Okay, so there I am, having finished reading my 5 pages out loud to my writer’s group and Liz, the non-cookie-baking grandmother, looked at me over the rims of her specs.
“I don’t understand this,” she told me, referring to a sentence in the manuscript. “‘Swooping, sharp pains in her stomach’.” Liz spread her arms out and shook her head. “What does that mean?”
I replied, “It means she’s nervous.”
“So, why don’t you just write ‘she’s nervous’?”
“Because I wanted to show it, not tell it.”
Liz just stared at me. She might have blinked once, but I couldn’t be sure.
I tried to explain further. “You know, how it feels when you get nervous? Your stomach gets all tight or loopy…”
Liz said, “I don’t get nervous.”
Now it was my turn to be speechless. She doesn’t get nervous? What kind of person doesn’t get nervous?
Maybe Liz is an anomaly (in fact, I’m almost sure of it). Nevertheless the incident brought the concept of “show, don’t tell” to my attention.
How do writers convey ideas or emotions or actions to readers who might not have shared the same experience? This question would apply not only to basic emotions like nervousness, but to fantastical ideas like reincarnation. Simply because someone has never gone spelunking does that mean they wouldn’t appreciate a novel that details the exhilaration of exploring a cave?
How much showing should a writer do, and when is it appropriate to simplify matters and tell it like it is?
There are definitely times that I have gotten straight to the point and told the readers something. But I did it because the moment called for it. Sometimes the narrative needed a sense of urgency and directness. Or I might streamline a character’s description because he has a macho personality and wouldn’t hold up well under superabundant language.
Maybe Liz was onto something in my piece, maybe not. Maybe I should say outright that my protag was nervous and move on. Or maybe that particular scene warrants detail because her nervousness disguises the fact she’s dying from stomach cancer.
Whatever you do, show or tell, I think it depends on what you’re trying to convey in the scene, or the character, or the plot, or the story as a whole.
Sometimes you should linger in the garden, and sometimes you should get the hell outta there before the terrorist’s bomb explodes.