Most writers know\u00a0Show Don\u2019t Tell<\/strong>, but sometimes they think they\u2019re showing when they are telling.<\/p>\n Here\u2019s my oh-so-easy check.<\/p>\n Read the sentence that you think SHOWS the reader something.<\/p>\n Ask yourself \u2014-\u00a0What\u2019s the Visual?<\/strong><\/p>\n You may be surprised that the sentence doesn\u2019t provide a visual.<\/p>\n Wondering why I care?<\/strong><\/p>\n Wondering why I think you should care?<\/strong><\/p>\n Most readers have a video playing in their mind of the scene they are reading.<\/p>\n If a writer TELLS instead of SHOWS, the reader\u2019s screen goes blank. No imagery. No power.<\/p>\n When the writer TELLS, they\u2019re sharing what the POV [point of view] character is thinking. They\u2019re intellectualizing for the POV character.<\/p>\n The writer is not putting the emotional power on the page.<\/p>\n TELLING:<\/strong><\/p>\n He looked angry.<\/p>\n She seemed agreeable to the plan.<\/p>\n He made a face.<\/p>\n She didn\u2019t say anything, but he could tell she was pleased.<\/p>\n He knew she was nervous.<\/p>\n She looked like she wanted to go with him.<\/p>\n Jake seemed out of sorts.<\/p>\n If you\u2019ve read one of my blogs before, or taken one of my online courses, or consumed one of my lecture packets, you know I always provide examples that support my teaching points.<\/p>\n Here comes the fun!<\/p>\n Example 1:<\/strong><\/p>\n \u201cSomeone got hurt.\u201d<\/p>\n She studied Susan\u2019s face. \u201cAre you okay?\u201d<\/p>\n Whoops. What\u2019s the visual?<\/strong><\/p>\n We\u2019re missing the subtext. We need to know Susan\u2019s facial expression.<\/strong><\/p>\n Example 2:<\/strong><\/p>\n The POV character is watching Sam.<\/strong><\/p>\n Sam moved around in an agitated manner.<\/p>\n What\u2019s the visual?<\/strong><\/p>\n Both parts of that short sentence are\u00a0<\/strong>TELLING<\/strong>.<\/strong><\/p>\n How did Sam move?<\/strong><\/p>\n How does the POV character know Sam is agitated?<\/strong><\/p>\n What\u2019s his facial expression?<\/strong><\/p>\n Example 3:<\/strong><\/p>\n \u00a0Mike is the POV character.<\/strong><\/p>\n Traci seemed upset. \u201cI need to leave.\u201d<\/p>\n Mike touched Traci\u2019s arm. \u201cDon\u2019t leave. We need to talk.\u201d<\/p>\n What\u2019s the Visual?\u00a0 Mike touched Traci\u2019s arm, but the reader doesn\u2019t know how Mike can tell Traci is upset.<\/strong><\/p>\n The writer could SHOW, and share subtext, with Traci\u2019s actions or face or voice.<\/strong><\/p>\n Writers don\u2019t need to add SHOWING to every sentence or paragraph. But many sentences need those visuals. They share the emotion, hook the reader.<\/strong><\/p>\n Please click Margie Lawson’s Guest Blog Post<\/a> to read the rest of Margie’s post on Writers In The Storm.<\/p>\n Margie Lawson<\/a>\u2014editor, international presenter\u2014teaches writers how to use her psychologically-based editing systems and deep editing techniques to create page turners. Margie has presented over ninety full day master classes for writers in the U.S., Canada, Australia, New Zealand, and on cruises in the Caribbean.<\/p>\n To learn about Lawson Writer\u2019s Academy, Margie\u2019s 4-day Immersion Master Classes, her full day Master Class presentations, on-line courses, lecture packets, and newsletter, please visit\u00a0www.margielawson.com<\/a>.<\/p>\n
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