#writing exposition>>>

[074calicocat]

1k words of yap and there's STILL no tongue in ass 💔

[prokopetz]

Expository writing is basically the drawing hands of prose fiction; it's clangingly obvious when it's done poorly, but it's even more awkward when you try to avoid doing it at all, and those who are best at it usually got to be that way because they have some kind of fetish.

[spaceprincessleia]

Well, I'm here now. I'll be around. (Andor 2x09 | Welcome to the Rebellion)

[minty364]

DPXDC Prompt #58 Part 1

His parents studied ghosts. Danny didn’t understand as a kid why everyone made fun of his parents. Now that he was 12, the thought was ludicrous and yet his parents continued their work on the portal. Danny had his sister Jazz though and the siblings were rather close. 

Jazz had spent a lot of time studying lately stating that she wanted to get into a good college. Danny understood he did, but being alone sucked and he couldn’t help it as he sighed kicking a pebble down the sidewalk. 

It was a nice hot summer day, the kind of day you’d want to spend at the beach or a pool. Danny however had other ideas. He was on the way to the local library. If Jazz was going to spend her summer studying for the ACTs then Danny was going to study what he wanted, Space. He quickly found a few books and got settled into a chair as he read. Space really was fascinating, he hoped one day his dream of becoming an astronaut would come true. 

An hour or so passed before Danny was interrupted, “what are you reading?” The voice started Danny out of his trance as he looked up at his interrupter. A boy about the same age as Danny with the same black hair and blue eyes that Danny had. His skin was more tan than Danny’s own pale white. 

Danny fidgeted in his seat for a moment before answering, “Astronomy: guide to the stars” Sure, Danny knew the text was college level but he already read all the ones for high and middle school. 

Damian seemed to hum thoughtfully with a hand on his chin before speaking again, “the book you're reading seems advanced, you seem smarter than your age would dictate. Father has requested that I visit the library and try to ‘make a friend or two’ in his words. I don’t see the need for companionship but if I must I’d rather it be with someone intelligent. My name is Damian.” It was a bit much but Danny guessed from what Damian said that he was complementing Danny. 

“Uh, Danny… I guess most of the people in my family are pretty smart.” He replied after a moment. 

Danny thought it was odd that someone wanted to be friends with him. Everyone at the public elementary school he went to knew who his parents were so they wanted nothing to do with him. It was lonely but Danny didn’t mind it too much, but Damian didn’t act like he knew Danny’s Parents. The thought of having a friend that didn’t judge him for who his parents were made Danny a little excited. 

“What occupation do your parents have?” It was a simple question with a not so simple answer. 

Oh, Danny’s heart stuttered a little bit at the thought of Damian knowing anything about. He didn’t want to lie, especially to his new friend but he didn’t want to tell him the truth. 

“Uh, they’re scientists but I don’t really know what they do…” Danny said carefully and slowly. He was sure Damian bought it. 

The two spent the next couple hours just talking in the library. It had started to get late and Damian needed to head back home. 

“Do you own your own phone?” Damian asked, it wasn’t uncommon, for most kids in his class had a cheap hand me down phone for emergencies. Danny unfortunately didn’t as his parents probably didn’t care where he was.

Danny shrugged, “not really, I could borrow my sisters but it really only gets used for emergencies.” 

Damian seemed to frown at this thinking for a moment before nodding as if he came to a conclusion, “my brother Todd has mentioned that it’s hard for low income houses to afford something I’d consider a necessity in this city. You do know how high the crime rate is, yes?” Danny nodded but he didn’t know what that had to do with having a phone Damian cleared his throat before continuing, “as you are now my friend I’d like to offer to purchase one for you.”

Danny hadn’t owned anything like a phone before, “a-are you sure? I don’t really need one, my parents don’t really… care?” He felt uncomfortable with his new friend spending money on him, Damian seemed like an important person especially with the clothes he wore and how he carried himself. Danny felt like he’d be taking advantage of his new friend if he bought Danny a phone. Danny closed the book he was holding and took a breath before speaking again, “I appreciate the offer but I wouldn’t have anything to offer you in return.” He let his gaze fall to the cover of the book, a swirling galaxy on a black background and bold yellow text. 

