Avoiding Info-Dumps And Boring Exposition

Avoiding Info-Dumps and Boring Exposition

Exposition can be many things in a story: character backstory, definitions, history, etc., and it’s a necessary part of any narrative. Yes, it’s “telling” instead of “showing”, but there are times when you have to “tell” to aid with pacing, detail, and most important of all, reader comprehension.

Your readers don’t know what’s in your head; they know what’s on the paper.

So you have to give exposition (though some stories will be heavier than others) and you have to do it well or your readers won’t care enough to pay attention. Exposition is not something to just shove aside or box away with an “icky” label on it because it affects the quality of the story as a whole. If you write it well, it can enhance the story rather than detract from it– which should be the goal of any element of writing.

Learning to write better exposition makes you a better writer in general, and part of writing better exposition means understanding the main problems and the solutions.

What is an “info-dump?”

Simply put, “large amounts of information that don’t directly matter to the moment of the scene”. They can be seen as reflections on backstory or facts about the characters or world, specifically in large quantities.

Three commonly seen methods of info-dumping are the chapter-start block, the monologuing narrator, and the rambling narrator. (Note: the names are not official, just what I personally call them.)

The chapter-start block is when the writer starts each new scene or chapter by giving all the backstory and relevant information at the very beginning, then running off and writing the scene while hoping the reader can remember everything. That kind of writing is often the result of “I want to get to the interesting story so I’ll take care of the boring setup first”. Guess what, your readers agree. They don’t care about your exposition because you’re presenting it in a boring way, and now they may not be able to get into the actual story because they don’t understand it as well as they could. While starting a new chapter or scene with exposition isn’t necessarily bad, large qualities of information are.

The monologuing narrator is exactly what it sounds like: the narrator talks at the reader for an extended amount of time. This info-dump can be found at any point of a scene, but it still gives way too much information at once. It also sometimes presents its own problem of timing, because the narrators shouldn’t be “zoning out to think about things” in the middle of a scene unless that detail weighs very heavily on them. Narration shows train of thought and the monologuing narrator usually needs to chill. (There are times when monologues are acceptable, but writing one primarily to deliver background information is not acceptable use.)

Similar to the monologuing narrator in that character thought takes over the scene, the rambling narrator has an additional problem in that they often go off-topic or into detail that isn’t necessary for the moment. While the occasional “ramble” can be used to show character personality, a writer can’t expect readers to actually learn from that ramble. Large amounts of information aren’t easy to digest, especially when everything is presented at the same time.

Avoiding the info dump.

Keep all information in context.

If your scene is about a character going for a job interview, don’t start mentioning their dead sister unless there’s an important connection that’s immediately relevant. Only reveal what makes sense to reveal within the events and flow of the scene. It’s true that the lines can get blurry when you’re working with a story that has interconnected elements, but early on you want to keep exposition in careful balance with the forward momentum of the narrative. Later on, once your readers are already hooked, you can ease up a little on the withholding and start exploring details– but keeping things contextual will still always be an important guideline to follow.

Use prompts for information.

Prompts are things like people, situations, in-story objects or moments that ‘remind’ the narrator of the piece of exposition. Part of avoiding never-ending, rambling, or irrelevant exposition involves using setting and plot to prompt information from the narrator’s mind, rather than just dump it all out at once. Prompts help shows connections and grant relevance by tying the information into the current scene and moment.

Narrator perspective guides exposition.

The narrative point of view helps ground the reader’s new information by presenting it through the eyes of the person they are following. This does mean that your audience can get biased info, but that’s part of the nature of storytelling; it’s not a documentary. Similar to using prompts, narrator perspective helps guide exposition by presenting information that’s relevant to the narrator and their personal story.

Use a “weaving” techniques to avoid giant blocks of text.

