There's a myth that writing a novel is very easy. In Peanuts we saw a dog writing a genre novel. Erase that idea; you are now in the Sanity Bubble. It's novelists, the long-distance runners, who most need education in the craft and the business.
Fiction writers at writing workshops often hear, "Get rid of the exposition." "There's too much exposition in here." "Exposition" --it can be good, but in fiction class it was always bad, and I understood the concept from examples, but never had it explained to me in a convenient nutshell.
As often happens, the word provides its own understanding. Think of the word as "Ex-position." "Ex" means "out." So the word means "out of position." Exposition is a capsule of description or dialogue that doesn't really fit in its time and place, or fit the character. Example:
"She thinks she's Jane Austen. You know, the famous English writer born in 1775 who wrote Sense and Sensibility and then Pride and Prejudice, and then Northanger Abbey which spoofs the Gothic novels popular at that time?"
That's fine information in that second sentence, and all true, but it doesn't belong there. It's out of place.
Exposition doesn't have to be factual. It can be fictional. It's an authorial intrusion: background information that has been foregrounded in a place in the narrative where it doesn't fit. The author is unsure about a choice he made, so he patches up the narrative with further information, hoping for the best.
Peter Leach in 2011 won the Gival Press Award, its prize the publication of his first novel, Gone by Sundown, which is also the winner of a bronze medal from the IPPY independent publishers association. Set in St. Genevieve, MO in the 1930s, this vivid, class-conscious story is based on a real murder trial and resulting eviction of all the townâ€™s black residents, ordered to be â€œgone by sundown.â€
Leach stayed productive while his novel inched toward publication; he has 16 more books in manuscript. Peter Leach was born and grew up in St. Louis. He studied playwriting at Yale Drama School, had an NEA Grant for creative writing, and his fiction has appeared in many literary magazines. His short-story collection Tales of Resistance won the George Garrett Prize and was published by Texas Review Press in 1999. Gone by Sundown is available through Amazon.com and on the shelves at Left Bank Books. Leach says, â€œI donâ€™t have a lot to show for my efforts. There were long patches between very modest publications and awards. I keep at it because it gives me satisfaction. It is what I do. I would become demented by strong drink, behave badly far more often than I do, and who knows what, if I were not writing fiction.â€
Q: Your fiction is rooted in real events and you research your books like a historian. Why not present these stories as nonfiction? Theyâ€™d be easier to publish.
A: Itâ€™s certainly true that nonfiction sells more readily. Many agents wonâ€™t touch fiction. Let them pry the poetic license from my cold dead hands. Fiction is what I do.
Q: You have 16 completed books in manuscript. What are you working on now?
A: I am now working on White Folks Bearing Gifts, about Cookie Thorntonâ€™s murderous rampage at Kirkwood City Hall, February 7, 2008.
Q: Tell us how you wrote Gone By Sundown.
Someone in St. Genevieve, I forget who, mentioned the driving out of the black people from St. Genevieve in the 1930s. I used as sources two weekly local newspapers, the St. Genevieve Herald and the Fair Play, reading on microfilm all the issues from 1929 through 1941. The two black men and the black woman accused of murdering two white limestone workers and inciting the eviction are real, as are the novelâ€™s â€œold French Coloredâ€ characters, the Ribeau brothers. Attorney Sidney Redmond is based on a man who later headed the St. Louis NAACP. The excursion train that people took to see Holt Hardyâ€™s hanging is based on actual events in Sedalia, Missouri.
I prowled Ste. Genevieve and the surrounding rural landscape with topographic maps, talked to people who had some memory of the events, took pictures, and toured the Mississippi Lime works on the edge of town, immense caverns eighty feet high, and their kilns.
The novelâ€™s working title had been Negro Clean, to suggest analogies to the ethnic cleansings in Bosnia and Rwanda. My then-agent sent out ten copies of the manuscript, re-titled St. Genevieve 1937. The first replies objected to the dialect. A favorable letter came from a man at Ecco Press, who suggested making the character Redmond more central. I went through three extensive rewrites. After parting with that agent I finally changed my first-person narration to close-in third person. That was when I put it through yet another revision, to just about what it is now.
But where would I send it, when the ten most likely publishers had already seen it? Finally I went through the last two issues of Poets and Writers and submitted it to six or seven contests. I almost did not send it to the contest it won, because the entry fee was $50.
Q: What started you writing fiction?A: I won fourth prize in a city-wide contest sponsored by Scholastic Magazine when I was 14, and at 15 won second prize. My father dreamt of writing like Sherwood Anderson but ended up in advertising. He cherished an encouraging handwritten rejection from the fiction editor of Esquire. He subscribed to Story Magazine, a monthly. It had stories by Faulkner, Katherine Anne Porter, Fitzgerald, Hemingway. Starting at age 14 I read through every issue he had. My catching the bug to write fiction pleased my father no end.
And, Friedman said, the "biggest bad advice" about opening a novel is "Start with action." She said she thinks, "But I haven't been made to care about these characters yet." Ideally, the first page introduces a character the reader feels he or she knows and understands.