Show, Don’t Tell

Do you show, not tell?

I just finished reading a murder mystery from the 1930s which told outcomes before showing them.  The result was that my enjoyment of the book diminished.  For example:

  • A police detective is chasing a bad guy and seems to have him trapped. The author writes, “Then the end came, far more quickly than [the detective] had anticipated.”  The author follows up these words with details explaining how the detective and bad guy ended that scene.

Why is this bad story telling?  Ideally, an author wants the reader to share the emotions of the protagonist—in this case the detective.  Ideally, readers should experience the detective’s fear that the bad guy will shoot him, the detective’s fear that he will lose his footing on the mountainside and plunge to his death, the detective’s fear that the bad guy will cleverly escape.

In the real world, the detective wouldn’t know the end was near.  He hopes it is near, but many things could go awry.  Until he captures the bad guy, the detective—and we, the readers—should stay in suspense.  But by writing “then the end came,” the author lessens our suspense and our enjoyment of the novel.

  • Another time, the author ends a chapter with two policemen talking about a suspect. One wonders aloud what a suspect will say during an upcoming interview.  The other policeman says the suspect probably won’t say much.  “But he was wrong,” the author adds.

By adding, “But he was wrong,” the author tells us before he shows us.  The author’s intent is to add suspense, and he does.  Readers need to keep reading to find out why “he was wrong.” But the author lets readers know what the policemen do not yet know, so our emotions are not heightened as the police doing the subsequent interview.

Good novels lure readers into make-believe worlds, eliciting in us emotions as if we are really there.  If we are really there, we shouldn’t know what will happen next any more than we know what will happen next in our real world.

In both of these examples, the author is interjecting himself into the story.  He acts like a puppet master who stops the puppets’ action, reveals himself as the one pulling their strings, and talks directly to the audience.  Then he goes on with the puppet show.  The magic is dispelled.

Another example of an author interjecting himself is when an author uses the word “suddenly” at the start of a sentence.  Suddenly lightning flashed.  Suddenly the child fell off the swing.  Suddenly the two cars crashed.  When lightning flashes, do we know it will happen before it happens?  When a child falls off a swing, do we know she will fall before she falls?  When two cars crash, do we know they will crash before they crash?  Not in real life.

By using the word “suddenly,” an author alerts readers that something unusual is about to happen.  Why not just let it happen, so that we are as surprised as the characters in the story?  Our emotional response will be stronger than if we are alerted ahead of time with the word “suddenly.”

Show, don’t tell.

How to write a five-sentence essay introduction about a novel

Writing introductions to essays is hard for students.  Every single sentence in introductions is hard to write because students don’t know what belongs in those sentences.  Here are the kinds of first sentences I see from students writing an essay about a fictional story:

“I am writing about the book Gone with the Wind. The lady who wrote it was Margaret Mitchell.  The main idea is about a girl who lived during the Civil War.”

“The name of the book is Tales of a Fourth Grade Nothing. Judy Blume wrote it, but Peter tells the story.  He tells about his brother Fudge.  Fudge is 3 and a pain in the neck.”

“Odysseus was a Greek king. He fought in the Trojan War.  Then he went home.  Only it took ten years to get home.  This is what The Odyssey is all about.  Homer wrote it.”

Wouldn’t it be nice if there was a pattern students could followWell, there is.  Here is what I suggest to my students:

For the first sentence, identify the book and its author and one other fact, such as the year of publication or the setting.  Here are some good examples:

  • Gone with the Wind by Margaret Mitchell is set in Georgia during and after the Civil War.
  • In Tales of a Fourth Grade Nothing, author Judy Blume tells the story of an older brother, Peter, and his younger brother, Fudge.
  • The Greek poet, Homer, probably wrote The Odyssey about 2,700 years ago, but he wrote about things that happened 500 years before that.

For the second sentence, identify the setting (time and place).  Here are some examples:

  • Most of the novel takes place in Tara, a plantation near Atlanta, and in the city of Atlanta between 1861 and the early 1870s.
  • Peter and Fudge live in modern times in an apartment in New York City, near a park and subways.
  • After the Trojan War, a Greek king and his men sail in the Mediterranean Sea for many years, trying to get home.

