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Five Techniques for Great Exposition

Great exposition in Arrival

Ever wondered how to inject great exposition seamlessly and unobtrusively into your story? Here are five techniques to help you do just that!

TECHNIQUE 1: Emotion as Camouflage.

One way to camouflage information is by pulling at your audience’s heartstrings. This is how Eternal Sunshine of the Spotless Mind does it, and does it brilliantly. The film introduces us to Joel and Clementine, who have had their painful memories erased. As their memories are rubbed out one by one, emotions take center stage, rendering the exposition less intrusive.

EXAMPLE SCENES: We see Joel and Clementine being initially happy together. Then, as they begin to argue and confront the erasure process, we learn about their troubled history. Their emotional rollercoaster uncovers their past without the need for dry exposition.

You see, emotion is an effective way to capture the audience’s attention while you convey essential information. Additionally, transmitting backstory through your characters’ feelings and reactions avoids spoon-feeding your audiences.

TECHNIQUE 2: Layer Information.

Next, let’s look at how to Layer information. It might sound complex, but it’s a game-changer for exposition. Here again, Eternal Sunshine of the Spotless Mind is a masterclass in how to use this technique. The film employs a Multiform or non-linear narrative structure, presenting fragments of the story out of order.

To apply this to your own writing, reveal exposition in drips and drabs, and out of chronological order, if suitable. This approach keeps your audience engaged, eager to connect the dots in an attempt to comprehend the bigger picture. Indeed, this layered approach to writing exposition increases our need to figure out what is happening in the story—it becomes the very point of the tale. It hides in plain sight the fact that the entire story is about making sense of the backstory.

EXAMPLE SCENES: In the movie, we see glimpses of Joel and Clementine’s relationship at different stages, forcing us to piece together the story’s puzzle. This non-linear approach beautifully unpacks their past, making it more captivating and suspenseful.

TECHNIQUE 3: Use Objects as Memory Triggers, symbols and metaphors.

Remember that old trinket you found in your attic, which suddenly brought back a flood of memories? In Eternal Sunshine of the Spotless Mind, objects serve as memory triggers. Joel revisits key moments by interacting with his fading memories.

EXAMPLE SCENE: When Joel finds a forgotten Valentine’s card, it takes him back to a cherished moment with Clementine. The card becomes a powerful symbol, unlocking emotions and memories that had been erased.

Employ objects in your own stories to trigger the memories of characters and reveal exposition. Objects offer a unique and relatable way to convey the past and connect your readers and audiences to the characters on a deeper level.

TECHNIQUE 4: Keep exposition short.

Brevity is key. Consider the film Arrival, where the backstory of the extraterrestrial visitors unfolds through subtle clues and linguistic exploration of alien modes of communication, encouraging your audience to use its imagination and critical thinking to make sense of the story.

“Exposition, although necessary in providing essential information to readers and audiences, ought to be rendered deftly to avoid appearing heavy-handed and on-the-nose.”

TECHNIQUE 5: Distract through action:

As writers we know all about, Show-don’t–tell. This means that instead of merely informing the audience through direct dialogue, we should also strive to unveil our backstory through the actions and behavior of our characters.

In the film Unforgiven, a retired gunfighter, William Munny, now a down-and-out hog farmer, accepts a contract to kill a couple of ‘no good cowboys’, who cut up the face of a prostitute in the town of Big Whiskey. Munny is shown to be jaded, unable even to stay on a horse or hit a target with his gun. By contrast the sheriff, Little Bill Daggett, the man Munny is up against, is a tough, formidable opponent who seems more than a match for the hog farmer. The looming clash between the two men—the core tension in the story, is set up through a masterful use of exposition rendered through small acts that reveal much of what we need to know about the plot and characters.

So there you have it then, five powerful techniques seen operating in three successful films.

Summary

Write great exposition by using emotion, layering information, using objects as memory triggers, being brief, and revealing backstory through action. These techniques will help to make your exposition more engaging, emotionally resonant, and memorable.

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Dissecting Story Secrets

The power of Secrets in the movie, Knives Out.
The power of Secrets in the movie, Knives Out.

