The writing adage "Show, don't tell" has been a cornerstone of creative writing instruction for many years. It encourages writers to create vivid scenes that allow readers to experience the story through actions, senses, and emotions rather than through exposition. However, this principle is not an absolute rule. There are situations where telling can be more effective than showing, and understanding when to use each technique is crucial for writers aiming to enhance their storytelling.
Overemphasis on showing can lead to unnecessary detail that bogs down the narrative. Not every aspect of a story warrants elaborate depiction. Author Elmore Leonard advised writers to "leave out the parts that readers tend to skip" ([Leonard, 2001](https://www.nytimes.com/2001/07/16/arts/elmore-leonard-s-ten-rules-of-writing.html)). Telling can efficiently convey essential information without overwhelming the reader with excessive description, maintaining the story's pace and focus.
Telling is particularly useful for summarizing events that are not central to the plot. It allows writers to bridge scenes and cover significant amounts of time succinctly. In his novel 1984, George Orwell effectively uses telling to establish the oppressive atmosphere of the society and provide background information ([Orwell, 1949](https://www.penguinrandomhouse.com/books/326569/1984-by-george-orwell/)). This approach sets the stage for the story without detracting from the main narrative through unnecessary dramatization.
Character development can benefit from telling, especially when exploring a character's inner thoughts and emotions that may not be easily shown through actions or dialogue. Psychologist Jerome Bruner noted that narrative allows individuals to construct internal models of reality ([Bruner, 1991](https://www.jstor.org/stable/1170731)). By telling the reader about a character's feelings or motivations, writers can provide deeper insight into their psychological landscape.
In genres like historical fiction or science fiction, world-building often requires telling to convey complex information. J.R.R. Tolkien's The Lord of the Rings includes extensive passages that describe the history, geography, and cultures of Middle-earth ([Tolkien, 1954](https://www.tolkien.co.uk/product/9780261103573/The+Lord+of+the+Rings+Paperback)). These expository sections enrich the narrative by providing context that would be difficult to convey purely through showing.
Telling can also help control the narrative's pacing. Balancing detailed scenes with concise exposition prevents the story from becoming monotonous or excessively lengthy. Writing instructor Nancy Kress asserts that "sometimes you need to tell to speed things up" ([Kress, 2010](https://www.writersdigest.com/writing-articles/by-writing-goal/improve-my-writing/show-and-tell)). Strategic use of telling allows writers to maintain momentum and keep readers engaged.
Not all moments in a story are equally important. Telling can be used to gloss over minor events or details that do not contribute significantly to the plot or character development. This technique keeps the reader's attention focused on the critical elements of the story. Editor Sol Stein emphasizes the importance of "selective telling" to avoid unnecessary clutter in writing ([Stein, 1995](https://www.amazon.com/Stein-Writing-Master-Editor-Shares/dp/0312254210)).
The narrative voice is another area where telling can be advantageous. A strong, distinctive narrator can add personality and perspective to a story. In The Catcher in the Rye, J.D. Salinger employs telling through the protagonist's first-person narration to convey his attitudes and worldview ([Salinger, 1951](https://www.littlebrown.com/titles/j-d-salinger/the-catcher-in-the-rye/9780316769174/)). This approach creates intimacy and immediacy between the narrator and the reader.
Flashbacks and backstory often necessitate telling to integrate past events smoothly into the present narrative. Providing background information helps readers understand characters' motivations and the context of current events. Writing coach James Scott Bell discusses methods for incorporating backstory effectively without disrupting the flow of the story ([Bell, 2004](https://www.writersdigest.com/writing-articles/by-writing-goal/improve-my-writing/5-ways-to-insert-backstory-without-slowing-your-pace)).
The choice between showing and telling can depend on the narrative point of view. In first-person narratives, telling allows the character to express thoughts and feelings directly to the reader. In third-person omniscient narratives, the narrator can provide insights into multiple characters and events beyond the immediate scene. Leo Tolstoy's War and Peace utilizes telling to explore the inner lives of a broad cast of characters ([Tolstoy, 1869](https://www.penguinrandomhouse.com/books/601866/war-and-peace-by-leo-tolstoy/)).
