Tell it Like it is: The Art of Exposition
There is no real answer to the question: How much is too much? There is no exact formula. When looking at a scene, if it seems boring, you feel like you are being lectured, or you don't feel a connection to the characters, there may be too much exposition. On the other hand, if the scene is overly emotional or weighed down by details or dialogue which serves only to provide information to the reader, you may need to add some exposition.
To determine if you are "telling" too much, consider the following: Are you describing action or letting it play out as it occurs? Would any of the narrative be more effective as dialogue or as action? Never tell something you can show. If your character suffers from insomnia, instead of telling the reader, show him in bed, tossing and turning while watching the clock. Are there too many unimportant details, such as a description of a character walking from one room to another or getting dressed? These can be omitted or a simple statement like, "Ray got dressed," will usually suffice.
Effective Use of Exposition
The best way of handling exposition is to mix it in with a scene where the characters are in conflict with each other or with something else. This way, you can provide information on the situation and/or background while the readers can see the characters' actions and feelings. The exposition can be worked into the dialogue, where one character explains the situation or past events to another. For example, "Look, I didn't want to tell you this but I can't keep it from you any longer. The reason this man is chasing us is because about a year ago, I had an affair with his wife and he just found out about it."
Or, the exposition can be part of the narrative:
"I think someone is following us," Alexis said, her voice shaking.
Without turning around, Matthew knew who it was. Steven Randolph. Gracie called him earlier to tell him her husband had found out about their affair. He just hoped he could lose him before Alexis found out the truth. He couldn't afford to lose her now, right when he needed her the most.
Matthew tried to sound nonchalant. "I'm sure you're imagining it, sweetheart, who could possibly be following us?"
By interspersing narrative with action and dialogue, you avoid creating an "information dump," and boring the reader. Too much straight
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