“I would not have offered it if I wasn’t sure.” Damian stated firmly causing Danny’s head to snap back up, “I do not need anything in return, however if you really intend to pay me back, Father has insisted that I bring a friend home sometime. Since we have established that we are friends I insist that you come visit every so often to, as Richard puts it ‘get him off my back’.” It sounded like a simple request but Danny was unsure. If Damian was someone important then his family was bound to be even more important. 

He took a moment to think about it, but Jazz would be happy Danny finally made a friend…

“Alright, I accept,” Danny said as they shook hands. It might have been a little childish but he could tell he made some sort of bond with Damian. 

After that they had quickly become friends. Once Danny had become accustomed to being in the Wayne house he basically became family, and was often visiting, especially to eat Mr. Pennyworths cooking. Mr. Wayne also seemed fond of Danny, he even offered to pay for Danny to go to Gotham Academy along with Damian. Danny had been hesitant at first but Damian quickly wore him down. Tim eventually wormed his way into the group as he and Danny bonded over the latest video game releases. Soon Jazz got roped into the group too as she started to visit the manor to get away from how noisy the lab got. 

A couple years had passed since the day that started the road to their friendship and the four of them had really bonded since then. Unfortunately their parents had finished the portal and its here where things go downhill for Danny.

In the next one Danny dies and all 4 of them are deeply traumatized.

Damian saw his dad doing research on the Fenton family, Bruce is just looking out for potential rouges and Damian took the opportunity to become friends with Danny. He figured that he could just bribe Danny into being his friend like all the kids at his school try but Danny is a lil cinnamon roll. Taken aback from how sweet Danny is Damian decided that Danny really was smart and worth being a friend. Tim has the same thoughts especially as Danny starts visiting the mansion more. Jazz loved that Danny had a spot to go where people seemed to actually care about him and she eventually gets dragged into the group. You can only drop off your brother at the Wayne’s so often before you get dragged into the group as well and I thought Tim and Jazz can be the same age and can bond over being older siblings.

[ranticore]

how did you start writing books that had themes? i’ve been writing since i was 7 years old and i’ve always wanted to write a whole book one day, but i don’t feel like i write with enough intention for any of my stories to keep my interest long enough to write a novel. i love building worlds and characters, and i often understand the themes that i want to explore in a given piece, but i always feel like worldbuilding gets in the way of actually writing a plot or having something to say, or that i’m too interested in stuff that doesn’t matter as opposed to actually telling a story. that or i feel like my stuff is too derivative.

So I did the same as you from a very early age, a lot of writing that was kind of directionless, lacking overarching structures. I don't want to say it was immature but in the way of kids playing imagination games, it just kinda.. went on and on with no resolution just pure interaction where any random thing could happen because it seemed like the next step. But for that kind of writing, "the next step" was based off the one directly previous to it. To make the jump to what you describe as books with themes, "the next step" can't be based off the one directly previous to it. "The next step" has to be the extension of every single previous step, including the very first, because the entire story is built from the ground up to be a single unified whole.

I think the jump from the directionless writing to writing A Novel (with all attendant structural conventions - different to fanfic, tv writing, screenplays etc) is that the novel is approached holistically with every single event considered at the same time, instead of each little part examined as a discrete unit that links to the next at the end of the chapter/scene/etc.

