one of the things i adore about sonic fandom’s variety is speedrunning culture, bc while it is a completely understandable extrapolation of the core design philosophy i cannot for the life of me see sonic enjoying traditional speedruns. dude is a one-and-done as FUN as possible kinda gamer if at all.
you could maybe get him with the weird and wacky ones like lttp’s kiss priest run or something but dude’s chilling. tails however. tails is a grinder. already canonically a streamer. i think tails writes TAS’s when he’s bored and has an ongoing standoff with sonic bc he regularly discovers tricks that completely change the field of speedrunning but sonic absolutely refuses to execute his runs bc it ruins the fun for everyone else. and also it’d be boring
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Hi, happy STS~!
As I get closer to finishing my current WIP's first draft, I'm having trouble dealing with the large amount of exposition I need to do before the end. Have you ever run into this problem? How did you deal with it? What's the best way to handle exposition, in your opinion?
(from @tisiphonewolfe)
Hi Tiss, happy STS💜
Oh dear, the dreaded exposition. You can imagine that with the amount of worldbuilding I am tempted by info dumps.
I'm also really happy that in Gifts of Fate, only one paragraph was highlighted as info-dumpy - Gullin thinking through limitations of gateways right after he'd met Lissan for the first time. One paragraph. That feels like an achievement.
My first rule is that you need less exposition than you think. I trust the readers to infer a lot of information, and I was told that even with some outstanding background questions, Gifts of Fate is still a satisfying read. I also started to accept that readers may imagine something or fill in some details differently, but it doesn't spoil their enjoyment of the story. In fact, by filling in the gaps with what they like and enjoy, they tailor the story to their tastes, make it more fun for them.
My second rule is to correlate the amount of time spent on exposition to how much time the character has. For example, if a character is doing research, hunched over a book in the dead of night, they have time to 'think' through a handful of paragraphs. On the other hand, in the middle of dialogue, more than a short paragraph takes me out of the story, because it gives the impression that an awkward amount of time has passed.
My third rule is that everything has to be connected to the story's 'present' within one sentence. Otherwise you end up with readers asking themselves why they're sitting through this lecture. Here's an example. I never have a character tell their backstory to someone. I engineer questions that will make them say things that connect the details from their past to their present. E.g. when Lissan and Gullin are having a late night conversation at the manor, and technically have time to talk about their pasts, Gullin never says that he was a street urchin before he attended the military academy. All he says is that he was used to cold nights in the past. It goes like this:
“You seem to never sleep,” Lissan countered, sitting on the floor next to him.
Gullin offered him a wry smile and pulled a blanket tighter around himself.
“It’s too bloody cold for that.”
“Not used to cold winters?”
“Not really, no. I was used to them, I suppose, but the amenities in the barracks in Redguard can spoil anyone in days.”
And if weaving in details like this takes too long, or a lecture on the topic is really the most reasonable way forwards, I make sure to 1. frame it as a conversation, with a few characters actively engaged, asking questions, making wrong assumptions, needing corrections, etc. - a bit more than a question-answer-question-answer. 2. Have another undercurrent to the scene.
Let me elaborate on that one. I like to think about it as a sleight of hand. You want the readers to know, say, a chunk of the world's history, that's the goal of the scene. I'd make them be nervous about an upcoming audience or meeting, fret about it, and only offhandedly mention a series of mosaics on the wall that depict the story. You want to do a villain monologue? Let the villain's voice fade to the background, while the characters are focused on finding the way out, thankful for being given more time by the villain's hubris. A spoken sentence here and there still reaches them, and sticks out to the reader, but the reader doesn't feel lectured.
Finally, space it out. Drop half of the exposition earlier, then reinforce it by a quick reference 'as discussed then and there'. Dangling an interesting concept in front of the readers and not explaining it fully, while hinting that an explanation is coming, will make them excited to solve the mystery.
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