For the third (and maybe fourth sentence) summarize the book.  Some examples are

  • The novel tells how one person, Scarlett O’Hara, survives the Civil War and the years after it while loving one man she can’t marry. Later, she realizes the man she married is the one she really loves.
  • Peter is embarrassed by the crazy things Fudge does, like pretending he is a bird, breaking off his two front teeth, and losing his shoe in the subway.
  • When the Greek king, Odysseus, finally arrives back in Greece, he needs to fight many Greek men who want to marry his wife.

Use the next sentence to transition from the previous sentences to the main idea sentence (the fifth sentence) of your essay.  For example,

  • Complicating the story is that the man Scarlett can’t marry loves someone else.
  • On the first page, Peter wins a turtle Fudge likes, and in the last chapter, Fudge finally gets the turtle. The turtle is an important character in the novel.
  • Since many years have passed since Odysseus left home, few recognize him. Of those closest to Odysseus, his wife and son do not recognize him, but his dog does.

Write your main idea or thesis in the final sentence of the essay.  Here are some examples:

  • Throughout Gone with the Wind, Scarlett’s chasing after the man she loves moves the plot forward.
  • Tales of a Fourth Grade Nothing begins with Peter winning a turtle, and it ends with a crisis involving the turtle.
  • At the story’s end, Odysseus slays his rivals and wins the affection of his loyal wife, returning to the situation before the Trojan War began.

Notice that in these introduction sentences:

  • The word “I” is not used.
  • The first sentence uses a pattern: The (name of book) by (name of author) is set in (someplace) or tells the story of (something).
  • The other sentences use a pattern, too, a pattern identifying information to include.
  • The last sentence is the main idea (thesis) sentence of the essay.

After students master this pattern, they can experiment with changes to it.  You might think that following a pattern lacks creativity.  Yes, it does.  But since the pattern contains all the important details, it’s a safe way to proceed.  For students learning to write essays, following a pattern that works is better than floundering with details that don’t work or with missing details.

When we start baking a cake, we use a recipe.  When we become better bakers, we can make changes to the recipe.  When we learn to write, we follow patterns.  Later, when we become proficient, we can make changes to those patterns.

Cursive is on the upswing

The number of states requiring that cursive writing be taught is increasing, according to MyCursive.com.  In 2016, 14 states required teaching cursive.  Today that number is 21.  To find out if your state requires cursive, scroll down.

AK:  No.

AL:  Yes, cursive must be taught in grades 2 and 3.

AR:  Yes, cursive must be taught before students leave grade 3.

AZ:  Yes, students must be taught and must master cursive by grade 5.

CA:  Yes, students are taught cursive in grades 1 to 6.

CO:  No.

CT:  No.

DC:  No.

DE:  Yes, cursive must be taught by the end of grade 4.

FL:  Yes, cursive must be taught between grades 3 and 5.

GA:  Yes, public schools must teach cursive in grades 3 and 4.

HI:  No.

IA:  No.

ID:  Yes, public schools must teach cursive.

IL:  Yes, public schools must teach cursive by the end of grade 5.

IN:  Yes, public schools must teach cursive.

KS:  Yes, the Kansas Board of Education does require teaching cursive.

KY:  Yes, public schools must teach cursive beginning in grade 1.

LA:  Yes, cursive must be taught beginning in grade 3.

MA:  Yes, cursive must be taught beginning in grade 3.

MD:  Yes, cursive must be taught between grades 2 and 5.

ME:  No.

MI:  No.

MN:  No.

MO:  No.

MS:  Yes, cursive must be taught between grades 2 and 8.

MT:  No.

NC:  Yes, cursive must be taught to public school students.

NE:  No.

ND:  No.

NH:  Yes, cursive must be taught to public school students.

NJ:  No.

NM:  No.

NV:  No.

NY:  No.

OH:  Yes, public schools must teach cursive.

OK: Yes, cursive must be taught in grades 4 and 5.

OR:  No.

PA:  No.

RI:  No.

SC:  Yes, public schools must teach cursive by the end of grade 5.

SD:  No.

