Category Archives: Tropes & Archetypes

Info-dumping

A guest post by Doug Dandridge.

Rule of Writing:  Thou Shalt Avoid Info-dumps.

I remember when I first started writing and saw this rule, along with some gut busting examples, such as the “As you know” cliché.  You know, the conversation between people who both know what the information is, like “as you know, Fred, the matter-antimatter engines work when the two substances annihilate each other, releasing energy.”  This conversation is on the face of it nothing more than an attempt to let the reader know how the engines create energy, and is a dialogue that would never really occur between two engineers.  The suggested method was to work the information into the story, such as:

“We’re getting an energy spike,” said Fred.  “Turn down the antimatter feed.”

The rule works well in most cases, as you can get the background out there without boring or unrealistic conversations, or, even worse in the perception of the rule makers, the long essay that interrupts the story. But is it always necessary to do such?  Why not just put it out there?

Not to name names, but there are successful writers out there who info-dump throughout their stories, and they sell lots of stories to lots of fans, in bestselling numbers.  I have heard it said of one of these writers that he can get away with it because he is, well, who he is. I tend to agree to that, to a point.

In the first four books of my Exodus series I took great pains to avoid info-dumps, working in scenes that really had little purpose but to get information about background or tech out there for the reader.  With book five I started doing some info-dumps of my own, only a short paragraph here and there, and heard nothing negative back from my fans.

Now, as a military science fiction writer, I have many scenes in my books that are narrative only, though filled with action. Missiles flying through space don’t have viewpoints. It seems to make more sense writing in narrative in these circumstances, maybe interspersing some viewpoints of the people on-board to get the emotional impact.

As I have continued developing I have actually expanded my info-dumps, though I still try to keep them in the here and now.  For example, from my latest book:

 

The heightened luminosity of the star, millions of times normal, would continue to shine through the system for months, first increasing over several weeks, then dropping off.  The remaining mass of the stellar body, still over five times that of Sol, first moved out with the explosion, then fell back in as gravity re-exerted its force.  It heated up to millions of degrees as the pressure increased to almost unbelievable levels, slowing the collapse.  But collapse was inevitable, and the matter continued to press inward, first turning the five Sol mass into a ball of neutrons that would normally be the ultimate fate of matter, there being no space between the particles to speak of.  This mass was fated to an even more bizarre end, as it crushed past the neutron stage and continued to collapse, gravity rising to the point where even light no longer possessed the velocity to escape.  The mass pinched off from the universe into a self-contained bubble of space-time, and a new black hole was born.

 

Another way to info-dump is with an opening passage.  In my story, Goliath, which appeared in Kevin J Anderson’s Five By Five Three, I open the story (at the suggestion of Kevin) with a long passage filling in the details of the conflict the story takes place in.  One reviewer commented that it seemed like the opening of a Star Wars movie (just as Kevin said), and was effective in that it made way for the rest of the story to concentrate on the action.

Like most rules of writing, eschewing info-dumps should be taken as a suggestion, not as an absolute. I, too, get bored as hell reading three complete pages about some kind of industry that leads into yet another info-dump about some related topic. I turn into a skimmer at that point, trying to fight through the passage to get back to the enjoyment. But they still have their place, if done properly. Which means not in page after page of basically technical babble, but judicious narrative that fills in the informational gaps in the story. Too many stories devolve into bouts of pure confusion as action takes place and conversation advances, and no reader has enough background information to guess what is actually going on. The story becomes an author-written intelligence test, seeking to prove the puzzle solving ability of the reader. At that point the story had ceased to be enjoyment, ceased to become escape. And those are the stories that people don’t want to spend their time and money on.

 

11022903_860155284027899_98329783_n About Doug Dandridge:

Doug Dandridge is a Florida native, Army veteran and ex-professional college student who spent way too much time in the halls of academia.  He has worked as a psychotherapist, drug counselor, and, most recently, for the Florida Department of Children and Families.  An early reader of Heinlein, Howard, Moorcock and Asimov, he has always had a love for the fantastic in books ad movies.  Doug started submitting science fiction and fantasy in 1997 and collected over fur hundred rejection letters.  In December of 2011 he put up his first self-publishing efforts online.  Since then he had sold over 100,000 copies of his work, and has ranked in the top five on Amazon Space Opera and Military Science Fiction multiple times.  He quit his day job in March 2013, and has since made a successful career as a self-published author.

I Would Do Anything for Love…

 

But I won’t do that. You know what I’m talkin’ about, Meatloaf.

 

Instead, we did all of this:

Victoria Morris Threaded the Tapestry

Gregory D. Little Subverted the Meet Cute

Ace Jordan did the Science of Love to Explain the Murky Middle

Mary reminded us that All You Need is Love

Joshua Essoe gave us advice about Writing Sex ScenesIn two posts!

Clancy showed us the Flip Side: Bad Girls and Anti-Heroes and Why the Guys Love them

Travis Heermann Examined and Bound

Kim May Pleasured us with Pain

Stephan McLeroy no longer Struggles to Define Love

Leigh Galbreath Drew us in with Dysfunctional Relations

Tracy Mangum gave us a master class in Love in Screenplays

Jace Killian showed us the Try and Fail in Love

Matt Jones made Ignorant Secret Troubled Love to us

Tracy Mangum followed up with Sex in Screenplays

Lisa Mangum reminded us that First Comes Like

Frank Morin pushed A Life of Passion

Colette advised us to Let Love Simmer

And RJ Terrell wrote On Love

 

Sure, this month is over, but we know you’ll be back. If you fall we will catch you, and we’ll be waiting. Time after time.

 

On Love

A guest post by R J Terrell.

