Show, AND tell.
"At times, telling can be both necessary and effective."
In THEORY:
Every writer has heard the advice, 'Show, not tell.' And it’s good advice. Without it, writing would be a monotonous wall of fact-blocks, building a barrier of boredom around our work.
However, writers are often criticised for not following this ‘rule’. The film Austin Powers pokes fun at this with a character named Basil Exposition whose role it is to provide background information to help Austin complete his missions - in the process he clarifies the plot neatly and succinctly for the audience. The film cleverly uses this mocking of exposition as an opportunity to tell the reader important information.
We see these ‘Basil Exposition’ characters in more serious films as well. Here is an excerpt from Gone in 60 Seconds; it is taken from near the start when Memphis (Nic Cage) is told that his brother Kip is in trouble with some criminals, some bad criminals.
MEMPHIS:
Tell me about Kip -
ATLEY JACKSON:
He took a job. And he fumbled it. Now he's jammed-up. Jammed-up bad...
MEMPHIS:
What kind of job... ?
ATLEY JACKSON:
A boost. A big boost ...
Atley’s role in the film is exposition. He tells Memphis the situation so that he’ll get involved in the story and come to the aid of his brother, Kip. He delivers this information in 18 words. Of course, this wouldn’t make any sense unless we’d just seen Kip stealing cars, messing up, almost getting caught by the cops, and then, due to the fact that he failed to steal all the cars he’d promised, being threatened with death by some bad guys, some real bad guys. This makes the writing here easy, as the audience understands exactly what Atley means, and in a brilliant moment of cliched repetition he manages to tell Memphis that his brother is in trouble. Big trouble. And thus, ‘Show, not tell’ becomes ‘Show, AND tell’.
I’ve heard many critics claim that ‘telling’ is a modern trope: lazy writers, uneducated authors, talentless hacks. I say ‘Bah-Humbug’ to that. For in ancient Greek plays, they used an entire ensemble of actors known as the chorus to help narrate and describe events directly to the audience; they filled in gaps and explained actions that were not shown on stage. There are more subtle versions of ‘telling’ across history. The name Benvolio means good-will and so Shakespeare clearly tells us that he is going to be one of the more moral and upstanding characters in Romeo and Juliet, whilst Tybalt means tyrant. More recently, one of the most successful franchises in history begins with the most tell of all tells; Star Wars literally starts with scrolling text that outlines the context and events leading up to the story. At times, telling can be both necessary and effective; also, as exemplified above, it can be done in creative ways.
I’m not arguing that there is anything wrong with the theory of ‘Show, not tell’. This advice encourages us to think creatively about how to convey information and emotions through actions, thereby creating an experience for the audience rather than simply a presentation of information. I firmly believe in this principle and strive to adhere to it in my writing; however, I also recognise that there are moments when a combination of showing and telling can enhance clarity and impact. A balanced approach can make the writing process smoother and the story more accessible to the reader. In a previous post, I wrote about the writer’s war: Clarity vs Creativity. ‘Show, and tell’ is a peacekeeper in this battle.
In PRACTICE:
Let’s simplify this theory to a more practical level, a level younger students can understand and apply. For this, I want to use the example of a nervous character about to enter an exam hall: “I tapped my foot on the ground outside the exam hall.” This simple action could show a range of emotions: boredom, frustration, nervousness, or perhaps it is simply a character enjoying some music while in the waiting area. Without additional information, the reader is left to guess or assume the character’s feelings. However, by combining showing with a bit of telling, we can provide clearer insight into the character’s state of mind. For instance: “My foot tapped out a nervous rhythm on the ground outside the exam hall.” Here, the adjective ‘nervous’ tells the reader about the character’s anxiety while the action of tapping the foot shows it. Or consider this: “Nervously, my foot tapped on the ground outside the exam hall.” The adverb opener ‘Nervously’ directly conveys the character’s emotional state, enhancing the action without overshadowing it.
Adjectives and adverbs are modifiers that can significantly enrich the reader's understanding of the narrative. They work wonderfully to bridge the gap between showing and telling, making the character’s emotions and motivations clearer. This approach strikes a balance, ensuring that the reader grasps the character’s feelings without resorting to straightforward telling, such as writing: “I was nervous.” This direct statement lacks the vividness and engagement that showing can provide.
In summary, while 'Show, not tell' is fundamental to effective storytelling, integrating some telling is sometimes necessary for clarity. Encourage yourself, your children, and your students to 'Show, and tell' when needed.
Continue the Story:
In the corners of the hallway, I noticed damp patches where the cream wallpaper was peeling away. Beneath it, little beetles and bugs crawled around, scurrying out of view the second they heard our marching, drum-like footsteps approach. We stood in the neatest of lines, like a procession of soldier ants, with Mr. Aklam leading the way. Finally, we arrived at a looming wooden door, which wouldn’t have been out of place in a horror film. My stomach was a tangled mess of knots and twists. I wanted to be sick. I wanted to run away. I wanted to be home.
“Don’t you lot dare move a muscle!” Mr. Aklam demanded before marching through the door and leaving us in eerie silence.
I stood still, eyes forward, and heart rampaging.
“Hey, good luck,” Riona whispered as she gave me a friendly wink and a warm smile.
I knew we would be sitting next to each other. We were always sitting next to each other. I tried desperately to focus my thoughts, running through all the facts, figures, and theories I had been revising over the past few weeks. It all came down to today.
Mr. Aklam returned, and so did my nerves.
“Time for your maths exam. Now follow me.”
INSTRUCTIONS:
Three-Sentence Plan:
Describe the exam room and what the main character sees and feels when they walk in.
Show how nervous the main character is by describing their feelings and thoughts, and mention Riona and Mr. Aklam.
Describe the start of the exam, showing how tense it is and how the main character tries to stay calm.
Show, and Tell:
Use the help sheet to show what’s happening and tell the reader about important moments in the story.
Continue the Story:
Use good descriptions to make the exam room come to life.
Show how nervous the main character is with specific feelings and thoughts.
Include Riona and Mr. Aklam to make the scene more interesting.