It’s best to weave your exposition between dialogue, thought, and action to write in a way that’s engaging and informative. Think of it like being in a class. If your professor spends the whole hour giving a lecture off slides, chances are you might be overwhelmed at times and tune out a bit. If they introduce an activity and give smaller lectures to explain the science behind the steps, then you are more likely to pay attention and not feel as overwhelmed. Writing works the same way. The best results are typically found when the activity (story events that are “shown”) are blended with lecture (backstory/exposition that is “told”).

Generally, you want to practice a balance of dialogue, action, and exposition. Some scenes may be heavier in one category than the other, and that’s okay, but a balance of those elements helps with overall pacing and keeps readers engaged and more likely to learn.

Not everything needs explaining.

While there are certainly pieces of information that you have to “tell” for the story to make sense, there are times when “showing” can cut down on lengthy exposition and make for a more engaging narrative. Why have your narrator explain/“tell” about how they don’t get along with their mother when you can show the poor relationship through the way they interact? And don’t just keep it isolated to one scene, unless the story calls for it, because some parts of exposition stretch beyond individual moments and affect the entire story. It may be tempting to try and directly point everything out at once, but that’s a quick road to long-winded scenes of exposition that leave your characters and their plot behind.

Writing more interesting exposition.

For exposition to be interesting, it needs meaning, and meaning can be granted through context and the relevance to the current scene when the reader is not yet fully invested in your story. When presenting exposition, there are a few things that can be kept in mind:

Try and convey something about the character’s personality with the way they give information. We all have a personal take on things and so will a character, so let that personal perspective show via tone, word choice, fact detail, etc.

An interesting voice can carry a story decently far, especially when it comes to giving background information. It’s possible to have a character that sticks only to the facts, but without a bit of emotion behind that exposition, it can get dry really quickly. Your character needs to interact with their world, not be a robot that gives impartial explanations of everything.

If you repeat information, which is needed for anything with heavy detail, present it in different ways or at least don’t copy the wording.

Build on detail over time, and make sure to apply that detail to the scene to allow for contextual learning.

Tension tends to create reader interest. Giving exposition during tense moments can force a reader to learn on the spot– as long as it doesn’t distract from the scene.

Pace yourself. Part of boring exposition is tied into how much is presented at once, and while info-dumps can be identified and avoided with relative ease, you still have to watch how much information is being presented in a scene or chapter. Even if you “weave” it correctly, there’s still a chance that it’s too much for a reader to reasonably digest.

Good luck with your work and if there are any questions, drop them in my ask box and I’ll see how I can help. Just please read my Rules and Considerations page to make sure I’m the best resource, and consider a Gift of Coffee to grant me an energy boost, if you’re feeling generous.

Human Moment

Alright, writeblr—

When you see this, reblog it with three things that make you (unconventionally) beautiful— or just something you LIKE about yourself. We have a lot of negative self-talk and self-deprecating humor in this community, and it’s time to take it back.

Here are mine:

I have countless freckles.

I’m good at making children feel seen and heard.

I like the stories I write!

And you’re going to see this and be like, “Oh, but this isn’t for me,” but it IS and it’s time to own YOU.

Inspired by a conversation with @madammuffins. And I’m tagging @mvcreates @pens-swords-stuff @jojoscoffeeandwriting @caitwritesstuff @crowswritetoo and @scottishhellhound to help me get this started, too?

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brushlesprouts

6 years ago

Queen Hatshepsut of Ancient Egypt. She has a lovely smile for someone who’s been dead for thousands of years.

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brushlesprouts

2 months ago

Tips for writing flawed but lovable characters.

Flawed characters are the ones we root for, cry over, and remember long after the story ends. But creating a character who’s both imperfect and likable can feel like a tightrope walk.

1. Flaws That Stem From Their Strengths

When a character’s greatest strength is also their Achilles' heel, it creates depth.

Strength: Fiercely loyal.

Flaw: Blind to betrayal or willing to go to dangerous extremes for loved ones.

“She’d burn the whole world down to save her sister—even if it killed her.”

