novel - How do I avoid a “mid-story info dump?”

I am revising the manuscript for a novel. About a third into the story, a major turning point occurs when the main character (through whom the reader follows the story) realizes that things are not at all how she perceived them to be, and that she has been duped by another character (let’s call him Ryan). For an entire chapter, she looks back at the events and pieces together Ryan’s moves and intentions.

The problem is, this feels too much like what I would call a “mid-story info dump.” We all have been told to avoid dumping out a truckload of back story at the start of a book before the actual action gets going. Here, in a similar fashion, I’m putting the main character’s actions on hold while she analyzes Ryan’s actions. There is little dialogue, just narration. It sounds a bit like the end of a Sherlock Holmes mystery: “And here is how I solved the crime.” Except in my case, it comes a third into the book, but it is a necessary step to launch off the remaining part of the story.

Is there a better way to handle this type of narration? Or should I simply not worry about it and count on the suspense created by the build-up to carry the reader forward? (If I’ve done my job correctly as a writer, the reader -- who has been duped just like the main character -- will be dying to find out what really happened).

Thoughts?

Answer

Short answer:

1. Give hints along the book. Make the character notice stuff. It will make the "dump" shorter, even convert it into a short reference to scenes that happened.



2. Find a way to imbue feelings or actions in the section.

More on that:

Include at least some action. Surely there is something that sets off this train of thought. Try and be as brief as possible with the explanations, and make the realization go hand in hand with events that happen.

The character could have a moment of clarity while, for instance, riding on a horse. Or a donkey. Or watching the scenery from a really beautiful vantage point. Then they could reflect on some things, then notice something else in the scenery, maybe even link it with what they are thinking, and carry on.

It also helps to place the feelings in the right place, so it feels as if the character is evolving through the insight gained... outrage, envy, anger, shame... they could be feeling any or many of those while they have that moment of noticing what happened.

Of course, structuring it like thoughts of the character helps give it pace... you could transmit racing thoughts, or slow-boiling, raging machinations. Either way, the character can make the info dump an interesting part of the book.

Do avoid anything like the description of the vices Dorian Gray had fallen to. Those pages are a painful read to anyone, no matter how awesome the rest of the book may be. The mistake in there is nothing happens. You get the raw information; no emotion, no action. This is a perfect "how not to".