document in my Scrivener project that I titled “Scraps.” This way, I’m not losing the extra information — and I don’t forget what it is, either. I’m taking it and moving it to the side, out of the way, so I can recycle it later, or so I can remember why it was so important in the first place.
What this has taught me:
First, it’s made this exercise has made it much easier to spot heavy exposition in my novel. It really is true that it’s difficult, if not impossible, to look for everything (character, exposition, description, etc.) at the same time — you need to take a pass for one thing, then a pass for another.
Second, I’ve learned to take out the bits I don’t need and find more creative ways to incorporate them. For example, in my novel, I realized I had told the reader what my character’s unusual routine was each morning when I could have shown her going through it at the start of the story.
What techniques do you use to eliminate unnecessary exposition in your stories?