2. Let Their Flaws Cause Problems

Flaws should have consequences—messy, believable ones.

Flaw: Impatience.

Result: They rush into action, ruining carefully laid plans.

“I thought I could handle it myself,” he muttered, staring at the smoking wreckage. “Guess not.”

3. Show Self-Awareness—or Lack Thereof

Characters who know they’re flawed (but struggle to change) are relatable. Characters who don’t realize their flaws can create dramatic tension.

A self-aware flaw: “I know I talk too much. It’s just… silence makes me feel like I’m disappearing.” A blind spot: “What do you mean I always have to be right? I’m just better at solving problems than most people!”

4. Give Them Redeeming Traits

A mix of good and bad keeps characters balanced.

Flaw: They’re manipulative.

Redeeming Trait: They use it to protect vulnerable people.

“Yes, I lied to get him to trust me. But he would’ve died otherwise.”

Readers are more forgiving of flaws when they see the bigger picture.

5. Let Them Grow—But Slowly

Instant redemption feels cheap. Characters should stumble, fail, and backslide before they change.

Early in the story: “I don’t need anyone. I’ve got this.”

Midpoint: “Okay, fine. Maybe I could use some help. But don’t get used to it.”

End: “Thank you. For everything.”

The gradual arc makes their growth feel earned.

6. Make Them Relatable, Not Perfect

Readers connect with characters who feel human—messy emotions, bad decisions, and all.

A bad decision: Skipping their best friend’s wedding because they’re jealous of their happiness.

A messy emotion: Feeling guilty afterward but doubling down to justify their actions.

A vulnerable moment: Finally apologizing, unsure if they’ll be forgiven.

7. Use Humor as a Balancing Act

Humor softens even the most prickly characters.

Flaw: Cynicism.

Humorous side: Making snarky, self-deprecating remarks that reveal their softer side.

“Love? No thanks. I’m allergic to heartbreak—and flowers.”

8. Avoid Overdoing the Flaws

Too many flaws can make a character feel unlikable or overburdened.

Instead of: A character who’s selfish, cruel, cowardly, and rude.

Try: A character who’s selfish but occasionally shows surprising generosity.

“Don’t tell anyone I helped you. I have a reputation to maintain.”

9. Let Them Be Vulnerable

Vulnerability adds layers and makes flaws understandable.

Flaw: They’re cold and distant.

Vulnerability: They’ve been hurt before and are terrified of getting close to anyone again.

“It’s easier this way. If I don’t care about you, then you can’t leave me.”

10. Make Their Flaws Integral to the Plot

When flaws directly impact the story, they feel purposeful rather than tacked on.

Flaw: Their arrogance alienates the people they need.

Plot Impact: When their plan fails, they’re left scrambling because no one will help them.

Flawed but lovable characters are the backbone of compelling stories. They remind us that imperfection is human—and that growth is possible.

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brushlesprouts

5 years ago

‪So listen. I’ve had this song stuck in my head for two days now because of this tweet. Look what they have done.‬

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brushlesprouts

6 years ago

Okay heads up for all Americans eligible to vote:

The Supreme Court just issues a ruling allowing Ohio and other states to purge voters from their election registration rolls due to their failure to cast a ballot in previous elections.

This is a major victory for the Trump administration and the GOP, and a direct consequence of the Supreme Court being stacked with more conservative judges (the votes were 5-4). This is also a huge part of what Trump/the GOP were counting on to save them in the 2018 midterm elections, which is where Democrats have been hoping to take back a majority in the House, giving them more power to combat Trump’s abuses of power and Republican legislation.

What this means is YOU CAN NOT ASSUME THAT YOU ARE REGISTERED for the 2018 elections, just because you SHOULD be. Thanks to this decision, red states can purge voters’ registration based on their not having cast a ballot in even just previous federal elections, NOT just the national Presidential elections. Effectively, if you haven’t voted in previous senate races or for congressional representatives in the past few years, that’s all they need now to say you’re no longer registered and need to register again.