I believe that secrets in storytelling are some of the most potent narrative components at the writer’s disposal. Secrets shape character and plot. Additionally, they are prodigious subtext generators.

Let’s look into how secrets conspire to keep readers and audiences engaged,

How Secrets Affect the Plot

In Knives Out, the central plot revolves around the mysterious death of wealthy crime novelist Harlan Thrombey. As the story unfolds, we discover that each family member has something to hide. It’s the nurse, Marta Cabrera, however, who holds the biggest secret: she accidentally administered a lethal dose of medication to Harlan, thinking it was harmless.

This secret sets the entire plot in motion. It leads to the investigation by the gifted detective Benoit Blanc, who begins to unveil a series of family secrets, lies, and betrayals. Without Marta’s secret, the murder mystery at the heart of the tale would not exist.

Generating Subtext

Knives Out excels in generating subtext through the characters’ secrets. Each family member hides his or her motives, manipulations, and true feelings about Harlan’s will. Ransom Drysdale, for instance, pretends to be close to his grandfather while secretly plotting to get his hands on the inheritance.

These secret agendas create a rich tapestry of subtext, helping the audience to piece together the puzzle of the characters’ true intentions. We’re constantly on edge while we try to decipher their motivations, thanks to the secrets they harbour.

“Secrets are prodigious generators of subtext.”

Developing Character

Beyond impacting the plot and creating subtext, secrets play a powerful role in character development. Take Marta Cabrera for example. Her secret—her overwhelming guilt, changes her from a passive character into an active one. She becomes not just a nurse, but a central figure in the investigation.

As Marta grapples with her secret, we witness her character arc, seeing her evolve from simply being an observer to someone who actively pursues the truth, despite the risks. This transformation would not be possible without the secret she carries, making her one of the most compelling characters in the film.

Keeping Readers and Audiences Engaged

Another significant thing a character’s secret does for a story is to keep the audience engaged and invested. In Knives Out, the audience is constantly guessing, intuiting, theorising, in an attempt to fit the pieces of the puzzle together. The secrets serve as bait, luring viewers into the intricate web of deceit and suspense.

As the film progresses, we do not remain as passive observers, we become active participants in solving the mystery. Our emotional investment in uncovering the truth keeps us locked-in from beginning to end, underscoring the power of secrets in storytelling.

Summary

Knives Out masterfully demonstrates how well-constructed character secrets shape the plot, add subtext, aid in character development, and keep audiences and readers engaged.

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How to work with metaphors in stories

Metaphors in Inception
Visual Metaphors in Inception

How can we use metaphors to elevate our stories?


Let us first remind ourselves that traditionally metaphors draw comparisons between two unrelated things, suggesting that they are alike in some way. Metaphors are efficient ways of communicating complex ideas and emotions through powerful imagery. ‘He’s a damp squib,’ is one such metaphor. Here the connotation of being a disappointment, failing to live up to expectations, rather than being an actual damp firecracker, is the meaning we’re after. Metaphors like symbols make objects, actions and events luminous—they make them glow, as it were, with significance that reaches beyond the denotative boundaries of the original. But unlike a symbol which stands alone, as it were, a metaphor is paired with the item it is juxtaposed against.

Here’s how metaphors function in the film Inception. Perhaps the most striking is the concept of inception itself—such as planting an idea in someone’s mind, but in the film, it is elevated to a literal and bizarre level. This idea of planting a seed that grows and takes root mirrors how metaphors can be subtly introduced and then bloom in your story. Just as Cobb and his team design intricate dream worlds, writers craft metaphors that transport readers to alternative realities where themes and emotions come alive.

“Metaphors are a figures of speech in which the thing described makes a direct comparison to something else.”

Mal, Cobb’s haunting psychological projection, is not only an indication of his state of mind, she is also a metaphor for his guilt and unresolved past. Mal, is a specter from his suppressed memories, much like how our inner demons and unresolved issues can manifest to haunt us in real life.

Layered dreams are in themselves metaphors highlighting the complexity of the human mind. They expose how thoughts and emotions can interweave—much like metaphors provide layered meaning in a story, enriching the narrative.

