Now, I\u2019m not for a moment suggesting that you need to write whole pages of purple prose talking about the wind in the palm trees, or whatever else. What I am saying is that you need a paragraph or so to locate the action relatively early in the scene \u2026 and then you need to keep nudging the reader to remind them where you are.<\/p>\n\n\n\n
So let\u2019s say your scene is taking place in a rainy New York garden. You\u2019d have two or three sentences setting the scene. (Let\u2019s say: iron railings, rain, noise of police sirens, a sad-looking willow tree, smells and steam coming from the back of a Chinese laundry opposite.) Then you start to let your scene unfurl and, as the characters move and talk and act, you drop in little sentences like, \u201crain dripped from the willow.\u201d or \u201cShe paused to let the howl of a nearby siren pass down the street.\u201d<\/p>\n\n\n\n
You\u2019re not interrupting the action. You\u2019re just helping the reader actually visualise it.<\/p>\n\n\n\n
In the example just given, I suggested that you might write \u201crain dripped from the willow.\u201d And, good, that\u2019s perfectly fine.<\/p>\n\n\n\n
But let\u2019s bring your character right into that rainy garden, shall we? So you might have something like this:<\/p>\n\n\n\n
\n\u201cRain dripped from the willow. Her hair was getting soaked but he couldn\u2019t help noticing that she seemed barely aware of it. And this was Esmee. Esmee who was normally so conscious of the tiniest bit of discomfort or, as she put it, \u2018outdoor horribleness.\u2019<\/p>\n<\/blockquote>\n\n\n\n
That\u2019s effective writing, because you have the physical location and the character interacting \u2013 and interacting to a specific emotional \/ story purpose. In this case, that purpose is to emphasise that Esmee is so taken aback by the events of the scene (whatever those are), she\u2019s stopped noticing stuff that would normally really bother her.<\/p>\n\n\n\n
The short moral: use your characters\u2019 body and physical sensations to make them physically present and alive in your scene.
<\/p>\n\n\n\n\n\n
5. Use Specific Words, Not Generic Ones<\/h3>\n\n\n\n
Another easy win here.<\/p>\n\n\n\n
If you are trying to locate a scene in a place that feels real, you want to get specific rather than generic.<\/p>\n\n\n\n
So \u201crain dripped from the tree\u201d feels blandly universal. \u201cRain dripped from the willow\u201d feels already more specific and immediate.<\/p>\n\n\n\n
Sometimes, of course, you\u2019ll want to get really specific. Something like this maybe: \u201crain dripped from the willow\u2019s long, drooping tendrils. She noticed that the tree was balding, losing leaves, as though unhappy to be here. As though longing for escape.\u201d<\/p>\n\n\n\n
I don\u2019t want to suggest you always need to be that specific \u2013 sometimes it\u2019s fine for a willow to just be a willow \u2013 but in this case, some specific comments about a tree rebound back to hint something about what the character\u2019s might be feeling.<\/p>\n\n\n\n
Short moral: always prefer the specific to the generic. And sometimes, if it makes sense, you can get very<\/em> specific.<\/p>\n\n\n\n6. Always Make Space For The Reaction Shot<\/h3>\n\n\n\n
You know how in the movies, you\u2019ll always get the reaction shot? LIke this, I mean:<\/p>\n\n\n\n
Beat 1<\/strong>: \u201cI don\u2019t want to marry you,\u201d she said. \u201cI never did.\u201d<\/p>\n\n\n\nBeat 2<\/strong>: Close up of the guy\u2019s face<\/p>\n\n\n\nAnd it\u2019s kind of obvious why you have those rhythms. If you don\u2019t have the reaction shot, you\u2019ve lost a lot of the drama from the action of beat 1. You need both.<\/p>\n\n\n\n
And it\u2019s the same with novels. Sometimes, you\u2019ll need a whole paragraph describing a reaction. Sometimes you\u2019ll leave it to dialogue. Sometimes you\u2019ll make do with hints, but leave plenty of scope for creative ambiguity. And any of those routes (depending on the situation, depending on your story) are fine. What\u2019s not fine is to leave the action without a reaction.<\/p>\n\n\n\n
Short moral: always include the reaction shot! Easy.<\/p>\n\n\n\n
7. Don\u2019t Be Rushed: Let Readers Feel The Beats<\/h3>\n\n\n\n
FInal ninja tip of all-out showing & telling awesomeness:<\/p>\n\n\n\n
Don\u2019t rush.<\/p>\n\n\n\n
Yes, you want to write a compelling and dramatic scene. Yes, you may have your heart set on a whole long action sequence with plenty of gunplay and chase scenes and whatever else.<\/p>\n\n\n\n
But let the reader enjoy it! Let them savour the moment!<\/p>\n\n\n\n
Don\u2019t say, \u201cthe car was out of control. The car careened downhill and struck Damon on the hip, smashing him to the floor.\u201d<\/p>\n\n\n\n
That\u2019s OK, but where\u2019s the time to savour anything? The lovely thing about this moment is that Damon notices the car is out of control and he\u2019s right in the firing line.<\/p>\n\n\n\n
What does he think? What does he do? What does he feel?<\/p>\n\n\n\n
I don\u2019t know, because this author hasn\u2019t told us. It\u2019s slower, yes, but it\u2019s actually more exciting to tease out that moment in more detail:<\/p>\n\n\n\n
\nThe car was clearly out of control. Damon could just about see a driver but there was something about the curve of his shoulders, the loll of his head, which suggested the driver had lost consciousness, or worse. The fall of the hill put Damon right in the firing line. He remembered thinking, \u201cI\u2019m going to be hit. I need to move aside.\u201d He probably took the very first part of that action too. Some sideways move. Some break for shelter. But \u2026\u201d<\/p>\n<\/blockquote>\n\n\n\n
And so on. You can see that by slowing the action down you\u2019ve actually ramped the excitement up. Pretty good, huh? And fun to write, every single damn time.<\/p>\n\n\n\n
That\u2019s it from me. Have fun with the showing & telling. Do it right, and your scenes will come alive, and you\u2019ll enjoy writing them too.<\/p>\n\n\n\n
Happy writing!<\/p>\n\n\n\n
\n\n\n","protected":false},"excerpt":{"rendered":"\u201cShow, Don\u2019t Tell\u201d is one of the oldest pieces of advice to new writers, but it can be kinda confusing without some show and tell examples. What exactly is the difference between Showing and Telling? Is \u201cShowing\u201d always right? And is Telling always wrong? As we\u2019ll see, \u201cShow, Don\u2019t Tell\u201d is good advice in certain circumstances. Not just good advice,<\/p>\n","protected":false},"author":2,"featured_media":442400,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16],"tags":[28894],"class_list":["post-118","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novel-writing","tag-how-to-plot-masterclass1"],"acf":[],"yoast_head":"\n
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