They’re deliberately counting on people assuming they’re still registered and so not checking until after registration deadlines have passed, or showing up to vote this November and only then finding out they’re no longer registered, when its too late to do a damn thing about it.

And this is absolutely targeted at marginalized communities, low income voters, disabled voters, and basically anyone who simply can’t always AFFORD to keep on top of every federal election and show up to vote in every senate race, etc. Which not so coincidentally happen to be all the communities and voters who have the most to gain from Democratic victories in the 2018 midterms and are the least likely to cast votes for GOP candidates at this point.

This was absolutely a calculated effort aimed specifically at keeping the GOP in power with a majority control of the government come November, and unfortunately, it has a DAMN good chance of accomplishing just that if it goes by unacknowledged. I’m not looking to alarm or panic anyone, simply to say:

If you are a registered voter in a red state at this point, please please please do not take your registered status as assumed. Check on your registration status, look up all relevant voter registration deadlines for your state and district, CIRCLE THAT SHIT ON YOUR CALENDAR, and check your registration status AGAIN right before those deadlines pass, so you can be sure of it before its too late to do anything about it til the next voting cycle.

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brushlesprouts

4 years ago

Fenster the Deviler - Business before pleasure

After reading the first Witcher book “The Last Wish” I was inspired to try writing in that style. Not three sentences in, it become a parody story. Grant me this rambling tale of the grumpy Deviler, Fenster.

...

The morning dew still clung to the undergrowth in the shaded parts of the forest. Among the soggy grasses and flowers, a figure turned against the midday sun peeking through the trees.

"The sun should be illegal," The slothful figure muttered. Along a single sunbeam, a small pixie descended to the disgruntled man's side.

"Good MORNING Fenster!" It barked in a voice not too unlike jingling bells. "We have a job today!"

Fenster rolled up to a sitting position. His eyes were still closed in a gambit that clever wordplay could allow him to collapse back onto his soggy bedroll for the rest of the day.

"Bingle," Fenster began with a patient voice, "I fear I have come down with a case of Vampirism and can no longer work in the daytime."

"Oh I see," Bingle said, "I just figured you wanted to get some money. Seeing as how you haven't had a job in almost a month."

It was true, Fenster had hit a rough patch. The once noble profession of deviler, those who stand as pillars against the darkness, had diluted to that of thugs who will glare at drunks for chump change. He thought himself the last of the TRUE devilers, but with that dignity came an empty stomach and nights spent among the weeds. Still, to a deviler like Fenster, dignity was the last bedrock for which the fragments of his misspent life can build from.

"We shall see," Fenster said, raising to his feet, "If this job is worthy of a deviler."

