By Ansen Dibell
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Extra info for Plot (Elements of Fiction Writing)
Sample text
You want your readers to be able to imagine your characters, not describe them for a robbery report. Have your people talking and doing: that will make the stronger impression. Opening with a Bang Some openings are unabashedly melodramatic. Their action is as violent, exaggerated, and mindless as possible. "As I scrambled over the top of the crater, Mount St. " Let's call them volcano openings. ) A volcano opening—a chase scene, somebody falling off a cliff or being attacked by Killer Shrews, a sex scene or mad, passionate love-at-first-sight—makes a statement about what's to follow.
Then tell 50 P L O T his background, if you need to. In the middle of a story, exposition can serve as preparation for something that won't happen until later. But in its immediate context, it should seem called for by what's happened just before that point in the story. Otherwise, the exposition will just seem like a digression with no present relevance, or even like heavyhanded foreshadowing: nudging the reader and hinting obviously about what's coming, which none of the characters know— only the author.
In its more extreme forms, it's narrative cancer: the unchecked and malignant growth of something that was harmless, even beneficial and necessary, in itself. In all genres, it involves becoming infatuated with the process of invention for its own sake. " He Explained—Handling Exposition 47 tion, essentially static and undramatic, isn't subordinated to plot and takes over. The story stops dead. PygmalionandFrankenstein Every writer is Pygmalion, falling in love with his handiwork and wanting it to come alive.