What I did was write my entire series out - all three books - in rough draft format, changing it and retconning it freely as I went. the continuity in these drafts sucked and the themes are all over the place but when I was finished with these three book drafts I had every tool at my disposal. at the end of my book 3 rough draft I had worked out all my themes and my events sequence etc. which meant that when I went on to start writing what would become the final draft of stbh (complete rewrites from the ground up, no reusing rough draft prose), I knew from the very beginning exactly how the story would end and it gave me so much freedom and space to approach the full story as a whole, add foreshadowing that wasn't there before, coded hints to how the last book would end (nobody's spotted them yet... as far as I know), and so on

As for themes vs worldbuilding, and what details matter more, ultimately it's for you to decide what you want to focus on. But you also need to understand when a particular element needs to be cut to serve the narrative. If it's something you really really need to include, then you need to restructure the narrative around it (the rough draft -> rewritten first draft method helps a lot with this). There's plenty of plotlines I really liked which I axed in the end because, cool as they were, they broke the causal chain and therefore had to go.

When choosing themes you can approach it not as "what do I like" but "what do I want to say". This should clarify a lot of things. Sometimes what you want to say is "wouldn't that be fucked up or what", it isn't always some deep commentary on the world. For the imimata story I went at it with the initial core of "I am talking about dehumanisation, abuse, and celebrity culture". So I have to wrap my worldbuilding around that, rather than start without direction. The fact that the situation for imimata is so dire is a result of this theme. And so on.

Finally for worldbuilding it is possible to overdo it. I personally get turned off a story very quickly if I'm hit with eighteen walls of exposition and detail unrelated to characters, because I only want one thing and it's disgusting (character interaction), so I'm happy with a very loose canon setting. Not everyone's the same. When you do reveal world building details, link them to your theme. Let's say in Inver my theme was poverty and I want to talk about my worldbuilding around diets. I narrate that through a character who grew up in poverty reminiscing about having to go collect whelks in the bay mud. That teaches us about the physical geography of the city, what the view out to sea looks like, the coastal habitats, the types of food gathered by the poor, and also something about that character as well. Additionally, you might know one billion facts and figures about your setting but do your characters have that knowledge?

Also your own interests vs others' - write for yourself first or you'll be miserable. And if it's derivative or not - idk I mean I just avoid pulling inspiration without twisting it into what I want (and I also avoid pulling inspiration from ppl on my tumblr dash because that's how things get stale). I am a contrary bitch first and foremost and I approach a lot of stuff like "everyone's doing this? well I'm doing the opposite" ... ymmv

[transient-winds]

geniune question:

as a wind breaker fan who likes analyzing stuff, from a scale of 1 to 10, how ashamed should i be for being late in figuring out that the first kanji characters for both endo's and takiishi's last names are parallel to each other?

...nii-sensei what.

[physalian]

Introductory character descriptions

Friendly reminder about introductory character descriptions, especially those at the beginning of the book: To avoid it sounding entirely like an exposition dump, give a reason to why the narrator is noticing what either they or another character is wearing.

For example, worked on this first draft last night: 

Iris hauls up her pack and smooths her clammy hands down her skirt. At the time, the pleated corduroy seemed both durable and multipurpose. Her boots, too, knee-high but thick-soled, and her leggings—warm, flexible, already scraped up at the knees. Clothes she could have hanging in her closet without her mother getting suspicious of why they were so different from the rest of her wardrobe. Clothes that are not sprinting-through-the-Sakartan-wilderness attire.

First draft, so, you know. But! Character isn’t just describing what she’s wearing, she’s describing it in relation to how impractical it now is for her environment. It’s motivated exposition.

Shortly thereafter, Iris meets a new person, and describes them as follows:

Did she stumble into an unassuming temple, whole house left in sacrifice and worship of some celestial she can’t begin to name? They don’t look Sakartan, not just in coloring, but in stature, too. Lithe, frightfully thin with gaunt cheeks, a discoloring across their nose like tiny yellow lesions, and Iris has never known a Sakartan with curls. They’re not even dressed like one, wearing something that kind of looks like a high-collared robe, except it’s split up both sides to a wide belt. Leggings, like hers, adorned with leafy lace, and more of it on the edges of the belled sleeves. The black and gold fabric only serve to make them look even more ethereal. Iris flies through her catalog of fashion across the realms, trying to find a home for this displaced god in vain…

I might still trim it down later but it’s 8am on a workday and this is an example post. It’s still a lot of description to throw at the reader, at least in my opinion, but all of it is anchored to the narrator trying to figure out who and what they are and if they’re a threat, not just taking an aside to describe their features unprompted.

