If you are a teen writer and are considering attending a conference, check out author/agent Tessa Emily Hall’s post. She speaks from experience as a teen writer herself.
I am posting on Wednesday this week because I have a guest blog appearing on Tessa Emily Hall’s site, “Christ is Write.” Tessa Emily Hall is an agent and author I met at a writer’s conference, and I am very excited to be invited to have a post on her site. Come on over and say hi!
The two books shown above helped me tremendously in understanding “show, don’t tell”. They are easy to read, not expensive, and give detailed explanations about what “telling” prose is versus “showing” prose.
Janice Hardy’s book is the longer of the two, and the one I read first. Author and agent Tess Emily Hall recommended it. Ms. Hard cover many topics that come under “telling” prose — point of view (POV), narrative distance, backstory, info dump, and more.
What I found most helpful were lists of words that usually indicate a writer is engaging in “telling”. An appendix conveniently gathers all these word together.
Her chapter “Things That Affect Telling” takes the same paragraph and rewrites it in “showing” prose from first-person POV, third-person single POV, and third-person omniscient POV. She dissects the differences in the writing styles, and that kind of examination is what I really needed.
Sharyn Kopf, an author and freelance editor who is working on my novel, recommended this book. It covers a lot of the same ground as Understanding but includes worksheets at the end of each chapter with sample answers.
I found the chapter “Write Lively, Linear Prose” to be the most helpful. Sometimes, because writers know how all the action is going to end, they write it in the wrong order.
An example from Rivet:
“The hot, stuffy air caused my head to spin.”
If I was writing in deep POV, showing, not telling, I would describe first the character noticing something wrong with his head, then have the character pinpoint the cause. I am paying close attention to the order of my action, so I don’t put the cart before the horse.
What sources have you found that teach “show, don’t tell”?
If you’ve been writing for more than a week, I’m sure you’ve heard or read the advice “show, don’t tell”. I’d heard it so much, it had lost almost any meaning. I only understood it to mean “be descriptive”. But at the Ohio Christian Writers Conference in Cincinnati, I learned what agents and publishers actually expect.
In her session on the subject, Tessa Emily Hall said that “show, don’t tell” means I can only write what the point-of-view (POV ) character experiences or thinks in that precise instance in the story. I call it virtual-reality POV. The writer is limited to what the POV character can take in through his or her senses and his or her knowledge and thoughts at the “present” moment.
If you write in first-person POV or third-person POV from a single character per chapter, this concept makes sense. If you use third POV, omniscient, I am not sure how this works.
Once I grasped the concept, I realized why it has been so hard for me to master.
The Friendly Narrator
My favorite stories, from Dr. Watson to Ponyboy Curtis in The Outsiders are told in first-person POV, but the story is related as a past event.
For example, Dr. Watson often begins a story by describing how he’s been reviewing his notes of his recent adventures with Sherlock Holmes and has decided to describe in detail this particular tale.
Readers discover at the end of The Outsiders that the novel is Ponyboy’s English assignment, so he comments on the story with hindsight. Archie Goodwin often finishes a Nero Wolfe story by stating that a few days ago, the verdict came in on the case they solved.
This style makes me feel like the narrator is a friend I am sitting down with for a private chat. I also love how the style lets the narrator directly address the reader.
From Plot It Yourself by Rex Stout:
Nero Wolfe is investigating cases of plagiarism and realizes all three cases are the work of one person because of how the copycat uses paragraphs. His right-hand man Archie Goodwin says, at the end of a long paragraph: “The next sentence is to be, ‘But the table-load of paper, being in the office, was clearly up to me,’ and I have to decide whether to put it here or start a new paragraph with it. You see how subtle it is. Paragraph it yourself.”
From The Outsiders by S.E. Hinton:
Ponyboy Curtis, who is called a greaser because he lives on the wrong side of the tracks, says, “Incidentally, we don’t mind being called greaser by another greaser. It’s kind of playful then.”
From “The Killer Christian” by Andrew Klavan:
“If ever you see a man put his fingers in his ears and whistle Dixie to keep from hearing the truth, you may assume he’s a fool, but if he put his fingers in your ears and starts whistling, then you know you are dealing with a journalist.”
This was the style I was using in my novel. My main character Junior was telling the story as if it was something that happened in the recent past. Writers can still use this style — Mr. Klavan wrote his story in 2007 — but in YA, it seems like not only are more stories written in first-person POV, but also in present tense. You can’t get more immediate and in the moment than that.
So I have been reviewing my manuscript under a microscope, seeing if I can master this technique. In my next tip, I’ll recommend two books that have helped me understand all the intricacies of”show, don’t tell.”