The little sprite cheered and busied himself gathering the sparse belongings of Fenster. Packed into a satchel, Fenster made his way out of the woods and into the nearby town.

~~~~

The little town of Globshire was a scenic place nestled between the Wobyjack mountains and the Fimblefank river. Due to the heavy snow melt every spring, the town would completely flood. The people of the town, instead of moving, created advanced plumbing systems that could help redistribute the sudden rush of water and allow the town to keep from being totally submerged. This innovation used metal pipes forged from the ore mined out of the Wobyjack mountains. Globshire was a marvel of human ingenuity, creativity, and work ethic.

Just downriver of Globshire was Dunk, and Dunk was an absolute hog hole that was designed so it could easily be rebuilt after the flush of water from Globshire would clear it out every year.

Fenster sloshed his way through the fresh runoff of the swollen river and into Dunk's hospitable charm. People in various forms of water-resistant clothing trudged through the fresh mud of their town, carrying building materials to repair and rebuild. Those who were unable to aid in the efforts sat tending to floating bonfires and preparing meals for when the workers needed a break.

Bingle sat perched on his shoulder like an exotic bird. "This place is nice." He said with a smile, "Everyone is so friendly."

"That's probably because they don't want to mess with a guy in black leather with a sparkly whatever sitting on his shoulder. Deviler or no, the sight can be quite intimidating." Fenster allowed himself a wry smile.

"Over there," He pointed his tiny finger at a shack that was upright, but missing a great deal of one of its walls. "The person in there needs a deviler."

"Or a carpenter." Fenster said. He then turned his head to look at Bingle, "I swear to the nine fires if this is a job about building or sawing, I am going to slap you."

Bingle said nothing, however he did giggle. It was the sound of bells being shaken violently in a sack made of animal skin. Whimsical and chaotic and slightly threatening. The deviler walked on.

The owner of the shack spotted Fenster first and hustled out of her shabby abode to meet him.

"Oh! You must be the deviler! The little blue bird was right! Prayers can come true."

Fenster managed a charitable smile and spoke quietly to his diminutive companion, "Blue bird? A little on the nose, don't you think?"

Bingle shrugged, "I am whatever the people want me to be."

he woman rushed up to Fenster. "Oh merciful Deviler, whisperer to small blue birds and deliverer of justice, I am in need of your help." She bowed her head to him.

"Whoa, steady on there," He said, lifting his hands defensively, "Let's not get carried away here. What's the job?"

She lifted her head, "So humble, please come this way and we'll talk." She walked back to her home and opened the door for him. Fenster paid a small glance to the gaping opening just beside the door and shrugged. He stepped in through the door and gave her a small gesture of thanks.

~~~~~

"I need Wobyjack scales." Valencia said. "I need them by next week."

he deviler had barely time to sit at the large crate that functioned as a table before Valencia, the woman from before, please try to keep up, had made her demand. Fenster was no stranger to getting right to the point, but even he was shocked by the sudden drop of decorum. Bingle had hopped onto a shelf well out of reach of the juicy floor, and was fussing with some of the shiny finery.

"Right, sorry, Wobyjack scales?" Fenster said. He fished in one of his jacket pockets for a notebook. It was labeled, 'Incredible Monsters and how to locate them: Abridged". He flipped to the back of the book and found the small entry for wobyjacks. They are dragonkin that live in mountain caves. Known for being incredibly territorial, walking into a wobyjack cave is akin to a declaration of war. Be careful of their fire breath, acid blood, and mythril scales. Danger rank, Captain.

"Yes," Valencia said. "I need those scales to finish my inaugural headdress before next week or I shall be the laughing stock of Dunk. A mayoress without her headdress is likely to be butchered as soon as obeyed. Why, you hear talk of the previous mayoress, Clotina Valor, now she had a headdress that could turn heads. Did you know she had the head guard stand watch over her bathing at night? The Scandal! You believe me if she had a simple headdress with only a few jubjubber feathers she would have been drawn and quartered. Do you understand my meaning?"

"Sounds tough," Fenster said absent-mindedly, his eyes were still hovering over the word "Captain" in his book. He had never been one for numbers, but the preliminary calculations for his pay were pointing towards a hot bath and a hot meal by week's end. But something nagged at the edge of his mind. The part of his mind where he stashed nagging things, like bathing habits, birthdays, and the Deviler's Code.

He snapped the notebook shut, "You want me to slay a wobyjack for your outfit?"

"Not just any outfit," She said harshly, folding her arms across her substantial chest, "This is the official mayoral headdress and ONLY wobyjack scales will suffice." She slackened her arms, letting them fall to her sides. "I know it is short notice but you are my only hope, all the others whom I have asked have turned me down." Valencia said, she was dipping back into the sing-songy voice she had greeted him with, complete with a lilt and gesture of a fainting woman. "I am at wits end."

"I am not a tailor nor a tanner, I am a deviler." He said, "And I will not kill a beast like the wobyjack without a better reason." He moved to stand up, and that is when his stomach let out a most unflattering howl. The following silence was deafening.

