Lesson #8: How to Write (And Not Write) Character Exposition

Exposition is a useful writing tool, but it is commonly overused, and that is when it turns ugly.

As a literary device, exposition is meant to introduce background information and convey necessary plot points quickly. Exposition can be found throughout literature and is commonly found in the first few chapters to get readers up to speed.

If your main character is speeding to her grandfather’s house, crying, you might insert something like, “Her grandfather was the only person she could talk to about her mother’s wild mood swings, and this time, a phone call was not enough. She needed to go see him, get away from the ugly words spoken between her and her mother.” You’ve explained why she’s going to her grandfather, revealed a little about her mother’s personality and her own background, and you’ve set up a conflict. You’ve oriented the reader with exposition.

Warning: Exposition Overload

The problem appears when you cram too much in. If you write, “Her mother had thrown a vase at her head and screamed that she regretted ever having a daughter,” you’ve ruined the potential for a great flashback scene later in the story. Those ugly words would have been far more powerful in scene form, especially after we’d gotten to know the protagonist better.

Revealing characters in a scene

When inserting the elements of your character personality outline into the story, remember the old adage, “Show don’t tell.” Giving some background info is necessary, but don’t cram in lackluster sentences like, “Georgia always got angry when her little sister stole her clothes.” Instead, show that angry part of her personality in scene with a mix of narrative and dialogue:

Georgia stomped across the hall, huffing through her nose, and kicked open Lila’s door.

“Where is my red skirt? Any idea?” she said, one eyebrow raised to dangerous heights. 

Lila stammered.

“If I find a single stain on it, you’re dead,” said Georgia, throwing open Lila’s closet and rummaging through the clothes.

Lila crossed her arms and skulked on the bed. “I didn’t do anything to it. Geez, it’s not a big deal,” she mumbled.

We get a taste for Georgia’s short fuse. We see her mannerisms: if she huffs through her nose again in a later scene, we will know she’s upset. We also get the sense that Lila is a bit afraid of Georgia without having to come out and say it, thanks to her gestures. But her final line shows she isn’t totally going to roll over for her big sister. 

The best way for readers to identify with and understand your characters’ personalities is to live alongside them in a scene. In that short exchange, you get a sense of each sister’s personality and their relationship — as there’s far more information than can (or should) be expressed in single line of exposition. 

Exposition has its place; you just need to learn when and when not to use it while implementing your characters’ personalities. 

Hannah

Recommended Resources

• How to Write Dialogue: 10 Simple Rules (blog post)
• Exposition in Literature: The Ultimate Guide (blog post)

Brought to you by Hannah Sandoval

Hannah Sandoval is a freelance ghostwriter and copy editor who has worked on over two dozen manuscripts, and a published author herself. Her guilty pleasures are Rocky Road ice cream and crime TV shows. If you would like to connect with her to discuss assistance with your manuscript or character outlines, check out her Reedsy profile.​

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