—

So whether you’re describing the narrator or someone the narrator is observing, giving the narrator a reason to give this description at this time and some reaction to it pulls double duty: You’re giving exposition, but still telling the story as you tell it. She’s not just describing clothing, she’s describing why it matters right this second and how both serve to hinder the conflicts of the scene.

It's not just clothing, it's impractical clothing, or it's far too bougie for this side of town, or far too fancy for an average school day, or it's all stained and ripped, which reflects the wearer as either destitute or on the run, perhaps. It's motivated.

[prokopetz]

Writing an eighty hour action-RPG-with-life-sim-elements where what's actually going on is only explained on the bad ending route. Every action that's required to set a good ending flag also causes a critical bit of expository dialogue to never happen. You did the good ending first? Fuck you.

[jessmalia]

Mal's Teen Wolf rewatch: Magic Bullet (1x04)

[lizzybeeee]

Me watching my Inquisitor walk off with Solas at the end of the game like :) "aw cute ..hey if Mythal hadn't told you to stop would you have murdered her,," (I haven't played the other endings yet).

This!!!

(Obviously, not murdered her personally, but he absolutely had no qualms about doing the ritual once more - knowing the consequences of it.)

Let me preempt this by saying that I wanted there to be a happy/fulfilling ending to Solas and Lavellan. I'm not a blind hater! Just someone who finds it very hard to put my own Lavellan in the place of the 'Lavellan' provided to us in DATV.

The Solas/Lavellan relationship already was kind of iffy (power imbalance, constantly dragging her culture, removing her vallaslin/then dumping her, constantly lying to her, etc...) but DAI did a great job of making you feel sympathetic towards his plight - especially after Trespasser! He woke up in a world so divorced from his own that it was unrecognizable - the people he had done so much for were suffering from the consequences of his actions, justified as they may have been at the time (stopping the evanuris). His actions led to great suffering in the pursuit of preventing even greater suffering.

Even after we learned of his plans in Trespasser, it was very much: "cool motive, still murder."

I felt sympathetic towards Solas and the implication that we could change his mind, given to us in Trespasser, gave me hope that we would be able to convince him of another path. That he could find a place in Thedas as it is now and look to the future. That was why I chose the option to try and get through to Solas, despite knowing that his plan would lead to mass death/terror if it went ahead.

I always expected the Veil to fall at some point, but i was hoping there'd be some more nuance to it than: veil gone, demons everywhere, lots of people die. Well, I was very wrong lmao.

But, if anything, the game made me entirely unsympathetic towards Solas.

The moment he started his ritual he chose the old elven empire over Lavellan - over her family, friends, home, culture, and anything else she may have loved/valued.

And he did this twice.

He chose to pursue lowering the Veil - knowing that thousands would likely die. For all his insistence of 'minimizing the damage' he went in knowing that many more people would die because of his actions. There was no justification of stopping the evanuris this time either - no excuse of not knowing the potential consequences of his actions like the first time.

He chose to begin the ritual that ended up releasing the Elven Gods - knowing full well the risks it entailed.

He killed Varric - whether by accident or not, it was by his hand.

He chose to use blood magic to manipulate Rook into thinking that Varric was alive - puppeting his corpse around in Rook's eyes and putting his words into Varric's mouth.

He chose to manipulate, mold, and guilt Rook into the old 'switcheroo' in his mind palace/regret prison

He chose to 'free' the elven people by bringing down the Veil - regardless of their feelings about it (elven Rook can call him out on this!), never mind the consequences or ramifications of a bunch of people suddenly having their bodily autonomy overwritten by now being magic/having immortality.

He looked at the devastation caused the by the Gods and still went ahead with trying to bring down the veil again.

These are the thing he does in-game - not even mentioning making the dwarves/titans tranquil, creating the blight, started the chain of events that led to SOUTHERN THEDAS BEING DESTROYED, and taking my good gear from Inquisition!