"Will you give me a minute?" Fenster said. He gestured up at Bingle and the two went outside.

~~~~~

Fenster tapped his chin, looking pensively at the ground. Bingle hovered beside him, his sheer butterfly wings fluttering, which also sounded like bells.

"So," Bingle said at last, "What are you thinking?"

"I'm conflicted," Fenster said, stamping his foot on the ground, "Can't you see that? I'm tapping my chin, I'm looking down, clearly pensive. Read the air you damn pixie." He sighed. His stomach growled again.

Bingle smiled, "I don't need to read the air, it makes itself clear."

Fenster ran a hand through his hair, it swooped to the side and froze that way. "A hot bath and a hot meal," He said to himself, trying to convince that nagging part of him.

"And since it is a rush job, maybe a new sword too." Bingle said, his smile like sharp knife.

Fenster's eyebrows went up.

~~~~

"--And since it is a rush job," Fenster said, seated at the table again "I'm going to have to demand a little extra."

"But you'll take the job?" Valencia said, her eyes lighting up.

Fenster nodded, smiling to her. She clapped her hands over his and looked into his eyes, "Thank you, gracious deviler, oh savior, oh--"

"Fenster," He said, cutting her off, "Will do just fine, thanks."

She nodded, "Fenster, then. Good luck on your journey."

"About that," He said, tapping an empty pouch tied at his side, "Any chance for an advanced payment?"

"Absolutely not" She said warmly.

"Fair." He said.

~~~~~~~

The massive draconic beast heaved its breaths heavy and slow, small wafts of smoke pouring from its nostrils. Fenster sat behind a nearby rock in the Wobyjack's cave, waiting patiently. Bingle grimaced at the deviler with increasing irritation.

"What," he said in a very soft voice so as to keep the ring-ting-tingle of his voice to a bare minimum, "Are you waiting for?"

Fenster continued to dress his equipment. Vials of elixir for speedy recovery, herbs to heighten senses, throwing daggers laced with moonsilver, some mints, and his trusty claymore given to him by his teacher just before he died. It was as valuable as it was heavy and a pain in the ass to wield. But, to use it to slay the creatures of darkness that plague the land was his promise to his late teacher. Another integral part of the Deviler’s Code. So he would do so.

"I have the benefit of surprise," Fenster said softly, "I am going to use every advantage I got."

The duo had arrived at the mountain cave late at night. As such, the wobyjack slumbered peacefully. And so it follows that Fenster had found a decent hiding spot to prepare his strike. Satisfied with his tools, he began preparation.

He drank a vial of devilweed spirits, which would increase his blood flow and make him faster and stronger as well as increase his endurance. He applied nightfang chalk markings over his eyes to grant him shielded sight, so as not to be blinded or fooled by illusions. Eating a dried drungo tail would thicken and toughen his skin so the raking claws of the wobyjack would not immediately disembowel him. And finally, a few mints cause all of that makes his breath really nasty and that could be distracting.

Buffed to the teeth, he gripped his blade with both hands and looked over the edge of the rock at the sleeping wobyjack. He slowed his breathing to match the beast. "Here goes."

Fenster charged the beast and roared a spell to life. Runes on the claymore lit up the cavern as he leapt into the air. The massive arc of his swing aimed for the beast's neck. The wobyjack, as with most dragonkin, noticed the deviler the moment he came out from behind the rock. It reared its head back and avoided the strike. However, still groggy from waking up, its momentum caused it to flop onto its back. Fenster pressed the attack, the element of surprise was still fresh and powerful but would only last for a precious few more moments. The wobyjack howled and sprayed a blast of fire, flailing and swiping with a massive barbed tail. The bright fire failed to blind the deviler and he managed to just barely tuck his body into a roll to avoid having his brains sent splattering to the cavern walls. Years of training at the deviler institute as well as his time in the deviler acting troupe had given him the skill to deftly dodge and look good doing it. He rolled to his feet and continued his charge, raising the blade to point the tip at the wobyjack's exposed underbelly.

A wobyjack has dangerously sharp scales everywhere on its body except for its belly, which has thick and tough hide. No mere blade could hope to carve a meaningful strike. However, Fenster's teacher's claymore was no mere blade, and the magic that currently ripped through it was no mere magic. As Fenster neared the tender gut meat, the wobyjack lunged its head to snap its jaws around the deviler. There would be no dodging this attack, and there would be no advantageous second strike. It was now or never. He lifted the blade up, raising the glowing claymore high over his head. The wobyjack brought its jaws down around the deviler. But instead of snapping like a twig, Fenster remained whole.

The drungo tail indeed helped his flesh, but above that, the rank taste of a man who had not bathed for weeks assaulted the enhanced draconic senses of the wobyjack. It was only for a moment that the beast retched, but it was just enough. With his raised arms free of the wobyjack's jaws, Fenster shouted a battle cry and brought the blade down on the beast's neck. The magic embedded within the Vorpal Sword came to life and cleanly split the neck from the body. The dragonkin's head seized in a fit of rigor mortis before everything became stillness and silence.

Bingle flittered out from behind the rock, "You did it!" He chimed.

Fenster grumbled and tried to pry the jaws open, "Thanks. Man this is stuck tight."

After succumbing to the knowledge that it wasn't going to loosen any time soon, he dragged himself and the head back to his supply bag and grabbed a small elixir meant to grant strength enough to carry multiple times ones own weight.

