I’m going to state an unpopular opinion. The advice of “Show, Don’t Tell”, for me, was delivered so vague that I didn’t find it helpful.
There are probably lots of people who live and swear by this fact. But, for me, this advice was also so shoved in my face upon query rejections, I came to see it as a brush-off. That is, until I was able to form my own meaningful definition of it.
Show, Don’t Tell. What Does This Even Mean?
From my understanding, this advice was typically dished out when chapters were nothing but walls of endless information with no anchoring. Anchoring was the action, effect, reaction and so forth that allowed the reader to sink in the information. It also moved the plot along.
The show part of the advice was referring to the anchoring; the demonstration of an action, emotion, conflict, atmosphere and so forth.
What I discovered through my experiences, if a story is ‘showing’ all the time, there’s not going to be a lot of balance with pacing. Nor provide enough context for the reader to form their understanding of the story’s events.
For a readable experience, both Show and Tell needs to be incorporated to deliver a thriving experience on screen or page.
This is what I’ve discovered and how I came to redefine this advice to be my own.
My Definition of Show, Don’t Tell = S. T. U. D
Show the action. Tell the summary. Underscore the emotion with atmosphere. Discuss the backstory.
Below is a deep explanation of my definition. Using my own novel examples, as I’m not comfortable quoting from other works. It’s easier to explain on my own works.
Show the action
One of my methods is delivering a combination of descriptors and character motivations to a specific focus (e.g. a combat scene). It’s a way to anchor in contextual backstories and plot devices.
An example is below, which is from Zaldizko:
The action here is passive, but describing it this way shows the protagonist’s motivations for a peaceful life within his monastery home. His praying anchors his respects for his deity, Buddha.
Tell the Summary
This part is obviously the ‘telling’ side of the old adage, but with more focus to a particular motivation, goal or event.
An example is below, which is from Black Star Heart: A Martial Warrior’s Path:
This is a statement within the second chapter aimed at a specific focus that will impact the protagonist in a near-future event.
The benefits of providing information this way is setting a certain tone naturally within a chapter or scene. When something is textual, the scene’s atmosphere naturally assumes an academic undertone.
So, this information was delivered in a scene where the protagonist was in class, where the tone I wanted it to deliver was academic.
Another benefit of telling facts this way is setting up a masking. Giving a textbook summary, I’m actually masking the reader’s subconscious of what will actually occur; an event that may contradict or change the information introduced. This is a form of anchoring. I’m not good with plot twists, so this is my only way to achieve it.
The con of delivering information this way is losing the reader to boredom, over selling a fact and disruption to the flow and pace.
So, it’s best to be used sparingly. If possible, avoid using in the first few chapters unless it’s needed to balance the overall pace.
Underscore the emotion with atmosphere
A unique aspect of my writing style is atmosphere. I tend to do so much of it, sometimes I can cause redundancy. But, it is one of my selling styles and something I’ve become known for. I think.
An example is below, which is from To My Sunflower at Webnovel:
Atmosphere relies on a combination of adjectives and adverbs with a specific aim to not only describe what is seen but also what is sensed (e.g., felt, smelled, tasted and so forth). The descriptions follow around one character's motivations and emotions, who draw out the tone of the scene to the reader.
As stated above, the con to this style is redundancy. Overselling a description can have the adverse effect. So it pays to know the focus. If the intention is drawing out of the character’s emotion instability, then the chapters will be described to reflect this in some shape and form across everything they affect or causes an effect on them.
Discuss the Backstory
Sometimes using a combination of dialog and information can be helpful to the story. Especially, when introducing a backstory, where it’s better to explain through conversation rather than show for pacing and other reasons.
An example is below, which is from Monarch of Kingdoms:
Rather than perform this story event, it was better to introduce as an explanation for a new character’s backstory. It makes the starting motivations clear and allows me to use the backstory as a way to gradually set the character’s need.
Conclusion
As you can see, each part of this method does hold a combination of show and tell. Trying to give a balance and focus for each, helps in delivering a reading experience and understandable story.
