We’re talking about exposition today on the magazine.
Not till the knife of love gained sufficient edge could he cut out her figure from its surroundings.
—Elizabeth Bowen, “Ivy Gripped the Steps”
Exposition: the necessity for it to be sharp and succinct ties it intimately to line editing. . .yet it is simultaneously tied to artistic vision and also to the simple mechanics of plotting.
What is exposition for?
Exposition is for stepping outside of the reader’s vivid experience of living this story—summarizing what could almost always be better said in scenes—and in a way that both moves the plot forward, creates layers and complexity, and illuminates the story beneath the plot, the real, hidden agenda.
All that?
Yes, all that.
You can see why fiction has moved away from exposition (nineteenth-century novels are chock full of the stuff) toward scenes. Because, as hard as scenes are to write, they’re a thousand times easier to do right than exposition. . .
Read the full essay on The Art & Craft of Fiction.
I know this is going to be an important blog for me to memorize. I’m just so determined to show the reader how clever and funny I am – so much more so than ANY of my characters. Before I’ve even finished writing the dialogue, I’m thinking of three syllable words I can use to explain what just happened in the scene.
I know. I know. Get a puppy if I want adoration.
K
But, Kathryn, your entire novel is about puppies. Big, mean, jugular-ripping, adoring and adorable, eternally loyal puppies.
Hey, I saw your comment on Bob’s interview of me. Thank you! You are very kind.