~~~~

Fenster dragged the cart, carrying a massive payload, through the draining streets of Dunk. He arrived at the shack from before, the wall had been repaired. The woman rushed out as she did before. She was wearing a tight-fitting dress with a deep slit cut to show her ample bosom, but still hint at modesty. She bounded up to him.

"And hast thou slain the wobyjack?" She cried, hands clasped together and eyes alight with joy. “Come, come inside,” She waved her hand to beckon him inside.

Within the shack, Fenster seated himself once more at the crate, Bingle sat upon the shelf. Upon the crate, Valencia set a small pouch before the deviler.

“Here you go, as promised. Thank you so much for your hard work.” She said.

“And the extra, for the rush job?” He said, smiling.

Valencia leaned forward onto her elbows, the cut in the dress revealing the lack of undergarments. “Perhaps we can make an arrangement?”

Fenster felt his eyes dip, but he knew that women were wily creatures. Full of cunning and breasts. He would not be so easily stoked, though the fire burning in him was most assuredly lust. That or the acid blood from the wobyjack had leaked into his armor at some point. With all his might, Fenster relied on his most formidable weapon, his charm.

“Now now,” He said, wagging a finger and smiling, “Business before pleasure.”

She heaved a sigh and rolled her eyes before walking back to the shelf and grabbing a second pouch. She turned and tossed it to him. Fenster managed to catch it with one hand, looking mighty impressed with himself.

“There,” She said flatly, “We are finished here.”

“Pleasure doing business,” He said, “Now then, how about the business of pleasure?”

She smiled at him. A smile that wasn’t really a smile. More like a raging fire of irritation and barely masked wrath. Valencia said, “You smell like dragon blood and three week old shit.”

“Fair,” Fenster said. He pocketed the pouches and left the shack.

~~~~

“What a CHARMER,” Bingle said, laughing. More bells, you know the drill. “I nearly busted out loud when you tried the ‘business of pleasure’ line. Did you come up with that all on your own?”

“Stuff it,” Fenster said. He checked over his salary with a greedy countenance before cackling to himself. “Perfect, just enough to make the trip.”

Bingle’s smile dropped from his face and was replaced with a look of concern. “No, we’re not going to Trance, are we?”

Fenster sneered, “You bet your pretty fairy wings we are going to Trance! I’m gonna get a hot bath, a hot meal and the best damn sword Vurgle the Forgemaster can whip out!”

Bingle groaned and Fenster laughed and the two of them made their way to Trance, the city of glitter and glamour.

~End~