I think, and its been a long day so I've not checked, that I commented on your FB page that its okay to tell on the first draft... I mean Nancy Kress did, and she's not the only one.
Having said that, I'd probably start the secene with ways that we can first see our Antagonist at his best... before we see him, or her at the worst. For A companion to ASH, I have one of my antagonists start by coming into where he works. On the way in he catches an employe with her daughter, as the mother is packing up to end her shift. The girl is coloring in a coloring book, on the left there are a few places where she's accidently collored outside the lines. They talk about, of handedly, about how good it is to color inside the lines, and how she's getting better at it. He's a man that believes in classes, and their lines, and this girl and her mother are, he believes his inferiors (If you know about my machinamentum ideas, you have an idea who both are). It is very formal, very scripted in the interactions with this character. Later when I have a character distracted with other issues giving a report, and not demonstrating the level of formality required, our antagonist strikes him. Thus we have briefly the normal expectation of the world hinted at, then tension and conflict at its violation, without having to have the character really think about it, and give the audience lots of telling internal dialogue.
The question is, how can you show your antagonist's world, as he sees it, as he thinks of it, running smoothly, then how can you show his reaction to the things he cannot abide? Maybe someone questions, or someone representing someone questions some order given? Perchance, we have a department head, perchance with a few of the scientists active in the department coming before our antagonist as part of a typical meeting. You can give your audience the ritual of the dance of these meetings, who can speak, who can't, or at least who can speak less often, and when. A nice neat ritual, and then possibly the questioningof orders, the seriousness of this violation, and the response to demonstrate how this is just not done. Things can briefly return to normal, and this crucial violation might get him to think on how there are only two violations, and then leave it hanging, or at least with some . vagueness to hint that it will come later. Perhaps you could reveal this when he meets your FMC, and/ or when he realizes what she is. Just some thoughts.
I think, and its been a long day so I've not checked, that I commented on your FB page that its okay to tell on the first draft... I mean Nancy Kress did, and she's not the only one.
Having said that, I'd probably start the secene with ways that we can first see our Antagonist at his best... before we see him, or her at the worst. For A companion to ASH, I have one of my antagonists start by coming into where he works. On the way in he catches an employe with her daughter, as the mother is packing up to end her shift. The girl is coloring in a coloring book, on the left there are a few places where she's accidently collored outside the lines. They talk about, of handedly, about how good it is to color inside the lines, and how she's getting better at it. He's a man that believes in classes, and their lines, and this girl and her mother are, he believes his inferiors (If you know about my machinamentum ideas, you have an idea who both are). It is very formal, very scripted in the interactions with this character. Later when I have a character distracted with other issues giving a report, and not demonstrating the level of formality required, our antagonist strikes him. Thus we have briefly the normal expectation of the world hinted at, then tension and conflict at its violation, without having to have the character really think about it, and give the audience lots of telling internal dialogue.
The question is, how can you show your antagonist's world, as he sees it, as he thinks of it, running smoothly, then how can you show his reaction to the things he cannot abide? Maybe someone questions, or someone representing someone questions some order given? Perchance, we have a department head, perchance with a few of the scientists active in the department coming before our antagonist as part of a typical meeting. You can give your audience the ritual of the dance of these meetings, who can speak, who can't, or at least who can speak less often, and when. A nice neat ritual, and then possibly the questioningof orders, the seriousness of this violation, and the response to demonstrate how this is just not done. Things can briefly return to normal, and this crucial violation might get him to think on how there are only two violations, and then leave it hanging, or at least with some . vagueness to hint that it will come later. Perhaps you could reveal this when he meets your FMC, and/ or when he realizes what she is. Just some thoughts.