Infodump in conversation

[Svrtnsse]

I need to explain some backstory to the reader. Here's how I've planned the story so far.
1. Enar (my MC) is caught up in a heated argument between two side characters.
2. Rolf (another side character not involved in the argument) tells Enar he'll explain what happened later and to not talk about it to anyone.
3. The rest of the day passes
4. Evening comes and Rolf explains to Enar what happened.

The explanation includes the reason for the argument, but it also serves to explain something of the backstory of another character that has not yet been introduced (only glimpsed). The explanation of the backstory also includes a bit of information about another side character (Beired, Rolf's wife) and about some of the different aspects of Anfylk religion.

By putting the info dump in the form of a conversation I would also get the option to develop the characters involved in the conversation a little bit extra (Rolf, Enar and Rolf's daughter Linnea). The way I'm doing this at the moment I have Rolf tell the story and Linnea interrupts with questions or comments now and then. Enar is mainly just reacting to them arguing and taking in the information, so as far as his character development goes the section isn't really needed.

Have you done something like this before - an info dump in the form of conversation/explanation?
How did it work out? What issues did you encounter? What did you do to make it feel less like an infodump and more like an important part of the story?
Do you have an advice on what to do or insights to share?

 

[Malik]

My WIP is a portal fantasy, so the MC's have to be brought up to speed on a lot of things. I try to interject the infodumps -- and there are a lot of them -- with conversation and POV that helps flesh out the MC's.

I also don't do it all in one sitting. That way lies madness and pain. Little infodumps. Because who the hell tells you everything? Who knows everything?

I also have a lot of fun with conflicting infodumps. No one character really knows quite what's happening all the time, and things get misconstrued, misunderstood, and even completely BS'd. Which is fun, because -- if I did this right -- the reader will be as befuddled as the MC's when things go sideways. The MC's later put together how everyone got their wires crossed, but first they have to get out of the mess that it puts them in.

 

[Devor]

I need to explain some backstory to the reader. . . .

In at least some ways, if you view it as an infodump, so will the readers. I would have phrased it: You get to reveal your backstory to the reader. It's one of your book's secrets; it helps to think of it as such.

In a conversation, my go-to route would be putting some emotion in the character revealing it, and a little tease, like you're itching it to tell your readers and are forcing yourself to wait. I also like super-dramatic phrases that package as much information as possible into a few lines of dialogue.

 

[Svrtnsse]

In at least some ways, if you view it as an infodump, so will the readers.

This makes sense. I'll keep it in mind.

In a conversation, my go-to route would be putting some emotion in the character revealing it, and a little tease, like you're itching it to tell your readers and are forcing yourself to wait. I also like super-dramatic phrases that package as much information as possible into a few lines of dialogue.

I think I can pull this off. The source of the issue is down to difference in interpretation of religious texts, but the particulars of the actual conflict is a lot more close and personal. Also, I've got a bit of a "punch-line" at the end that I hope will put some emphasis on what's happened.

 

[Svrtnsse]

I also have a lot of fun with conflicting infodumps. No one character really knows quite what's happening all the time, and things get misconstrued, misunderstood, and even completely BS'd. Which is fun, because -- if I did this right -- the reader will be as befuddled as the MC's when things go sideways. The MC's later put together how everyone got their wires crossed, but first they have to get out of the mess that it puts them in.

This sounds like it could be interesting, but also difficult. I'd be worried the reader would feel mislead or cheated after what they're being told turns out the be wrong. Are you considering this or is it something that will be made clear later?

 

[Addison]

Dialogue is one of the best places in a narrative to give exposition or any information so long as it fits the flow of the narrative. If you're writing a calm scene after a battle where the MC has barely escaped with their life, it's not the time to have a side character come in and start talking about....who stole who's toy sword or something.

 

[Malik]

This sounds like it could be interesting, but also difficult. I'd be worried the reader would feel mislead or cheated after what they're being told turns out the be wrong. Are you considering this or is it something that will be made clear later?

It gets made absolutely clear. I hope that, if I did this right, the reader will empathize with the MC's as they wonder what the hell just happened. Astute readers may note the differing viewpoints in the info dumps and might see the MC's heading down the road to disaster.

I would like for people to be reading and gritting their teeth, saying, "No! No! No! You dumb son of a *****!" as they're turning the pages through that plot point. But that's a lot to ask and I doubt I'm that good, yet.

In the second book I really get into this, because the dominoes behind the first book's climax start to fall, and in the first hundred pages or so I'm going for an atmosphere of wondering when things will just stop going wrong for a minute.

 

[Svrtnsse]

I would like for people to be reading and gritting their teeth, saying, "No! No! No! You dumb son of a *****!" as they're turning the pages through that plot point. But that's a lot to ask and I doubt I'm that good, yet.

You can always aim for it.