Cultural storytelling traditions often rely on telling as a primary method of narrative. Oral histories and folktales use exposition to convey moral lessons and cultural values. Incorporating these traditions into writing can add depth and authenticity. Chinua Achebe's Things Fall Apart blends showing and telling to reflect African oral storytelling techniques ([Achebe, 1958](https://www.penguinrandomhouse.com/books/536678/things-fall-apart-by-chinua-achebe/)).
Dialogue is a form of showing but can also incorporate telling when characters relay information or recount events. Effective dialogue can advance the plot and reveal character dynamics. Playwright David Mamet emphasizes that dialogue should be purposeful and reveal character intentions ([Mamet, 1992](https://www.penguinrandomhouse.com/books/103284/on-directing-film-by-david-mamet/)). Telling through dialogue can be more engaging than narrative exposition.
Memoirs and autobiographies inherently use telling to share personal experiences and reflections. The authenticity and honesty of the narrator are crucial in these genres. In The Diary of a Young Girl, Anne Frank's candid telling of her experiences provides a powerful and poignant account of life during wartime ([Frank, 1947](https://www.annefrank.org/en/anne-frank/diary/complete-works-anne-frank/)).
Stylistic considerations may also lead writers to choose telling over showing. Minimalist writers like Ernest Hemingway use sparse prose and direct statements to create a particular effect ([Hemingway, 1929](https://www.penguinrandomhouse.com/books/61228/a-farewell-to-arms-by-ernest-hemingway/)). This style can convey emotion and atmosphere without elaborate descriptions.
Balancing showing and telling allows writers to utilize the strengths of both techniques. Ursula K. Le Guin argues that "exposition is a necessary and valuable tool" when used appropriately ([Le Guin, 2008](https://www.amazon.com/Steering-Craft-Exercises-Discussions-Navigator/dp/0544611616)). Understanding when to tell enables writers to clarify complex ideas and maintain narrative flow.
Overemphasis on showing can lead to "showing fatigue," where the reader becomes overwhelmed by excessive detail. In such cases, telling can provide relief and clarity. Writing instructor Emma Darwin discusses the importance of mixing showing and telling to create a well-paced narrative ([Darwin, 2016](https://emmadarwin.typepad.com/thisitchofwriting/2016/04/showing-and-telling.html)).
Genre conventions may dictate different balances between showing and telling. In genres like satire or allegory, telling can be an effective way to convey themes and critiques. George Orwell's Animal Farm uses telling to deliver its allegorical message about political corruption ([Orwell, 1945](https://www.penguinrandomhouse.com/books/326567/animal-farm-by-george-orwell/)).
Time constraints within a story can necessitate telling. Covering long periods or summarizing events helps keep the narrative focused and prevents it from becoming unwieldy. In historical novels or epics, telling is often essential to convey the scope of the story.
Establishing the setting and context quickly can be achieved through telling. Brief expository passages can situate the reader without lengthy descriptions. This technique is particularly useful in short stories or when introducing a new scene.
For younger audiences, telling can aid comprehension. Children's literature often uses clear, direct language to communicate ideas effectively. E.B. White's Charlotte's Web balances showing and telling to create an accessible and engaging story ([White, 1952](https://www.harpercollins.com/products/charlottes-web-eb-white)).
Manipulating narrative distance through telling can affect how readers perceive the story. A more distant narrator can provide broader commentary or reflect on events with hindsight. Kazuo Ishiguro's The Remains of the Day employs this technique to explore themes of regret and missed opportunities ([Ishiguro, 1989](https://www.penguinrandomhouse.com/books/81027/the-remains-of-the-day-by-kazuo-ishiguro/)).
Telling can effectively convey abstract concepts or philosophical ideas that are difficult to illustrate through action. Philosophical novels may rely on exposition to discuss themes like existentialism or morality. Jean-Paul Sartre's Nausea uses telling to delve into existential reflections ([Sartre, 1938](https://www.penguinrandomhouse.com/books/602423/nausea-by-jean-paul-sartre/)).
Foreshadowing and summarizing future events can be accomplished through telling. Providing hints or overviews can build suspense and prepare the reader for what is to come. Gabriel García Márquez's One Hundred Years of Solitude often uses telling to foreshadow events ([García Márquez, 1967](https://www.penguinrandomhouse.com/books/568203/one-hundred-years-of-solitude-by-gabriel-garcia-marquez/)).
