F
aye Arcand Show Don’t Tell
As a writer, have you ever been told to “show don’t tell”? You eagerly nod in agreement—yeah yeah—of course you do that, right? But really you don’t have a clue as to wth they’re talking about. Believe me, you’re not alone. The first time an editor scrawled SDT across my page, I had no idea what was going on, and I was afraid to ask. Crazy, I know, but when she told me it meant show don’t tell I was seriously confused because I felt like I had been “showing.” Let’s examine the simple dictionary definitions. Tell: “communicate information, facts, or news to someone in spoken or written words.” Show: “be, allow, or cause to be visible.” It’s also about perception in quality, emotion, or characteristic. I learned that what I’d been doing was using a bunch of adverbs to describe communicated actions. For example: He angrily walked across the room. In this example, I’m telling the reader how the man is feeling. Contrast it with this: He stomped across the room with his hands balled into fists. This is “showing.” I’m not telling you anything but rather conveying a picture for you to draw your own conclusion. Once the concept is understood, it becomes easier to paint a scene with words that illustrate the emotion and action within it. Writers need to internalize the notion of show don’t tell because it will make their work stand out in a positive and professional way.
It begins with taking ownership of the lens through which the reader is viewing the story. Ask yourself: what do I see? How do I know how a character is feeling a certain way without stating it? Is there a better way to convey this behaviour or emotion? So, keep in mind, what you want to do is consider the actions that convey (show) a particular scene, sentiment, or emotion. Practise on these sentences. Some of these are tough. Think of spaces—only two steps across the room—that shows the room is small. What does the cold actually do? What do you wear? Imagine yourself observing things through the lens of the camera and show the emotion instead of naming it. 1. It’s a cold winter day. 2. The room was hot and humid. 3. The woman was surprised when everyone jumped out and shouted Happy Birthday. 4. The dog looked very big and mean. 5. The kitchen was small and cramped. 6. The cookie was delicious. 7. On the mantle there were at least one hundred pictures and figurines. 8. She was an elderly woman pushing a grocery cart through the store. 9. “Get out of my house,” she said angrily. 10. I felt so happy when I saw him get out of the car.
West Coast School of Writing A Place for Enlightened Being
Year-round courses and workshops for writers, poets, and deep thinkers dedicated to personal and creative improvement through observation, introspection, and analysis. We combine informative lectures and readings with writing practice and editing in a supportive community atmosphere for writers and individuals of all experience levels. Located on beautiful Vancouver Island in the historic waterfront District of Oak Bay For upcoming classes go to www.joeleneheathcote.com To register: 250.516.6903 | joelene@joeleneheathcote.com 20 WORDWORKS ︱ 2020 Volume III