The dizzying rooftop chase, for example, is not just action, it is metaphorical drama. The heights are visual metaphors for the challenges and obstacles we face in our lives, and the chase represents the pursuit to solve our inner conflicts.

Let’s end with the iconic spinning top. Yes, the top is a tool used in the story to indicate to Cob whether he is still dreaming: If the top continues to spin, he is still dreaming, but if the top obeyed the laws of physics and tips over, he is awake. But the top is also a metaphor for reality’s uncertainty, an idea that lingers in our minds long after the film ends, much like a well-crafted metaphor lingers in our readers and audiences’ thoughts.

Inception, then, serves as a brilliant example of how metaphors can be seamlessly woven into a story’s fabric; how they allow the writer to challenge perceptions, generate insights between seemingly unrelated things, and create fresh, ineffable and lasting impressions behind the literal meaning of the plot.

Summary

A metaphor makes a comparison between two unrelated things, suggesting that they are alike in some way.

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What is meant by Save the Cat moment?

The Save the Cat Moment in Spider-Man: No Way Home.
The Save the Cat Moment in Spider-Man: No Way Home.

One of the best storytelling concepts in movies and novels, can be found in Blake Snyder’s book, Save the Cat. This concept highlights the importance of crafting a likable and relatable protagonist by featuring his or her humanity through selfless acts of kindness, and the like.

In other words, Blake Snyder’s Save the Cat moment is predicated on the idea that we are more likely to root for a protagonist who performs a selfless and/or heroic act, and does so early on in the story. The moment humanises the character and establishes a connection between readers or audiences, and the protagonist, from the get-go. To illustrate this, let’s explore the recent blockbuster, Spider-Man: No Way Home.

Peter Parker’s Character Arc

In the movie, Peter Parker, played by Tom Holland, grapples with the consequences of revealing his true identity to the world. As a result, his life and the lives of his aunt and friends become imperiled. Peter’s initial solution is to erase the world’s memory of his alter ego, Spider-Man, through a spell conjured up by Doctor Strange.

Save the Cat Moment through Action

But, it’s not just Peter’s dazzling powers and his endurance of the conflicts that beset him which endear us to him; it’s his humanity: Peter realises from the start that his actions have far-reaching consequences for those who know him as Spider-Man. In a moment of selflessness and empathy, he asks Doctor Strange, played by Benedict Cumberbatch, to cast a spell that will erase not only people’s memory of his identity but also their memory of their relationships with him. He wants his loved ones to be safe, even if it means they have to forget about him entirely.

This decision is Peter’s Save the Cat moment in the film. It’s an act of great sacrifice, a willingness to shoulder the emotional burden of being forgotten by those he holds most dear. It is a moment that foregrounds his responsibility, empathy, and the moral content of his character.

“The Save the Cat moment occurs early in the story and reveals the hero as someone who is compassionate and kind, and willing to sacrifice his or her desires and ambitions for the benefit of others.”

Audience Impact

As viewers, we are not only witnessing a superhero with incredible powers, but a young man who genuinely cares about others. This creates a powerful connection between him and the audience. We root for him not just because he can spring from skyscrapers or defeat terrifying foes, but also because we appreciate the moral quality of his choices, and empathise with his human struggles.

Conclusion

Spider-Man: No Way Home, then, exemplifies the power of the Save the Cat moment, a concept popularised by Blake Snyder in his book Save the Cat! It reminds us that in storytelling, it’s the moments of our shared humanity that truly captivate us, that truly resonates with us.

What is the save the cat moment in your screenplay or novel? Don’t have one? Revise your work to include one in your story—it is the key to creating a memorable and beloved protagonist.

Summary

The Save the Cat moment encapsulates Blake Synder’s advice of how to write a story protagonist who is likable and relatable.

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Symbols – your secret power

Symbols in The Joker
Symbols in The Joker

What are symbols, and how can we use them to prolong longevity, add resonance and depth to our stories?

