There’s not a writer’s course or ‘how to’ book in existence today that doesn’t touch on the subject of ‘showing’ vs ‘telling’.
Having said that, it’s still an area where a lot of writers (including me) struggle.
Looking at these terms from a writing perspective is important, but first, let’s take them back to the bare bones.
To ‘tell’ – Is to state, announce or proclaim
To ‘show’ – Is to reveal or give hint of evidence
In short – ‘tell’ is blunt and to the point, while ‘show’ is a little more seductive.
And while there are loads of articles about ‘show, don’t tell’, I think it’s important to know when to be blunt, and when to allude. This, for me, has been the hardest to master, hence my research for better understanding.
When is it Ok to ‘Tell’?
We’re almost led to believe that ‘telling’ is taboo. That it’s a sign of a lazy writer who can’t be bothered to put in the extra effort.
But in reality, there are plenty of successful authors who break the rule, and who do it so well that unless you were looking for it, you wouldn’t notice, or wouldn’t care because it hasn’t detracted from your enjoyment of the story. That, I believe, is the key. Knowing when; and knowing how.
It simply isn’t practical to ‘show’ everything. Not only would it take hundreds of thousands of words, it would be boring to boot. Remember – balance.
From what I understand, here are some examples of when it’s ok to ‘tell’ –
- The passing of time.
Six months had passed, and her disappearance remained unsolved.
If necessary, the writer can give a short synopsis of what the character has endured during that time, if pertinent to the story. This allows the story and the reader an easy passage from one time period to another.
- When a brief summary of a past event is needed.
This can perhaps be achieved via a letter or diary that the character has written or found; or one telling another of an experience or rumour.
- Background information that is not necessarily a part of the story, but allows better understanding of a character or situation.
This could be something like a trauma, for example – where the character may have been locked in a cupboard as a child, leading to their present-day claustrophobia.
The Power of ‘Show’
Have you ever read a gripping thriller? What contributed to the suspense? I’ll guarantee it was the weave of clues and deception, that trail of crumbs, (or scattering of petals – whichever you prefer 😊), the fleeting glimpses.
Readers enjoy being lured through a story, not dragged by the scruff. They want to experience the tension, the anticipation along with the character.
So, what are some of the benefits of showing?
- The reader is given hints and peeks; enough that the imagination will grab hold and take over
- Characters’ actions, thoughts, dialogue and appearance are open to the reader’s interpretation
This allows a reader to get to know and connect with a character during the course of a story. And allows the character to reveal their true colours over time.
A great example of this is Severus Snape from the Harry Potter series.
From the beginning we’re given snippets of his characteristics via sly looks, demeaning, sarcastic comments, black, greasy hair, and the impression of dark ulterior motives. But as the story unfolds, we learn of his true allegiance, his childhood history, hidden emotion and secret grief.
Balancing the ‘Show’ and ‘Tell’
There is certainly an argument for ‘show, don’t tell’, just as there is around the use of adverbs and alliteration, but it’s all about balance – if you must, make it count.
The ‘show, don’t tell’ advice should be used as a strategy to enhance, rather than a hard and fast rule. And probably depends on the piece of writing as well. Is it character driven, or plot driven?
In general, I think to achieve the right balance is to –
- Use description to heighten suspense, excitement, or ambience, but not description for description’s sake if not pertinent to the story
- Reinforce what you do choose to ‘tell’. Using the previous claustrophobic example, the reader will be expecting to ‘see’ how this affects the character in crucial moments
- Use dialogue effectively. Good dialogue will reveal a character far more richly, but don’t cheat the reader by trying to use it to squeeze in large blocks of ‘telling’
- Use ‘tell’ when there is a lot of ground to cover in a short amount of time – as with the jumping timelines example
If the balance is right and we’ve managed to create a world with dimensional characters in a reader’s mind, while seducing them to keep turning that page, then we’ve done our job.
Would love to hear from you on your handling of ‘show, don’t tell’!
