Show, Don't TellNov 27, 2020
Post written by Katie Wall.
It doesn't take very long for an aspiring writer to hear the oft-quoted “show don't tell.” I remember nodding sagely when this advice was given in my creative writing classes while simultaneously wondering what that even meant. I thought, How can you show with the written word? Aren't you automatically telling since you're telling a story?
What no one explained to me is that showing instead of telling is not about whether or not you use descriptive language. Writing “she felt the blossoming tendrils of love wrap themselves around her heart” is telling just as much as writing “she started falling in love.”
So what, then, is showing?
Showing allows the reader to see the character in the scene, to see the actions and reactions that make them believable.
So instead of telling the reader that this character is falling in love, show it. How does the character's body language change? What does she do? How does she act toward the person she is falling in love with? Toward her ex-lover? Toward her flirty coworker?
Showing can mean that you end up writing whole scenes you weren't planning on. This makes a good test: is the detail you are telling important enough to spend a few sentences on? A few paragraphs on? A whole scene on?
For example, if I was writing a story about a girl whose mother was unkind to her, I could write, “Jane's mother had never been kind to her.” Or I could include some dialogue or other interaction in a scene showing Jane’s mother being unkind. I could also include a memory or flashback of a time Jane's mother was unkind to her when she was a child, not only to drive the pattern home with the reader, but also to show the duration of the treatment.
Or if I was writing a scene about a disgruntled old man waiting for the bus, I could tell you that he was disgruntled or I could write about how he hunched his shoulders, grunted, and slid away from someone else who sat down on the bench to wait.
See how when we show what is happening the reader is allowed to see it, to feel included and brought in to the story instead of only being told the conclusion the author wants them to come away from the scene with?
I hope this brings some clarity to what showing and telling mean. But how can we as writers employ this as we write? How do we use this information to hone our craft?
Before we write…
- we can really get to know the reason our characters want the things they want as well as what is standing in their way.
- we can think carefully about the forces that have shaped our characters to be who they are.
- we can determine what aspects of our characters and their relationships are most important to emphasize.
While we write…
- we can catch ourselves when we start to sum something up into a quick phrase or sentence of telling instead of allowing our reader to experience the scene for themselves.
- we can ask ourselves how our character is acting or responding to the events and people around them and record those reactions on the page.
- we can put more on the page than we think is necessary; it is always easier to trim down than to try and edit material that isn’t there.
When we revise…
- we can reread the manuscript and highlight each instance where we have told our reader things.
- we can evaluate if those instances support the narrative drive and the point of the story; if not, we can remove them.
- we can evaluate which of those things can be reworked into a few sentences that show the reader the action.
- we can evaluate which of those things need to be reworked into paragraphs or scenes that more fully flesh out this important material.
Now, get out there and tell… ahem, I mean show… your story!
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