In his book, Man and his Symbols the renowned psychologist, Carl Gustav Jung wrote: ‘What we call a symbol is a term, a name, or even a picture that may be familiar in daily life, yet that possesses specific connotations in addition to its conventional and obvious meaning. It implies something vague, unknown, or hidden from us. A word or image stripped of its connotative aspect is a mere sign—it denotes or points to an object or event that has no added significance than its function—such as a chair, a table, and the like.” 

The strength of symbols, especially symbols that emerge from the unconscious to manifest as Archetypes, is that they endure. To put it in another way, as primordial remnants bubble up from the human unconscious, they are expressed by the conscious mind as universally applicable archetypal symbols. They do so by cleaving to specific actions, events and objects in myths and stories.

“Symbols, when rendered adroitly, promote the longevity of any story.”

To generate symbols in your own tales, start with story and character: 1. Ask, what is the genre of your story? 2. What is the key idea, theme, and moral premise of your story? 3. What goals and struggles are your characters engaged in?

The answers to these questions will direct you to the sorts of symbols you need to use. A note of caution here. Your symbols shouldn’t attract attention to themselves—they shouldn’t be too obvious. They need to grow on us as vessels of meaning. They also need to be specific and to generate emotion. The key here is to work out how they relate to the characters and to each other: Are these symbols actual objects that would feature effortlessly in the characters’ everyday lives? Again, subtlety is key.

Here’s how Todd Phillip uses character symbols in his film, The Joker:

The film opens with Arthur Fleck applying his clown make-up. We don’t immediately ascribe symbolic significance to this. Arthur is merely preparing to do his job as a clown. But as the story progresses the clown imagery deepens in meaning, driven by story questions: Why is it that after Arthur loses his job, he continues to wear his clown make-up? Is it that it offers him an escape from his dreary reality? Does it have deeper psychological connotations—indicate his rejecting his identity due to some past trauma that makes him wish that he was someone else?

“Well crafted symbols are universal and eternal.”

The figure of the clown now comes to symbolise the breakdown of social structures in Gotham—the conflict between the rulers and the ruled. The mob dons clown dress and rises up against the authorities, with the Joker, as inspiration.  A clown suit and mask are no longer symbols of fun and laughter—the Joker has become the symbol of something dark and dangerous—the symbol of chaos.

Symbolism can also emerge from setting, providing context, atmosphere and bolstering the theme. In The Lord of the Rings: The Return of the King, Mordor, as opposed to the idyllic life of the Shire, is shown to be a place of hellfire and horror—the entire landscape is symbolic of the evil represented by Sauron. 

And of course, the rings themselves are highly symbolic, with the last ring being especially significant. Having been forged by Sauron on Mount Doom it represents pure evil. But the ring also symbolises desire and greed. We see this clearly in Bilbo and Gollum’s desire to posses it.

The ring also symbolises temptation. Even honourable characters such as Gandalf and Boromir are tempted by its beguiling power. This temptation gains in resonance by reminding us of the original temptation in the garden of Eden, where Adam and Eve disobeyed God and ate from the apple of good and evil.

When deploying symbols remember to show rather than tell, to point them towards your key ideas and themes, to select symbols that give rise to emotion, and to avoid being heavy-handed in their use.

Summary

Use symbols to add resonance, meaning and depth to your stories.

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Fascinating characters are a little paradoxical

Paradoxical characters in A Fish Called Wanda.
Paradoxical characters in A Fish Called Wanda.

Given the plethora of books, TV series, and films available nowadays, there is a danger that stories and the characters that inhabit them become stale and repetitive—poorly disguised imitations of themselves. It’s therefore important that we find a way to make them fascinating and colourful to avoid turning them into mere cliches.

One way to make a character more fascinating is to inject paradoxical elements into his or her personality. In Creating Unforgettable Characters, Linda Seger, quotes the novelist Leonard Tourney on the subject: Tourney writes “Characters are more interesting if they are made of mixed stuff, if they contain warring elements. To create these warring elements, you begin by establishing one, then asking, ‘Given this element, what elements are there in the same person that would create in that person a kind of conflict?” A ruthless hit man who donates all his money to a foundation for war veterans is an example.

“Paradoxical characters make for fascinating stories.”