My concern was that you would just spring a big sudden failure on the reader without them having any idea what's going. That kind of thing is probably more of an issue in game design though. The game leads the player on in the wrong direction or presents an incomprehensible puzzle without a logical solution (don't use the key to unlock the door, use the key to choke the exploding chicken and blow a hole in the wall next to the door).

 

[Malik]

I make it a point to never choke an exploding chicken.

(Hmm. Sig line material, right there.)

It's not a sudden failure for the MC's if I did this right.

Remember the scene in The Ring when they've gone through the whole horrible thing and retrieved the girl's body from the well and laid her to rest, and then the woman says, "You what? Oh, no. . ."

Wham.

That is what I'm going for -- for those readers who haven't been paying attention, anyway. There's enough info scattered through the book that on a second reading you'll realize that everyone should've seen it coming. Astute readers will see it coming. I hope.

 

[SensibleRin]

When you look at our own conversations with people, we reveal a lot about ourselves and the world around us through dialogue. In particular that person's way of experiencing the world. The Know-it-all character is ideal for this, as JK Rowling's Hermione proved. Complaints are excellent for this as well.
The 'infodump' shouldn't be too long, but 'too long' is only too long when the conversation becomes stilted or unnatural.
It's always good when you can see things building in a second read through. Never be afraid to throw out a few red herrings to confound on the first read-through.

 

[Xitra_Blud]

Wow! Thanks for posting this. This post is completely relevant to me right now. I was just about to post a post just like this and then I came across this.

I just got finished doing something along these lines in which my villain is explaining his backstory though info dump. It worries me, but I don't know how else to do it. It's very important information so it has to be in there. I was planning on letting my writer's critique group see it and find out what they think. Personally, I don't really like doing it this way but if there is no other way then I don't know how to go around it. I guess there are ways to do it though and, perhaps a little more work on the scene will give it a better feel, but you and I are in the same boat right now.

 

[psychotick]

Hi,

Oddly I just began a story with an info dump in my MC's conversation. I tried to do it by keeping it short and using his voice - which is basically somewhat bitter and sacastic. And I started it off with a really blunt opener. I had him say "Here it is in four words. We're nephilum. We're screwed!"

Cheers, Greg.

 

[robertbevan]

I've written seven stand-alone short stories to promote my novels so far, and one of the challenges I have is finding fresh new ways to orient the reader with what's going on. In the beginning pages of each book, I need to let the reader know that these are four guys from "the real world" trapped in a fantasy game world in the bodies of their fantasy characters. Here is an example from the second paragraph of ZOMBIE ATTACK!!!, taking place after Tim sets a trap.

“Impressive,” said Dave, taking a step as far back as his short dwarven legs would allow. “I didn’t know you could do that.”

“I can’t,” said Tim. “Just like you can’t magically cure wounds or grow a proper beard in the real world. But we’re not there. We’re here, stuck in this stupid f***ing game where I look like pedophile bait and know how to set a trap.”

Another good trick is to have someone who is clueless or stupid and needs to have things explained to him. I've got Cooper, who is stupid, and Julian, who hasn't played an RPG before being sent over to this world (I had this purpose in mind when I created him. He acts as a stand-in for my readers who aren't gamers.).

 

[SeverinR]

I hate the conversation info dumps that involve these lines:
"As you know", you know that...,"
If both characters know the info then no need to say it except that the reader is ignorant.
So if you say it, someone(in the story) being told this information needs to be ignorant about it, not just the reader.

Also a prolonged info dump conversation is a lecture and as interesting as a history lesson in elementary school. If you need to do a prolonged teaching, then give breaks between the doses of info dump.

 

[Feo Takahari]

Once you figure out what info the reader actually needs, you can often just show it. I'm currently editing a story that takes place in a polygamous culture. The author never needs to say this--he just has a scene of a character considering and rejecting a proposal to date someone who's already married to several people. It's all in-character, and none of it feels forced.

 

[Helen]

Infodump

Avatar infodumps backstory at the beginning (Jake's brother's death). But it mixes it with action going forward. Maybe something to try.

 

[Svrtnsse]

I finally managed to finishing the scene. I'm quite happy with how the infodump part of it worked out. I get to show off a bit of the world I've created while telling a story about something that matters a lot to the character talking. I also get to introduce another character of importance to the story in a roundabout way I hadn't really thought of and I add some depth to her before she's even said a thing.
The entire scene clocks in at 4460 words so I won't be posting it in the showcase. It's on my wiki though and you can read it here if you've got time to kill: Day 2 - Scene 7 - Odd Lands Wiki

I actually finished the scene about a week ago, but I've let it rest for a bit to let some of the emotional attachment fade. I reread it today, and while there's room for improvements I'm happy enough with it as a first draft.

Big thanks to everyone for contributing with insights and advice.