Aside from the 'all lore leads to Solas' reveal just being really dull it also does nothing to help with making me sympathetic to him as a character. The audacity of this man to say: "it was like walking in a world of tranquil" when he fucking lobotomized the dwarves/titans is wild in retrospect.

If he didn't do the ritual at the beginning, if something else went wrong and that resulted in the God's being released, I could understand why a Lavellan would still want to get through to him. It would make sense - she could stop him from doing it again at the end too! You can still have him conflicted and torn between the restoring the past or pursuing the future - but this doesn't happen!

He never chose Lavellan in this game! Hell, it's Mythal who convinces him to stop?!! He owes her nothing! He's learned nothing from this!!! He's only stopped because Mythal 'pardoned/freed' him - once again showing that he values the ancient elves/mythal over her!!!

How impactful would it have been to have him choose Lavellan over Mythal! To show us this! Mythal, who 'crawled through the ages for a reckoning' (which was retconned to her being sad about the elves lmao) telling Solas to go through with the ritual and him touching grass and saying 'no'.

It's something I feel was wildly out of character for him as well - he never came across in DAI as being subservient to Mythal, if anything the ending cutscene gave me the impression they were equals?!

After everything he did in this game - after all we learn about what he did in the past - I had no interest in reasoning/appealing with his ass. None whatsoever. My inquisitor/Lavellan asking if Solas can be reasoned with only made me regret making that choice - perhaps other people's inquisitor's would say that, but mine would not, especially after everything that happened in game.

She came across as delusional: standing on the ruins of a blighted Minrathous, the south blighted to hell, dead all around them, blight tentacles everywhere, a gaping hole in the Fade right next to them:

Lavellan: "I forgive you! All you have to do is stop." Solas: "But I cannot."

Boom! There it is.

At this point it's not romantic, it's just sad! Sad that she's spent 10 years pining after a man who seemed to learn nothing at all from what happened in DAI.

------------------------

There should have been some sort of a dialogue option with Lavellan right before you go into the big fight - she can ask you what you think of Solas, if he's truly regretful for everything that happened, and then you can give her an answer that can 'change' her approach to Solas in the end - giving the player some agency as to how their Inquisitor would actually respond to this.

Ending One: Bye Bye Bye

Rook: "HE'S A GUY."

alternatively, "Look around you! Look at what Solas has done - what he's threatening to do even now after all of this! You gave him every chance to turn away from this path. So did Varric...and look at what he did!"

Lavellan is bitter/angry with Solas: "It seems we never were people to you after all."

Refers to him as 'Fen'harel' and not Solas - dig the knife in deeper, give us angst!

"Just go. You love the Fade, don't you? Enough to do all this - enough to kill Varric for your pride in a dead world that no longer exists. We were never 'real' to you, were we?"

Solas says his goodbyes, expresses his love, and Lavellan steps back.

Solas leaves voluntarily, his 'situation-ship very much over', to stew in his regrets for the rest of his life.

Ending Two: Bittersweet Goodbye

Rook: "Girl, it's been 10 years."

alternatively, "You loved him once, perhaps you still do even now - after all he's done - but love wasn't enough. Love does not excuse this."

Lavellan is firm with Solas, does not excuse his actions, but has a bitter sweet farewell: "I had hoped…it doesn't matter what I hoped. You made your choice - it wasn't me. It wasn't our friends. It wasn't this world. You can make a choice now - if I ever mattered you. If I, if our friends, were ever real to you."

They can have a final goodbye, a goodbye smooch, and then he can go off to the Fade.

Bittersweet ending - acknowledge what they had and then provide closure.

Ending Three: Happy Ending (?)

Rook: "He didn't mean it babe. He's tots sorry."

alternatively, "He seems to regret what's happened - I've seen his memories, his regrets. He believes this is the only path he has. Perhaps you can convince him to find another."

