Tag Archives: Show-don’t-Tell

Writing Excuses 10.26: Q&A on Scenes and Description

We close June’s Master Class episodes in the usual manner, with a Q&A from our listeners and followers on Twitter.

  • How do you “Show, don’t tell” a character’s thoughts?
  • How do you describe a character’s appearance when they’re in their own POV?
  • What’s the difference between scene and setting?
  • How does your writing environment affect the scene you’re writing?
  • Can an evocative fantasy setting be described effectively in a short story?

 

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Next month’s episodes focus on middles. Go to a friend and describe to that friend why the middle of your book is going to be awesome. Not the beginning, not the ending… the middle.

Perfume: The Story of a Murderer, by Patrick Süskind, narrated by Sean Barrett

Writing Excuses 10.23: Can You Tell Me How To Show?

Per the syllabus for the Season 10 Master Class, June is for painting a scene, and in this episode we’re going to talk about that paint.

We have all heard the “show, don’t tell” rule. In this episode we’ll discuss showing—how to do it well, how to do it consistently, and how to use it to accomplish things that telling just can’t get across.

Liner Notes: We make several references to Episode 3.14, in which Mary (in her first guest-hosting on the show) told us about the four rules of puppetry, as they apply to her writing. That was almost six years ago, so it’s probably been a while since you listened to it.

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Sit in a room and describe the room. Do this for half an hour. Five or ten minutes in you’ll be ready to express hatred for the person assigning the exercise. Keep going for the full 30 minutes.

Now describe the same room in the specific style of a genre—epic fantasy, film noir, police procedural—using only 250 words.

Finally, describe this room from the POV of one of the characters in your current project.

The Unhappening of Genesis Lee, by Shallee McArthur, narrated by Cassandra Morris

Writing Excuses 9.19: Showing Emotion

How do you go about writing a character showing their emotions without them sounding whiny (or whatever the “too-much” version of the appropriate emotion might be)?

Adding to the difficulty of the exercise, how do you know where that “too much” line is for your book, your genre, and your audience?

We talk about how we’ve each faced this challenge, and how that’s been very different for each of us. Sometimes it comes down to “show, don’t tell,” and sometimes that rule flat out doesn’t work. And sometimes it doesn’t come down to a simple rule at all. (Okay, most of the time that’s what it comes down to.)

 

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Write a letter to Jane or Vincent, and write that letter as if you were a person living in the setting of Mary’s Glamourist Histories.

Valour and Vanity, by Mary Robinette Kowal, and narrated by Mary, too!

Writing Excuses 8.18: Blocking

Blocking! What is it, why is it important, and how can you do it well?

We begin with a definition (blocking is the part of the narrative that tells the reader where the characters are, where the scenery is, and how these things are interacting) and then talk about why it’s important, especially how it applies to “show, don’t tell,” and how the needs of the story will dictate what actually needs to be shown.

Finally, we discuss how to block scenes effectively, and how each of us do it.

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Write a fight scene. Bonus points if it’s got four people in it. We don’t know what you’ll spend those points on.

Monster Hunter Alpha, by Larry Correia, narrated by Oliver Wyman