Love is an interesting subject, and could arguably be the core element in every story. When we take a step back and think about love, what it is, and what it means to us, every person may come up with a different definition, but I believe the core of it is the same.

The dictionary defines love as an intense feeling of deep affection, yet when we define the term ‘affection’, the dictionary states that it is a gentle feeling of fondness or liking.

These are technical explanations of something that is in itself, very difficult to explain, and when you look at the definition of one term (affection) within the definition of the word ‘love’ itself, you see conflict in regards to the level weight of what it means.

This very thing is what makes love a fascinating thing to explore in stories. It never gets old, because it is something most, if not all humans experience yet struggle to define in regards to how we as individuals experience it. It is also a multilayered term. I as an individual love playing video games and love reading books. Yet my love for my parents, my brother, my family and friends is a different kind of love altogether. And to take it even further, my love of spending time with my wife is quite different than my love for my wife. Would I throw myself in front of a car to save my Playstation? No.(though my wife might argue) Would I throw myself in front of a car to save my wife? Without a thought. Same word, different meaning.

In stories, we see characters love their parents, family, friends, spouses, etc. We also see them love forging weapons, creating magical spells, cleaning and polishing guns, washing their cars, practicing the sword, etc. When we delve into these characters, we see the things and people they love, but we also get to see ‘why’ they love them. Jason loves skipping rocks across the pond because it reminds him of how he and his father did it every day after school. It was one of the only happy times in a socially trying time in his school life. Linda loves her mother, the person who gave her life and protected her as she grew older in a harsh and hard world. Yet her love for Jason is a different type, a romantic type. She loves his voice, the way he looks at her, the way he smiles when he talks about how he skipped rocks across the pond with his father.

Characters experience love in the same ways that we do, and it is one of many things that make them relatable to us, and makes us sympathize with them, root for/against them.

There are many elements that make a story great. There are many elements that make a story alive, full, multilayered, and colorful. One of those elements has so many layers, so many aspects and so much depth, that whole novels are written about characters who struggle to define it, struggle to find it, struggle to hold on to it. Some even struggle not to attain it. Not many things can cause intense joy and pain. Some characters live in love with the specter of hate just on the other side of the coin.

Love is multilayered, multifaceted, and one of the most complex and powerful aspects of life that a human can experience. It is strengthening and debilitating. It is invigorating and crushing. It can make the soul sing a celebration of life, or a dirge of loss.

Love is life.

About R J Terrell:
R. J. Terrell was instantly a lover of fantasy the day he opened R. A. Salvatore’s: The Crystal Shard. Years (and many devoured books) later he decided to put pen to paper for his first novel. After a bout with aching carpals, he decided to try the keyboard instead, and the words began to flow. When not writing, he enjoys reading, video games, and long walks with his wife around Stanley Park in Vancouver BC.

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R.J. Terrell on Goodreads

First Comes Like

A guest post by Lisa Mangum.

Lately, I’ve been watching a lot of Netflix or shows that I’ve recorded on my DVR, which means that I’m not watching a lot of commercials (hooray!), but I caught one the other day for a dating site with the tagline: “First Comes Like.” As tags go, I thought it was pretty clever. Because before love comes along, there is like—in real life, and in fiction.

The idea of like was one of the sparks that I fanned into the story that became After Hello. I wanted to write a story that took place in one day and really focused on the 24-hours immediately after my two characters said “Hello.” How did they become friends? Why? At what point could that friendship turn into something more? Could I keep them together for a whole day without it being boring or weird? Those were intriguing questions to me, and then I thought about how much I loved the movie Before Sunrise, and I jumped right in.

And it was strange and awkward at first. But that was okay, because most first meetings between people are strange and awkward. Plus, I was getting to know Sam and Sara at the same time they were getting to know each other.

I realized pretty quickly that in order to pull off the story I had in mind, I needed to keep an eye on two things: what they SAID, and what they DID. Dialogue and action, those where going to be my two best tools to build the plot.

And really, isn’t that how most friendships start? We’re focused on learning more about the other person so we ask a lot of questions. We offer a lot of information. We make jokes; we tell stories. We talk for hours.

So that’s what I had Sam and Sara do. Spending the whole day together meant they were going to talk to each other—a lot. I worked on keeping the conversation natural but still interesting. Not only did they need to talk about PLOT stuff, but they needed to feel comfortable enough with each other so that they could talk about CHARACTER stuff.

I started their conversation with a blend of mystery and humor. Questions were asked, but answers were given in a roundabout way. Often Sam deflected. Sara sometimes made a joke, sometimes not. They had conversations with other people. I tried to parcel out the information in bits and pieces, not all at once. After all, even in real life, the best conversations feel organic, not an info-dump on page 1.

Real-life friendships also develop because of what the other person does. How do they behave in stressful situations? Are they nice to strangers? Do they lose their temper? I wanted to show Sam and Sara in a variety of situations so they could see each other in action.

When it comes to writing romance, remember one thing: first comes like. Your characters need to be likable so that we like them. That way when the characters fall in love, so will we.

Watch the After Hello book trailer:

About Lisa Mangum:
Author Photo Lisa Mangum FINALLisa Mangum attended the University of Utah, graduating with honors with a degree in English. A lifetime lover of books, she has worked in the publishing industry since 1997, editing works by several New York Times bestselling authors as well as debut novelists. She is currently the Managing Editor of Shadow Mountain Publishing.

Besides books, Lisa loves movies, sunsets, spending time with her family, and trips to Disneyland. She lives in Utah with her husband, Tracy. She is the author of four award-winning YA novels (The Hourglass Door trilogy and After Hello), a short story (“Sold Out”), and novella (“&”). She also edited One Horn to Rule Them All: A Purple Unicorn Anthology. 

You can find her on Twitter @LisaMangum or Facebook.com/lisamangum.