But an all-out war between traits, however, is not the only way to create paradoxes—your character/s could merely display an unexpected conjunction of personality tendencies, habits, hobbies, or interests:

In A Fish Called Wanda, Otto is presented as nervous, dumb and jealous, yet he meditates and reads Nietzsche. This is surprising, which makes the character instantly more fascinating.

In Good Will Hunting, Matt Damon’s character, Will, recently paroled from jail and now a janitor at M.I.T, solves a difficult math problem posted on a blackboard that has stumped everyone else. Although this is not necessary a display of contrary traits, it does make us wonder why such a smart man ended up in jail and now works as a janitor.

To quote Seger, “Human nature being what it is, a character is always more than just a set of consistencies. People are illogical and unpredictable. They do things that surprise us, startle us, change all of our preconceived ideas about them.”

As writers we should seek to do no less.

Summary

Characters who display paradoxical or unexpected traits, traits that have been skillfully selected, make for fascinating stories.

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Describing characters and Action

Describing characters and actions in GI JANE.
Describing characters and actions in GI JANE

In screenwriting, where economy of space is at a premium, it is important to write action and character descriptions crisply and effectively. Although this article applies mainly to screenwriters, novelists ought to take some of these suggestions to heart too.

In describing characters or incidents in the action block: a) Write in the present tense: the story is unfolding right in front of you after all. b) Be concise: Describe only what is essential to the character and the story. Limit your descriptions to three or four lines, or less. c) Cut to the chase—describe only the essence of an action or incident. d) Have every word count. Use strong nouns and verbs. Don’t bolster weak words with adverbs and adjectives—choose better verbs and nouns.

In his book Story Robert McKee implores us to write using only apt nouns and verbs that capture the essence of character and action. The words should immediately paint vivid pictures in the minds of the readers.

In GI JANE the character who propels the protagonist on her mission, a US senator, is described in this way:

‘DEHAVEN is a tough-hided old Southern-belle, Scarlett O’Hara at 60. In her arsenal she carries conversational hand-grenades — and she’s apt to pull a pin at the slightest whim.’

“Be concise and impactful in describing characters and action. Make every word count.”

This description not only imparts information about Dehaven, it conveys her attitude and general demeanour, too. Not bad for two sentences.

Sometimes even the shortest of descriptions will capture the essence of the character:

‘Slimy Piet is short, rough, with the hygiene of an army privy on a hot day.’

Notice how the use of a figure of speech makes us wrinkle our nose. Figures of speech, used as vehicles of exaggeration or comparison, are powerful conveyers of the writer’s attitude towards a character. They are communicators of atmosphere, attitude and detail. Use them sparingly, but do use them.

In writing action, too, we should also use every opportunity to characterise, and convey ‘posture’ and demeanour. Never waste the opportunity to pack as much as possible into a verb or noun: Never write ‘walk’ when you can write ‘saunter, stroll, meander, mosey, and wander. Or if more energy is required: stride, march, storm, dash, streak, and the like. Each of these words says much, and does it economically.

As an exercise unearth one of your neglected stories. Pour over each character description and action block and implement some of the suggestions on offer here.

Summary

Be concise, precise, and impactful in describing characters and actions. Your writing will be the better for it.

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What is the meaning of your story?

300: Courage and self-sacrifice of the few ultimately leads to the survival of the many.
300: The courage and self-sacrifice of the few leads to the survival of the many.

How do we inject meaning into our stories? Do we even care about meaning, over and above writing a rollicking good tale? We should. There is a specific meaning to every story, whether we intend it or not. Let me explain.

If we have a theme or moral premise in mind—such as greed leads to unhappiness, or unfettered technology leads to the destruction of the natural world, then we can point our story in that direction through the actions of our characters and their consequences. But even if we haven’t thought about the theme at all, choosing instead to concentrate on the surface layer of the tale—its plot, meaning will nevertheless arise in the story by virtue of what happens to the characters who hold certain views.

“The winner of the conflict between the protagonist and antagonist ‘proves’ the theme or moral premise, which in turn provides the meaning of the tale.”

