Show and Tell

Introduction

Showing and telling are two ways of writing. They mean pretty much what they say. Telling the reader is when the narrator or a character in the story will actually state something in order to get it across to the reader. If you show the reader, you demonstrate something through the action.

Here's a simple example. Telling, first.

Hm. Now for showing...

In both cases, we know Greg is very angry indeed but the second is far better. It's cinematic - it creates a powerful scene in the reader's head - and is more emotionally engaging. The first example let us know Greg was angry. The second let us feel it.

And showing is generally better than telling although telling has its place and can never be - nor should be - entirely avoided. They're also quite happy being used together. We could always have...

That may seem redundant but it works fine and even brings a slightly different feel to the event. The showing underlines the telling, making the anger seem stronger.

Using Show and Tell

The rule for story writing is to show rather than tell whenever possible but accepting that telling is a necessary tool that has its place. It is easy to fall into the trap of telling too much, so what follows is a guideline or two.

The physical characteristics of people, places and things can be described through telling without any problems at all. It works because we're used to getting this information directly and instantly through the eyes so if you need to describe it, quick and direct is the way to go.

However, extra comedy or drama can be gained by describing something indirectly by showing. Take the last line from this lovely extract from Terry Pratchett's "Men at Arms"...

- Captain Samuel Vimes from "Men at Arms" by Terry Pratchett

Carrot and Detritus are clearly very large, threatening people but there is not one word of description of them, merely the effect of their looming.

Action, too, should be told for the most part. Telling is fast and dramatic and we really don't have much time to do anything else if we want to keep it moving.

- Kate Calamus from "Chasing the Wind"

Emotion should be shown rather than told as much as possible because, unlike physical appearance and action, we can't see emotion directly. We have to guess from expressions and from actions. You should therefore write the same way.

- Cher Desilva and Kate Calamus from "Change in the Wind"

Another reason to show emotions is that they can be subtle things. People often don't even know what emotions they're feeling. They can be in denial about them or simply too much in the throes of them to be analytical.

However, telling can also work with emotions when a character is being analytical. People are capable of recognising their own emotions so you could happily have an internal dialogue which tells the reader about them.

- Cher Desilva from "Chasing the Wind"

Finally, dialogue. Dialogue is, practically by definition, usually telling. That said, it can actually show as well. One of two people lost in a dark labyrinth, taking a random example, can be babbling to the other. This tells us very little but shows us that he's scared. Dialogue can be a very useful way of showing emotion.

Exposition

Exposition is brute-force telling and usually fairly long and involved. It's when something is explained to the reader (although the comments are, of course, usually directed at another character) - and although you might be better off hinting to the reader or giving him the information in smaller pieces, sometimes exposition is required.

One use is for background information, stuff the characters would know but the reader does not. For example...

- "Against the Wind"

If you need this, keep it brief and to the point, and also only mention it when it's important. Explaining how that gun works when it's not being fired would be clumsy indeed. However, you can always show the same information, perhaps by having someone experiencing being shot by such a weapon later.

One trick, used to great effect in Anne McCaffrey's Pern books is simply to not explain this sort of background information, but to drop the reader into the middle of the world and let them pick things up through context. What's a Hold? Well, people live in them and they have stone walls. Presumably a form of fort or castle, then...

The problem with this technique is that you do have to make sure all the context needed is included to be picked up.

The other use for exposition is plot revelation, usually in a conversation. Again, it's often necessary so try to keep it interesting. One of the best things to do is to actually have it a conversation. Other characters should interject, ask questions and point out flaws. The person who's talking can figure things out as they go, guess wrong, correct themselves, think out loud and so on.

- Daniel and Chrisson from "The Other Side"

You should always avoid, where ever possible, a straight info dump - a character delivering exposition like a lecturer in a classroom. Like in a classroom, it would have to be really interesting for it to keep the attention of the readers.

I've mentioned this before in relation to comics, but you should definitely try to avoid a lot of exposition at the beginning of stories as there's a risk it'll turn people off. You can get away with it, though, if it's written interestingly. I've done it myself a few times, as has each and every Star Wars movie. However you need to be conscious of the problems and treat it very carefully.

Show and Tell in Comics

In comics, you'd obviously show using pictures and tell using words, right? Broadly, yes, but there are exceptions. Words will nearly always tell, even when they're part of a picture. A sign saying "Emergency Exit" on the wall with an arrow is definitely telling the reader, for example.

I'm also inclined to think that, should you draw a picture of a high-rise building for example, that it's a type of showing which is very nearly telling. The building is right there, after all, and impossible to miss. It has the same lack of subtlety as telling, although I don't meant to sound I disapprove. Like telling itself, this is clearly something that's an important tool.

As far as characters and emotion are concerned, the key to showing is nearly always expression. If a picture is worth a thousand words, then someone's face can be worth, oh, five hundred of them at least. Expression is used to underline events in the comic, add new subtles to the scene, to tell a story all by itself or provide a punchline. Expression is very important, and laden with subtleties. Very slight differences can change a face from being angry at someone else or angry at oneself. It's worth practicing to get right as it will make your storytelling a lot more powerful. Indeed, if you're skilled and subtle enough, you can tell a story with just expression and no dialogue at all.

Continuation

This tutorial has a sequel. There's a third in the set - not showing and not telling - which is complex enough to need a tutorial all by itself. It's not finished just yet, but will be soon. Watch this space...

Got any comments?

Feel free to buzz me. This document will be added to as new things occur to me but I'm always open to suggestions and criticism.

Webcomics

Writing

Design

Technology

Misc.

Personal