Ultimately, the decision to show or tell should be guided by the story's needs and the writer's intentions. Strict adherence to "Show, don't tell" can limit a writer's expressive capabilities. By recognizing the value of both techniques, writers can employ them strategically to enhance their storytelling. Writing instructor Janet Burroway emphasizes that "good writing is a matter of balance" ([Burroway, 2014](https://www.amazon.com/Writing-Fiction-Tenth-Guide-Narrative/dp/022661669X)).
In conclusion, while "Show, don't tell" is a valuable guideline, it is not universally applicable. Telling has its place in effective storytelling, offering clarity, efficiency, and depth when used appropriately. By thoughtfully integrating both showing and telling, writers can create richer, more nuanced narratives that fully engage their readers and convey their artistic vision.
References:
- Achebe, C. (1958). Things Fall Apart. Retrieved from https://www.penguinrandomhouse.com/books/536678/things-fall-apart-by-chinua-achebe/
- Bell, J. S. (2004). "5 Ways to Handle Backstory in Your Novel." Writer's Digest. Retrieved from https://www.writersdigest.com/writing-articles/by-writing-goal/improve-my-writing/5-ways-to-insert-backstory-without-slowing-your-pace
- Bruner, J. (1991). "The Narrative Construction of Reality." Critical Inquiry, 18(1), 1-21. Retrieved from https://www.jstor.org/stable/1343711
- Burroway, J. (2014). Writing Fiction: A Guide to Narrative Craft. Retrieved from https://www.amazon.com/Writing-Fiction-Tenth-Guide-Narrative/dp/022661669X
- Darwin, E. (2016). "Showing and Telling: The Basics." This Itch of Writing. Retrieved from https://emmadarwin.typepad.com/thisitchofwriting/2016/04/showing-and-telling.html
- Frank, A. (1947). The Diary of a Young Girl. Retrieved from https://www.annefrank.org/en/anne-frank/diary/complete-works-anne-frank/
- García Márquez, G. (1967). One Hundred Years of Solitude. Retrieved from https://www.penguinrandomhouse.com/books/568203/one-hundred-years-of-solitude-by-gabriel-garcia-marquez/
- Hemingway, E. (1929). A Farewell to Arms. Retrieved from https://www.penguinrandomhouse.com/books/61228/a-farewell-to-arms-by-ernest-hemingway/
- Ishiguro, K. (1989). The Remains of the Day. Retrieved from https://www.penguinrandomhouse.com/books/81027/the-remains-of-the-day-by-kazuo-ishiguro/
- Kress, N. (2010). "Show and Tell." Writer's Digest. Retrieved from https://www.writersdigest.com/writing-articles/by-writing-goal/improve-my-writing/show-and-tell
- Le Guin, U. K. (2008). Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew. Retrieved from https://www.amazon.com/Steering-Craft-Exercises-Discussions-Navigator/dp/0544611616
- Leonard, E. (2001). "Elmore Leonard's Ten Rules of Writing." The New York Times. Retrieved from https://www.nytimes.com/2001/07/16/arts/elmore-leonard-s-ten-rules-of-writing.html
- Mamet, D. (1992). On Directing Film. Retrieved from https://www.penguinrandomhouse.com/books/103284/on-directing-film-by-david-mamet/
- Orwell, G. (1945). Animal Farm. Retrieved from https://www.penguinrandomhouse.com/books/326567/animal-farm-by-george-orwell/
- Orwell, G. (1949). 1984. Retrieved from https://www.penguinrandomhouse.com/books/326569/1984-by-george-orwell/
- Salinger, J. D. (1951). The Catcher in the Rye. Retrieved from https://www.littlebrown.com/titles/j-d-salinger/the-catcher-in-the-rye/9780316769174/
- Sartre, J.-P. (1938). Nausea. Retrieved from https://www.penguinrandomhouse.com/books/602423/nausea-by-jean-paul-sartre/
- Stein, S. (1995). Stein on Writing. Retrieved from https://www.amazon.com/Stein-Writing-Master-Editor-Shares/dp/0312254210
- Tolkien, J. R. R. (1954). The Lord of the Rings. Retrieved from https://www.tolkien.co.uk/product/9780261103573/The+Lord+of+the+Rings+Paperback
- Tolstoy, L. (1869). War and Peace. Retrieved from https://www.penguinrandomhouse.com/books/601866/war-and-peace-by-leo-tolstoy/
- White, E. B. (1952). Charlotte's Web. Retrieved from https://www.harpercollins.com/products/charlottes-web-eb-white
