Tell over show?

Tell over show?

Writers are often vexed over show versus tell. The problem boils down to knowing when to tell.

First let’s look at the reasons for showing.

1.      To help the reader become emotionally invested in your character. Telling: Nell was tied to the tracks and saw the train coming. Showing: Nell struggled to free herself, biting at the ropes. The train blew its whistle as it came around the bent. Shit. [Stay tuned.]

2.      When chemistry is involved: Telling: The moment she first saw Snidely she knew he only wanted one thing. [The deed to her ranch.] Showing. He had the look of a cad. His mustache oozed of grease, his cold rat eyes said you’re mine.

3.      Transport your reader to your fictional world. Tell: Beside the train track was a lovely place to have a picnic. Perhaps Snidely would have a change of heart. Show: This stretch of worn wood train track, overgrown bushes brushing the rails, the smell of lilac, and scampering deer gave her ease. Surely no train would interrupt their picnic.

4.      Important pieces of the story. Tell: Snidely collected deeds as a means of insuring his financial wellbeing. Show: Snidely played the townsfolk as if they were part of a giant Monopoly game.

Pretty damning, right?

Here’s when you should tell:

1.      Transition. Also known as sequel and often involving the character’s internal arc during a scene, perhaps a summary in the mind of the protagonist. True, the character can show via description, but keep the description to a minimum and get on with the story.

2.      Redundant. If you must, be quick.

3.      Too melodramatic. A characteristic of melodrama, especially in being exaggerated, sensationalized, or overemotional. She melted before him. A slave to his whim. What was to become of her? This one is easy to screw up. My only advice is to be precise. Another example: He was stabbed. The blood squirted like ketchup. He was not going to relish this. Cut the details even if well written. There’s action and it moves. It’s the story.

4.      A bomb goes off. Much like 3. Let’s get carried away describing in slo-mo every color, every body part flying by. Stick to the human reactions mostly.

5.      Sometimes what you want to impart is not too important to the story. Go fast through this part.

Please add to this your ideas.