This is another entry in my ongoing series identifying common problems in self-published novels.
As a writer, you’ve got a terrific idea for an alien planet, a fantasy world or a dystopian future. You’ve worked out all the details, and you just know that no other writer has come up with something this creative or unique ever. (Hat tip: This is probably not the case, sorry.) You’re itching to write that novel (or more likely, series) and share your wonderful vision with hordes of grateful readers.
So what do you do to best communicate all the intricate, well-thought-out details of your incredible fictional world? You introduce a character who is new to the world so that character has to learn everything about it right from the start. Perhaps it’s a visitor from another planet or an explorer from another realm. Perhaps it’s a newly awakened coma patient or a time traveler from the past who discovers a radically changed future. Sure, this technique is a cliche, but good writers can get away with using cliches. Ursula K. Le Guin, for instance, often uses the premise of a visitor from another planet to explore her worlds. But she is a terrific writer, and she knows how to world-build in a way that captivates the reader’s interest.
A common problem I see with more immature writers of science fiction and fantasy is the tendency to dump information all over the reader in the first few pages or chapters. It’s bad to do this in huge chunks of exposition, worse to do it in dialogue, with one character explaining to the new arrival exactly why everything is the way it is. Not only is this boring to read, but it’s hard for readers to get a real sense of the world when we’re told about it via giant chunks of information, rather than shown the world over time. Each new detail about the world should build on the previous so that we gradually feel that we really know this world. I guess that’s why it’s called world-building.
As a writer, it can be difficult to know when you’re info-dumping. After all, you’re a writer and you’re writing! Look how much you’re writing. Lots and lots of writing. That should be a tip-off right there. Are your characters making painfully long speeches in order to explain something? Are expositional paragraphs stretching down entire pages? If you’re unsure, let someone else evaluate it. Readers know info-dumping when we see it. Our eyes glaze over.
Another way to realize when you’re info-dumping is to outline the action taking place in the scene. If nothing important or exciting is actually happening right now, even though there are lots of words on the page, then it’s surely an info-dump. This is the key to why info-dumps are such a turnoff for readers–they bring the action to a full stop.
To avoid info-dumping, instead show us the world as your protagonist experiences it, in small increments, as needed to advance the story. Let the protagonist discover the world and figure it out as she goes along. If further explanation is needed, keep it simple and short. Trust the reader to work things out for herself. It’s more fun for us that way.
I can assure you, since most info-dumps occur within the first chapter or two of the book, many readers won’t tolerate them. They’ll put the book down and move on to something more interesting. If you want readers to actually finish reading your book, you must be ruthless about excising the info-dump.
TV Tropes has a good article on info-dumping and why it’s so painful to read.