Let’s say the story you’re writing involves a complicated bit of science requiring you to convey a bunch of technical data to the reader in order for the plot to make sense.
Maybe you’re facing a scene where a character is supposed to lay out a lengthy confession about their personal history.
Or your story is set in a fictional world and you have to set up some key parts of how things operate there, the ground rules of physics and culture.
These are all examples of exposition. And almost always, they are a real bear to write.
Why? Movies are primarily a visual medium. Two talking heads providing information to each other is the antithesis of visual… and often deadly dull.
Indeed there’s a saying: “Exposition equals death.”
As in nothing kills story momentum and energy than a lot of exposition.
Fortunately someone has devoted countless hours pondering the subject. That someone is me! I’ve come up with a 1-week online screenwriting course called “Handling Exposition”.
In it, we start by taking a good hard look at exposition, detailing different types, each of which lends itself more naturally to a specific writing approach.
Then we consider six principles key to handling exposition:
* Fascination
* Mystery
* Revelation
* Conflict
* Action
* Humor
This is only the second time I’ve offered the course and based on reactions of writers who took it last year, it’s worth every damn penny.
Think about it: Every script you write has exposition. If you’re not thinking about how to handle it in a visual, compelling and entertaining way, you’re not doing yourself any favors. If a Hollywood reader is chugging along in your script, then gets bogged down in a couple of exposition heavy scenes, you run the risk of losing their attention and disconnecting from your story.
Not good.
Moreover there are ways to deal with exposition that can improve your ability as a writer.
So why not learn proven techniques to handle exposition? The class begins a week from today, Monday, February 27. And if you’ve never taken an online course before, this is a great, economical way to do that. Seven lectures penned by me, daily forum online discussion, and some optional writing exercises, all you can do on your own time at your own pace. Plus we’ll have one live teleconference where I can dig deeper into the content with you as well as talk about screenwriting in general.
Again this 1-week online screenwriting class is called “Handling Exposition” and you can find out about it here.
I look forward to the opportunity to work with you!
When successful screenwriters are asked, “What separates a professional from an amateur?” it’s always the same three sins: Exposition, Subtext and Scene Transitions.
So excited that I get to tackle this first deadly sin with Scott as my guide.
What do you think of Cameron’s heavy exposition in Avatar? I personally thought it was brilliant that he found a way for his hero to literally look directly into camera and report on all the details we would need to know – all while making is critical to the mission. “For the scientific record” To me that is the best use of exposition I have ever seen. Anyone agree?
BN, that’s one of the things we consider in the Handling Exposition course — exposition delivery ‘devices’ such as V.O., recording devices, etc. Sometimes it’s best just to go at it head-on, but that all depends upon the story, genre, character, placement of the scene within the story, and the content of the exposition.
Think about your example in Avatar. Or Neff’s confession in Double Indemnity. Or Harvey Milk’s taped concern about being assassinated to open Milk. All using recording devices. But all powerful because they rely on Fascination, Mystery and Revelation to create an emotional connection to the viewer.
I have the MILK screener. I must watch it now.
My favorite example of the craft of exposition comes from the first episode of Firefly: The Train Job.
Long story, short: Fox rejected the 2 hr pilot, and forced Joss Whedon & Tim Minear to write a new 1 hr pilot over a weekend. They had to compress everything that happened in the original pilot into the opening two acts of the new one, while propelling the main story. It’s masterfully done.
pliny, I have such mixed feelings whenever anyone mentions “Firefly.” Happy to have reason to think about it again, bitter at Fox’s decision to can the series before it had a chance to find its audience. I really liked that show, those characters, the writing. Damn. Still miss it.
Despite the X-Files, the channel that gave us the Simpsons and Married with Children, was really not the right home for that show. Feel the same way about Fringe (another show with superstar class writers… Akiva Goldman, anyone?).
Sorry, typo… Akiva Goldsman.