I HATE reading boring exposition. I know it’s sometimes necessary. But come on! Do I REALLY want to read four hideously LONG pages of the “rules” of your story’s special snowflake universe? Umm…no.
Anyway, I’ve been playing with my storyboard this afternoon, trying to figure out how to NOT be THAT writer when I had a funny conversation with my kiddo. I think I will “borrow” this conversation and slip it into my work in progress. I needed a “Pope in the Pool” moment, a funny way to hide a bit of exposition.
What’s “Pope in the pool?” Check out Jo-Ann Carson‘s post to find out more. I think she did an excellent job of explaining one way to hide exposition in your novel.
Thank you, Jo-Ann Carson, for your insightful information!
Today I’m talking craft. It’s a how to-hide information post<g>.
Deep in revision mode, I realize that my main problem with pacing is due to poorly constructed info-dumps. Wanting the reader to understand my characters I give them too much information in the beginning. I’m learning that:
- Some background information doesn’t need to be said, and
- the stuff that does… must be said in an interesting way
Which brings me to the Pope…
The Pope in the Pool
The second “immutable law of screenplay physics” according to Blake Snyder is a technique he calls, “The Pope in the Pool,” and it deals with this problem.
“…the Pope in the Pool gives us something to look at that takes the sting out of telling us what we need to know. And does so in a lively and entertaining way.” (Blake Snyder, Save the Cat, p. 125)
It sounds too…
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