Karl C. Klein, today’s guest blogger and the author of Unnatural Girl, soon to be published by Second Wind Publishing, has consented to show and tell his views on writing:
I’m new to writing. I don’t have the benefit of a formal education. I’ve not been writing since before I born, having grabbed the doctor’s pen soon after sliding into the world, scribing some Hemingway-ese prose on my swaddling blanket.
I’m a newbie, a neophyte, a rookie, a babe, a novitiate, a novice, newcomer, fledgling, tenderfoot and a greenhorn.
I’m wet behind the ears.
I’ve been reading many critiques over the past couple years to the point where my teeth want to turn around in my head and eat my brain. (Normally I say “until my eyes bleed,” but since I’m going to climb all over cliches, I thought I’d use something fresh).
If we feel the need to suggest that someone not ‘tell’ but rather ‘show’ his or her story, he or she is not to have clue what we’re talking about. (Remember, I’m a neophyte, an outsider who doesn’t know the jargon.)
“Critics too often forget they’re supposed to help, not hurt.” Lewis Black, from his book.
“Show not tell” has become a cliche, something else a writer should avoid. On some critiques, I can see the critic with her chin raised, slashing at the air like swatting flies.
I have never in any of my critiques used the expressing in any way: “show not tell,” or in any form.
I think the writer, when told something like this, should ask: “Why?” and get a better answer than: “Agents and Publishers say so.” We can and should ask why if we don’t understand and we should demand an answer.
Here’s my general advice to writers seeking their voice (when we begin writing, that’s what we do in a long, painful process — we seek our voice, which is not to be mistaken with the generic voice ‘agents and publishers’ would like to mold their writers)
This applies to third person, but much to first person, too.
Let me get this out of the way:
Don’t preach — ever. If you want to make some spiritual, religious or social point, write an essay. It’s fine for your characters to have a point of view, but keep it real. (Which is not to say the story shouldn’t make a point — even my parabolic stories look like the message is incidental).
(here’s the show and tell in a way that’s easily understood):
Let your characters tell the story. In third person, I don’t want to hear nothing from the narrator. No opinions and no hyperbole. Nothing will set my teeth on edge quicker than in 3rd person the narrator stating: “She was beautiful!”
I think in the million and a half words I’ve committed to manuscript, I’ve used ten exclamations marks. Again, ‘showing.’
If you unfurl your scene clear and sharp, the characters should show the reader everything the reader needs to know without ‘stage direction’ (telling) or what I call “movie scripting.”
I say it this way: Have faith in your reader.
1) Don’t preach
2) Let the characters tell the story
3) Have faith in the reader
4) Avoid movie scripting
5) Avoid wordiness
6) Don’t default (assuming stereotypes as universal concepts)
Telling:
John walked into the room, approached the table, greeted Sally and sat on the chair. Sally greeted him back and asked if he’d had breakfast. John wasn’t one for breakfast, but knew it was polite to accept something offered. He told her no. She asked if he wanted eggs.
Better:
“Hi, Sally.” John dropped to the chair.
“Good morning. Had breakfast?”
“Nope.”
“Eggs?”
“Love ’em?”
“How do you like them?”
“Hell, I like ’em fine!.”
There’s a best kept secret rule in writing:.
Only one point-OH-view per paragraph. If you keep this rule in mind, you can cut out 96% of your ‘saids, asks, questioned,’ etc. Why do you wish to do that? I’m glad you asked.
If you look at the dialog above, you that see no ‘saids’ are needed. The quotes indicate direct speech and the way I laid this out, it’s obvious who’s saying what. Said’s would merely be wordy and get in the way. When reading, MOST people skip them anyway.
next line:
Sally got up from her chair.
“from her chair” is wordy. We can have faith in the reader to know she was sitting on a chair.
Sally stood.
When I do a critique, if I find the writing heavy with movie scripting, I’ll copy-n-paste a few paragraphs and mark in red what I find wrong, then rewrite the section, explaining each suggestion and why I feel it makes the writing better.
Needless to say, I invest a great deal of time in my critiques.
Good writers work in groups. Great writers work alone.