Default Lavellan ending basically

"There is no fate but the love we share" blah blah blah

As happy an ending as it can be when you have Lavellan fuck off to the Fade - leaving behind her life, friends, family, and whatever remains of the world for an eternity.

I'm being mean but I genuinely wanted a happy/fulfilling ending for them both too - despite the fact that this game seems to want that ending as well, it did little to convince me of that. :(

I genuinely liked Solas in DAI - despite his flaws, I thought his romance was compelling and I was hoping to be able to convince him to change/alter his path. I can see what they were trying to do with him in DATV but it's so hard to feel sympathy for him when we see/know the results of his actions. The story in this game is doing anything but convincing me to give him a 'happy ending'.

'Love' can't excuse what he did and neither would my Lavellan.

Also RIP Sandal's Prophecy about the Fade lmao

[deerkibble]

on scavengers and the cycle (part 2)

...or, why it's still not a good idea to die in a world where death is meaningless!

(Part 1)

i've talked about this before, but for my AU stuff, i personally like to interpret the cycle as being a respawn for creatures that die: it's a spiritual take on getting a game over and restarting. it's not clear how it works, but the individual comes back intact, waking up in the last shelter or den they hibernated in.

(given that the game’s symbolism is inspired by buddhism, it’s most likely that the rain world cycle revolves around continuous death and rebirth; dialogue in the watcher DLC pretty much confirms this. however, like a lot of things about the game, i think it’s also deliberately left open to interpretation!

i like both concepts for the cycle pretty much equally, but i use the respawn concept for my AU stuff because it’s particularly unique compared to other settings.)

the scavengers are blasé about death regardless of which interpretation of the cycle you use, but this explanation makes a little more sense for anything involving respawning/resurrection.

most creatures are too wrapped up in their survival instincts, and therefore avoid dying as much as possible.

and once again, for slugcats, it varies between individuals... but with their nomadic natures and tight-knit family units, losing someone can have devastating consequences.

it's no wonder so many of them choose ascension in the end.

[minty364]

DPXDC Prompt#128 part 2

Jason had finally made it too a safe house, his eyes blurred everything together and he was having a hard time breathing. His soulmate seemed close to death when they switched and Jason began to worry about making it a little. Thankfully the safe house was close to where his soulmate had been wandering. He was getting a scolding when Jason was finally in his own body he decided. He thankfully remembered the combination for the lock and sat down on the couch after locking the doors behind him. 

His head was pounding and he wanted to do nothing more than lay here on the couch but the sooner he got in contact with Bruce and the rest of them the sooner he could find himself in his own body again. He took closer attention to the one he was inhabiting at the moment and noticed a few things about it. For one he was wearing a shiny silver belt that had some bright green, the kind that seemed a little too close to the green of the pit or his eyes when he got angry. He moved to touch it but when his skin made contact he violently got shocked. Now Jason had gotten electrocuted before, but this was on a whole new level. 

This utterly confused him, why was his soulmate wearing something that would cause him this level of pain? He couldn’t have been wearing it on purpose, maybe he was forced to wear it? The more he thought about it the more pissed off he got. If someone was forcing his soulmate to wear something that caused this level of pain to torture him made Jason nauseous. He took a few breaths to calm himself before he thought about what his next steps should be.

First he was going to check and see what supplies this safe house had, it was one of Bats so there was probably a spare communicator somewhere he could use. He carefully got back up from the couch afraid to touch the damn belt again and began looking. He found some first aid and a communicator right where he thought it’d be and he put it in his ear and spoke,

“Hey, Jason here, finally got to a safe house, buddy when you get here you’ve got some explaining to do”

—————

Danny could feel how tense the car was as Batman drove. He’d  be totally excited to be riding in the Batmobile but dreaded the conversations he was about to have with everyone here, everyone being Batman, his soulmate, and all of the people that could apparently hear everything through the helmet he was wearing. Danny was afraid to take it off at this point seeing as Batman had been almost silent the whole way. 

Danny had a few moments to actually think about things. The most pressing being his soulmate was in his half almost fully dead body. He knew he was wearing ratty clothes and a specter deflector last. They made him wear it at the facility and he really hoped his soulmate hadn’t tried to touch it. 