If, say, our protagonist espouses self-sacrifice and nobility as virtues and he defeats the antagonist who espouses selfishness and vengeance, then you as a writer are saying that self-sacrifice and nobility trumps selfishness and vengeance. If the antagonist defeats the protagonist then your claim is that selfishness and vengeance defeats self-sacrifice and nobility. You are saying that the world is a place where the ruthless and self-serving win—a Godless world devoid of transcendent values.

If that’s what you mean to say, well and good—it’s your story after all. But if you haven’t thought about the ending of your story as the place where the final clash occurs— where one character who represents one set of values defeats another who represents contrary values, then you risk saying something you never intended. Like a ship without a radder your story could end up on the rocks.

Summary
The meaning of a story is coiled up inside its theme or moral premise. It manifests through who wins or loses in the story.

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Character dialogue – how to improve it right away

Character dialogue in Linda Seger’s How to Write Unforgettable characters.
Character dialogue: the art and craft of effective story-telling.

Learning how to write great dialogue includes learning how to listen to people engaged in conversations of all sorts, watching movies, reading novels, plays and screenplays noted for their excellent dialogue, and always reading newly-minted dialogue out loud. Speaking it is important because it helps you get a handle on the sounds and rhythms and flow of the speech.

Linda Seger refers to dialogue as the music of fiction writing. Dialogue should contain flowing melodic patterns, whether staccato or legato, which follow changing rhythms, much like music does. Writers have to develop an ear for this if they are to write dialogue that conveys the emotions, attitudes and values of individual characters.

“Character dialogue is indispensable to any story. Mastering its use will go a long way to making you an accomplished writer.”

In her book, Creating Unforgettable Characters, Seger suggest that in preparing to write dialogue you ought to ask the following questions:

1. Have you defined characters through their speech rhythms, vocabulary, accent, and the length of their sentences?

2. Does the dialogue contain conflict? Does it contrast the attitudes and values of the different characters?

3. Does the dialogue bristle with subtext? In other words, does the denotation of the words differ from the connotation—is there a deeper and often contrary meaning under the surface of the speech?

4. Does the dialogue reveal or hint at the ethnic and general background of the characters? Their level of education, age, and social background?

5. Is each character’s dialogue distinct? In other words, if the speech tags in the novel or screenplay suddenly disappeared, could you still recognise who was speaking?

Although there is much more to becoming a master of dialogue, these five suggestions will certainly help you improve the quality of your craft.

Summary

There are many approaches to improving your writing. Focusing on character and dialogue is one of them.

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The explanatory power of need in stories.

In the film Tootsie Michael Dorsey‘s ‘need” manifests in his actions.

What is the difference between a character’s want and need?

In her book, Advanced Screenwriting, Linda Seger explains that one’s ‘want’ is related to the outer goal in the story—what the character thinks s/he has to achieve in order to solve a problem: get the girl, or the job, and the like. One’s ‘need’, however, is typically hidden from the character. It is revealed only late in the developmental arc as a result of the characters having learnt a series of lessons about themselves, and the world, through life’s hard knocks. 

We as writers, however, have to know how to work with this hidden need on behalf of our characters. We have to know how to work with the subtext—with what is suppressed, left unsaid, with emotions of guilt, shame or regret. These are the generators of depth and resonance in our stories. Without them we have only plot. With them we have in-depth characters whose psychological motivation rings true.

“Without an acknowledgement of need, characters are unable to complete their character arcs and achieve their story goals.”

Tootsie’s Michael Dorsey, for example, does not, at first, realise that he needs to be less difficult, more sensitive to others in order to achieve his outer goals as an actor. He does not realise that his insistence on ‘perfection’, his obsessive disagreeableness and fussiness stems from his own insecurities. It is only when he adopts the disguise of a woman in order to procure a television soapie role, a disguise so convincing that he is subjected to the sort of insensitivity and sexism he has inflicted on others, that he realises that his need is to be a better man. It is only then that Michael can accomplish his external goals—his desire for Julie, his need for work, his desire to maintain his friendship with Sandy. The accomplished writer understands this about his character(s) and implements this knowledge. It is a skill well worth emulating.

Summary

A character’s acknowledgment of ‘need’ comes late in the story and results in an adjustment of the story goal.

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