tag:blogger.com,1999:blog-6824896765631412903.post4116862556337844032..comments2023-09-05T12:51:25.656-05:00Comments on edittorrent: Speaking of....Edittorrenthttp://www.blogger.com/profile/14295505709568570553noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-6824896765631412903.post-51357828562703350472008-11-25T00:23:00.000-06:002008-11-25T00:23:00.000-06:00How about "Meanwhile, back at the ranch"? Sorry, I...How about "Meanwhile, back at the ranch"? Sorry, I couldn't resist the impulse to use the ol' faithful transition from the old serial movies.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6824896765631412903.post-42372936810668115322008-11-22T23:21:00.000-06:002008-11-22T23:21:00.000-06:00This was an interesting topic - which got me to th...This was an interesting topic - which got me to thinking...<BR/>I like to be surprised and I believe that a well executed transition or the subtle placement of exposition, can be the catalysis to a great and suspenseful read. That’s my ultimate goal. If I have succeeded in dishing up all the necessary information, pertinent facts and relevant history required by the reader to be able to trust what’s going on - and to actually care about what will happen next - I figure I have done my job as a storyteller.<BR/>Taming the beast that is exposition? Dialogue is where it is at for me. I love to use what I call (the getting to know each other dialogue) as a way to furnish info to the reader without making it obvious. The reader, if you have constructed the scene correctly, will be interested in the characters interaction - highlighted by say, telling physical reactions to each other, sweaty palms, heated cheeks, or rapidly darkening eyes...and with the reader distracted by the actions/reactions of the characters - this is the perfect time to weave in some crucial history. What about an argument? Nothing unearths dirty little secrets better than petty anger, in the heat of a roaring fight. The possibilities are endless. <BR/>To me, I guess it comes down to a matter of prioritizing. Yes, your reader needs to know certain things that came before - to believe what is happening now – but, is what came before, more important that what is currently going on? If it is, you are writing the wrong story – right? <BR/>I do have to say, that I laughed outright at the comment you made about that narrator and the bow tie segue -‘Well, why do you need to get him thinking at all? You need to get him DRESSING.’ <BR/>Now that was funny!Riley Murphyhttps://www.blogger.com/profile/15817930302085699222noreply@blogger.comtag:blogger.com,1999:blog-6824896765631412903.post-40388776635771049252008-11-22T05:27:00.000-06:002008-11-22T05:27:00.000-06:00I always hear the phrase, 'make the causal, casual...I always hear the phrase, 'make the causal, casual'. Playwrights do it quite well - talking about one thing and inferring another: tension, danger<BR/><BR/>Quentin Tarantino's cheeseburger scene is a good example of irrelevant exposition (although it leads to a change in that character's life) - used to heighten the tension.<BR/><BR/>This is what the reader/viewer - thinks they want: action - movement,but no, now you've got them where you want them, waiting, you can be almost sadistic and take them back, make them wait and they'll enjoy it all the more.<BR/><BR/>Aside from that option, we all struggle with exposition, so if you can't wedge it in, throw it out. It ends up like the maltese falcon - no one quite knows why things are happening but it's exciting enough that no one really cares - and it does create a mystery as well.<BR/><BR/>That all said - this is a genius article and the clarity of YOUR exposition is perfect. Props indeed to the Ed. Torrent team....Stipey Sullivanhttps://www.blogger.com/profile/12286651621856169706noreply@blogger.com