Another thing that had bothered him is the body he was currently in. It felt off, not half dead like his own but something similar. He could feel the ectoplasm flowing through his veins but it was much less than what he had. Jason was more alive than Danny was especially at the moment. 

He’d panic a bit more about not knowing the state his soulmate and body were except his helmet crackled back to life,

“Hey, Jason here, finally got to a safe house, buddy when you get here you’ve got some explaining to do”

It felt weird hearing his own voice in the tone of a stranger and he felt it was probably the same for him.

“Jason I’m in the car with your soulmate, let me know your position,” Batman said his voice crackled in his ears. Danny wasn’t sure what to say, he was worried about his soulmate but he sounded really pissed. Probably because Danny took his chance to kill the Joker, he assumed his soulmate intended to kill him anyways since the safety was off.

Danny kept silent throughout the rest of the trip after Jason told them his location. He was honestly a little terrified, he wouldn’t doubt that his soulmate knew Batman with the way they were talking to each other so he went through what he knew about the bats. He went through all of the bats he knew and came to the conclusion that his soulmate must have been Red Hood which meant he was in Red Hoods body at the moment and that thought didn’t help comfort him at all. 

That also meant that Red Hood was his soulmate and that terrified him even more. He’d heard stories, mostly from Sam who kept an eye on everything Gotham related seeing as it was her favorite city. Danny missed his friends, they had seen him get kidnapped by the GIW and tried their best to free him but it wasn’t any use.

Danny spent months in the facility and if it wasn’t for the GIWs own incompetence he’d still be there. They had done some terrible things to him during his captivity. They were in the middle of moving him back to his cell when the lights went out. They hadn’t thought to install a back up generator so the ghost shield had temporarily gone down. He was able to fight them back and escape somehow but the belt he was forced to wear made it impossible for him to use his powers. 

He had been on the run for about a week when the switch happened. 

He tensed a little as Batman parked the car. 

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[jessicas-pi]

*deep deep sigh* the wish to write The Scene in your fic vs the knowledge that you have to write everything before it, amiright

[literaryvein-reblogs]

Writing Notes: Exposition

Exposition - a literary term that refers to the background information the reader needs to know for the world of your story to make sense.

Also: The technique of providing this kind of information in a story or film.

It includes anything from character introductions to dialogue, and is most common at the beginning of the story.

Exposition Techniques

There are several ways to use exposition to convey the background of the characters and events. Some of the most popular types:

DIALOGUE. A conversation between two or more characters allows for simple and effective exposition in a single scene.

NARRATION. A way to communicate a character’s true thoughts and desires, or give omniscient insight into a situation.

FLASHBACK. This places your character in context.

Writing Tips

You know the world of your story inside out, but now it's time to put it on paper and share it with audiences. If you're struggling with finding a good starting point or balancing how much information to present, try the following tips for effective expository writing.

SHOW, DON'T TELL. This means that you should always “show” things to the reader through action or character behavior as opposed to simply “telling” them. If you “show, don’t tell” well, you might not even need an exposition.

Weave exposition into the RISING ACTION. Good exposition is laid out without impeding the story and is seamlessly embedded within a scene. Move the central dramatic narrative forward at the same time that you lay out exposition. Describe how a bomb works at the same time as the hero is trying to detonate it. Explain how evil a bad guy is as the hero is actively running away from him.

SUPPLEMENT THE VISUALS. Use narration to add to the action that is taking place. While some imagery are better left for the reader to interpret, others can benefit from the clarity or context that your narrator can provide with supplemental information.

Create characters who act as a “STAND IN” for the reader. One way to get through exposition in your story is to have at least one character early on who is a stand-in for the reader; because they ask questions of the main character that the reader might have. He or she will help introduce the characters and the world without causing readers to be bogged down with excessive or conspicuous exposition.

