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Besides a linear narrative progression and not optimal narrative endings, another problem area for authors of fiction is over-explaining. By over-explaining in writing, we mean the tendency of a writer to provide too much factual information. This is usually detrimental to the overall pace of the novel, but it’s not the only repercussion, as we will see further below.

In today’s article I’ll show you where over-explaining in writing comes from (in other words, why fiction writers tend to over-explain), as well as how to avoid it. As a sneak preview, I could reveal that over-explaining in writing is very much related to an author’s relationship with their audience. In more detail, fiction authors who over-explain do so out of fear that their readers will not understand the story.

Over-Explaining in Writing Is a Sign of Storytelling Weakness

As I mentioned just above, over-explaining originates from an author’s worry that readers might miss some connection or plot point. This fact alone renders over-explaining a storyline problem. In other words, if you’re worried that your audience might miss something important, this usually means a plot that is too convoluted, too complex, and too artificially inflated in order to appear original. If all this sounds familiar, we’ve talked about this before on my article on overrated plots.

To put a different spin on it, you can think of over-explaining in writing as a sign of imbalance between storyline and storytelling. In more detail, an author who over-explains a plot, does so because of a weakness in storytelling. This weakness might be actual or perceived, this is irrelevant. As long as the author does not trust her/his storytelling, s/he will over-explain the storyline.

Examples of Over-Explaining in Writing

I strongly believe in examples, because I myself can understand something better with an example. So, at this point, let’s take a look at two different versions of essentially the same scene. I’m just making these up right now, they are not from any actual text.

Case Study 1: Over-Explaining (reliance on storyline)

John sat at the table opposite her and opened the menu. He began reading the items, first checking the appetizers, then the main course, then the desserts. He thought that he couldn’t decide. His eyes returned to the first part of the menu, examining the appetizers again. Why did women always ask him to choose? Couldn’t she choose herself? He knew it was the first date and he needed to stick to tradition, but he didn’t care about it. He made up his mind feeling very stressed.

Case Study 2: Not Over-explaining (reliance on storytelling)

John sat at the table opposite her and opened the menu. Droplets of sweat had already formed on his forehead, now ready to stream down and blur his vision. Not that his eyes were of much use, anyway. He kept jumping from one menu item to the next, feeling a lump in his throat. She’s getting impatient, he thought, his mind flooding with all the similar experiences of his past. The pressure building up, the cracks widening. Fuck tradition, the echo bounced in his consciousness as he made up his mind.

Let go of Facts and Focus on Affect

What the example cases above should show is that the art of narrative is a matter of affect and not facts. If I needed to give you one grand catchphrase, that would be it: Let go of facts and focus on affect. As an author, you need to let go of the (perhaps instinctive) tendency to give the facts to the reader. Readers will get it, they always do. Instead, focus on showing emotions, feelings, abstractness, magic, meaning.

A good book of fiction stays with you not because of its intricate plot, but because of the way the author displayed its potential.