TN:  Yes, public schools must teach cursive.

TX:  Yes, cursive must be taught in grades 2 and 3.

UT:  No.

VA:  Yes, public schools must teach cursive between grades 2 and 5.

VT:  No.

WA:  No.

WI:  No.

WV:  Yes, public schools must teach cursive between grades 2 and 4.

WY:  No.

Gobbledygook

Please read the following two sentences, and consider which is easier to understand:

First sentence:  According to “The Streisand Effect,” an article in the November 2023 issue of Vanity Fair by Radhika Jones, “Jackie Onassis, then an editor at Doubleday, invited [Barbra] Streisand to write a memoir. [Streisand] turned the offer down.”

Second sentence:  Barbara Streisand turned down an offer to write her memoirs when Jackie Onassis, then an editor at Doubleday, invited her, according to “The Streisand Effect,” an article in the November 2023 issue of Vanity Fair by Radhika Jones.

You chose the second version, I suspect.  Why?  Ask yourself what is the most important information in that sentence?  Is it the name of the article?  Is it the name of its author?  Is it the name of the magazine where the article appeared?  Is it the date of the article’s publication?  Is it that Jackie O. asked Streisand to write a memoir and Streisand said no?

The information at the end of the first sentence is the most important information.  Yet it appears 23 words into the sentence.  Why?  Because the sentence is poorly written, that’s why.  (I wrote the sentence for this blog, so no one’s feelings are hurt.)  The most important information—the subject of a sentence—should go first (with a few exceptions such as in poetry).

Yet inverted sentences like this appear everywhere.  I see them in student-written research papers.  It’s not the student’s fault.  Teachers have probably not taken the time to point out that the findings or conclusions of research are more important to readers than who found them and where they published their results.

To avoid gobbledygook, read over your sentences and ask yourself what the most important information is.  Almost always, that goes first.

Movie trailers offer writers techniques to hook readers

Movie trailers are hooks to promote movies.  A trailer contains a series of snippets from a film which, its promoters hope, will lead you to view the film.  Trailers contain the most exciting, dramatic, scary, or humorous parts of a film, the parts most likely to lure you to see the whole film.

Usually, information in trailers is not presented in the same order as it is presented in the film.  Dramatic camera angles add edginess and energy.  The non-linear structure of trailers keeps the audience from guessing at the story line and ending.  You have to watch the film to find out.  Music provides atmosphere.  Voice-overs offer brief story lines.

Trailers shown on TV are usually 20 to 30 seconds long.  Trailers shown in movie theaters before a featured film is shown are longer, up to two-and-a-half minutes long.

Beginning in the 1970s, movie trailers were produced to be shown on prime-time TV at first, and then almost nonstop in the days before a movie’s release.  “Red band” trailers warn audiences of content not appropriate for some audiences, such as children.  Nowadays, many movie trailers are being custom made for various Internet sites and their audiences.

What can writers learn from trailers to improve their hooks? 

Some trailers begin by panning over scenery to set a mood or to identify a location.  Gentle farmland, fierce ocean waves breaking below cliffs, and a bird’s-eye view of New York’s skyscrapers identify vastly different locations and moods.  Farmland might suggest a rural, 19th century satire, or conversely, the site of the Battle of Hastings.  Crashing ocean waves might suggest a dangerous war invasion or a passionate romance.  And skyscrapers’ roofs might suggest a sophisticated comedy or a terrorist plan unfolding.  Writers can think of their eyes as cameras.  What scenery would cameras focus on to support the location and themes of a story, or to offer an ironical twist?

Trailers sometimes use repetitive sounds to entice an audience.  Music which sounds like car horns.  The chirping of birds.  The clicking of typewriter keys.  The cries of an unattended baby.  These instantly provide mood.  Writers can simulate sounds with words to hook readers.

A narrator’s voice can lure readers.  Though an audience can’t hear the voice, an audience can imagine how it sounds with good enough text description.  Writers can duplicate a voice’s tempo, its breathlessness, its harshness of tone, its childlike vocabulary or reasoning.

The next time a trailer comes across your screen, analyze how it hooks.  What techniques does the filmmaker use that you can use to hook readers?