Use ARGUMENTS to your advantage. In real life, arguments naturally escalate and romantic partners often bring up past events during fights making it an ideal scene to slip in background information. A fight about household duties between lovers can escalate to the point where the wife brings up her husband’s infidelity from 15 years earlier. This exposition feels natural because we believe that the wife may not be over the past infidelity and would mention it in the heat of the moment.

Be BRIEF—less is more. Only say as much as you need to for the reader to understand the story. Try writing a monologue for your character, exploring his or her entire background and back story. Then, start chipping away at it. How much of this information is important, and how much is ancillary detail? How much can you show in the scene versus having to say out loud? For example, does the character need to tell us they went to university, or can they throw on a college sweatshirt or stand in front of a framed diploma?

Give your characters SUBJECT-MATTER EXPERTISE. Let’s say you need to explain how a virus is slowly decimating the entire human race. Instead of having a lay person google the information in a scene, write a dynamic scientist character who has been researching this virus for years, is an expert on the topic, and whose job it is to provide information about the virus to others. For example, you could write a scene where the scientist explains how the virus works to the U.N. or has to go on CNN to explain it to the masses as this feels like an authentic thing that would happen in the world of the story.

Source ⚜ More: Writing Notes & References

[bonnibelleangelica]

Writing: Things I Learnt the Hard Way #9

‘Show, Don’t Tell’ is more than implying emotions through action. These small scale examples are useful for writing tip blogs and classrooms, but on a larger scale, this concept is the foundation of writing. You may be showing your characters emotions well enough, but did you know this problem can plague your entire plot?

For example: Tell

Once I made it into the bunker, I realised how claustrophobic it was compared to the surface. I tried to take the elevator, but by level 5, I felt like I was gonna barf. When I finally ran out into the hallway again, my nausea got a lot better.

Here, I tell the audience what happens, I summarise and just cover the basics. This works for transitionary scenes, car rides, plans that were already discussed on screen, general set up for a real plot point or even your characters doing their jobs. Don’t yap about every interaction in depth or your audience will just learn to skim things because you keep wasting their time.

BUT

If you rush through everything, your audience won’t know what to pay attention to either. If its pivital, if its a moment that can’t be missed, if it has to potantial to develop the shit out of your story, LET IT. Indulge in the details and give it the time play out however it needs to. Readers are there to read.

For example: Show

My Book- Status Quo, Chapter 5: Doors

When I did eventually make it down those steps, through the airlock, past the many, many security clearances and into the uniform hallways I knew so well, I could smell the air itself. No more pollen or nectar, now it was obvious how many people had breathed this air again and again, with only a round of purification to make it tolerable.

No, not purified.

Recycled.

I suppose you get used to it, like when other people’s apartments reek of detergent, perfume or air freshener without them knowing. Or how you're the last person to find out you stunk all day.

This would take some getting used to.

In the elevator, I was the last to step in, being the first and only recruit to choose my floor. The others shuffled and fidgeted tensely as we passed each of the labor and production levels, the ride seeming to drag on and on. I never notice the way the lights above us buzzed and flickered constantly, or how cramped it could be. Had it always been this bad? This hot? This suffocating-

“Ding! Level 5.”

The second the doors opened, I stumbled out and gasped for rancid air, but at least I couldn’t taste Wallace’s dinner or Minnow’s hair spray.

If this was a one-off funny moment, I might have used Method 1, but a core theme of my book is Phylum (the main character) slowly noticing the problems around him and not being able to block them out. Ignorance was bliss, but now, the air itself is nauseating. This moment can’t be forgetable. And if I keep up my careful use of detail and elaboration for moments that matter, my audience might trust me with their time and actually pay attention to important moments like this.

Click “My Writing Tips” in the tags for more!

[casdeans-pie]

I just thought of like, two whole separate concepts that I'm BUZZING about writing into Cabin Of Feathers !!!!!

I need to tell you all !!!!!

But spoilers !!!!!!

I have to wait until they make an appearance in the fic, but it's gonna be so painful to be patient asdhjhgshfj

Hopefully you're all gonna love it