Show vs. Tell: Is Telling Ever Preferred?

Yes.

Showing - writing scenes - allows the reader to live the experience as it unfolds. Through dynamic (imagery that moves) descriptions, action, and dialogue, the writer moves the plot forward, foreshadows, drops clues, create conflict and resolution, delivers informtion, hints at motives, and reveals personality.

All good things. And yet, every scene is not worthy of "show."

Too much show, and the reader will have trouble diciphering what's important in the story. Too much show feels exhausting to the reader, as he encounters scene after scene with no breaks. Furthermore, every details does not need to be, well, detailed. This is where "tell" is a useful tool.

Effective uses of "tell" include summarizing useful information that doesn't require - and should not be presented - in minute detail. "Tell" provides a succint bridge from one scene to the next. "Tell" also allows the writer to set and vary the pace of the story.

An example from Visage of both "show" and "tell."

Finally, the day arrived when Steve and Brian loaded Melissa’s few remaining belongings into the back of Steve’s cleaning van. She had learned her lesson about traveling lightly last year, when they had moved to Munsonville. As the miles put Melissa’s hometown behind for what she hoped to be the final time, an army of impressions besieged her: the storm in John’s eyes the first time he kissed her, Henry’s exhortations to “be herself,” Fr. Alexis’ reassurance vampire dreams were normal, and an envelope of dried purple rose petals, proving her dreams were real. Forget the past, Henry had warned, but Bryony’s life held Melissa’s most precious memories. Besides, Harold Masters had raised her reading standards long before Melissa had caught John in her bedroom. Be strong, Melissa told herself.

“Bring it on!” she said aloud.

Brian peered at her over his comic book.

“Did you say something, Melissa?” Steve called back.

“Just excited about starting school.”

Brian stared at her. “If you say so,” he said in a voice too low for Steve to hear.

“You’re just jealous because I have a higher purpose in life.”

“Yeah, that’s why you spent last semester mooning in your bedroom.”

“I was studying. It paid off, too.”

Brian raised the book higher and slid far down into his seat. “What kind of a school gives away full, last-minute scholarships based on a corny paragraph?”

Darlene closed her book and turned around. “Who’s hungry?”

Melissa hated to stop, but Jenson was a seven-hour drive. After a quick fast-food lunch, Melissa pretended to nap since it passed the time, but adrenaline surged through her limbs the closer Steve’s van carried her to John’s territory.

The argument between Melissa and Brian is important for the story's progression (show); the details regarding packing up Melissa for college and every leg of the trip from Grover's Park to Jenson is not (tell) and would have bored the reader had I included it.

However, if this interchange between Melissa and Brian had occured during the packing and loading of Steve's van, I would have given the reader a glimpse of that packing through "show."

Consider one more scene, also from Visage:


          The opportunity presented itself the very next day. Science had just ended. Melissa was heading toward the staircase that would take her from the third floor classroom to her dorm room when Johnny Simotes passed her on the way down.

“Good afternoon,” he said, without stopping or looking at her.

It’s now or never, Melissa thought. Aloud she said, “Excuse me.”

The professor paused and turned toward her with a polite expression. His suit today was royal blue, and the cut was definitely not Victorian, but...oh God! John Simons was alive, standing this close, and looking directly at her.

Melissa paused and took a deep breath. “Would you have dinner with me one night?”

“I beg your pardon?”

“I said, ‘Would you have…?’”

“I heard you just fine.” Johnny peered closer. “Are you a music student?”

“No. I met you orientation weekend.”

“I’m sorry, I don’t....”

“Brad Eaton introduced us. You played in the band.”

“Oh. Well, thank you for the invitation, but I’m not interested. I’m engaged.”

He trotted down the stairs. Melissa closed her eyes and stood there, wishing the staircase would vanish and take her with it. What had gone wrong? Had she missed something in her reasoning? She could just hear Henry’s mocking tone, Is the truth of the little arrangement greater than your heart can bear, ringing in her ears. Even worse, the incident spread through the Jenson College faster than brushfire.

“You asked out Professor Simotes? I don’t believe it!” Tracy said at dinner that night.

“Shut up,” Julie hissed at her. “There’s no reason to broadcast it.”

Tracy threw her head back and laughed. “There isn’t anyone here who hasn’t heard it.”

“All the same, use some discretion.”

In misery, Melissa scraped slimy gravy off her meatloaf. She had been so sure Johnny Simotes was John Simons! Such an awful blunder! She would never, never live down the shame.

 

The embarrassing conversation between John and Melissa is definitely something to show; the use of telling for "the incident spread through Jenson College faster then brushfire," very neatly lets the reader know Melissa's shame far more neatly than providing repetitive, blow by blow, accounts of each incident.

 

To emphasize Melissa's humiliation, I "show" part of an evening meal featuring Julie, Tracy, and Melissa. And because of the "previous" telling, this use of "show" allows the depths Melissa's shame stand out like relief.