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khiemtranThe flipside to building up information before key scenes to give greater insight is to accept that not all scenes will get that build-up. This means lowering my expectations for how much I can convey in the earlier scenes and increasing my patience that the real story will get out in the end.
A good example of this would be a story that involves, say, a series of ritual flute battles. My first instinct would be to try to convey everything in the very first battle - the history, the emotion, what it means to each of the participants and onlookers. A more patient approach would be to scale back what I actually convey in the first description and only hint at the rest. As the story goes on, I can put more background in so that later flute battles will have more and more significance to the reader (and the significance of previous battles will also increase as they realize the implications of the earlier scenes). The goal is for complete immersion, but it's okay to take the reader on a journey in order to get there.
A good example of this would be a story that involves, say, a series of ritual flute battles. My first instinct would be to try to convey everything in the very first battle - the history, the emotion, what it means to each of the participants and onlookers. A more patient approach would be to scale back what I actually convey in the first description and only hint at the rest. As the story goes on, I can put more background in so that later flute battles will have more and more significance to the reader (and the significance of previous battles will also increase as they realize the implications of the earlier scenes). The goal is for complete immersion, but it's okay to take the reader on a journey in order to get there.
