Show, Don't Tell

The Writing Lesson That Changed Everything

If I could give my younger writing self one piece of advice, it would be this:

Stop explaining everything.

When I first started writing, I was a chronic teller. If a character was angry, I wrote that they were angry. If they were scared, I wrote that they were scared. I thought I was being clear.

The problem was that readers understood what was happening, but they weren't experiencing it.

That's why "show, don't tell" is so important. Fiction isn't just about giving information; it's about creating an experience. Readers want to feel emotions, not be told what emotions to feel.

For years, I misunderstood what showing meant. I thought it meant adding more description. It doesn't.

Telling

Sarah was nervous.

Showing

Sarah read the same text message four times before finally pressing send.

The reader experiences the emotion instead of being told about it.

The best way to show is through:

• Actions – What is the character doing?

• Body language – Are they pacing, avoiding eye contact, clenching their fists?

• Dialogue – What are they saying—or not saying?

• Sensory details – What do they notice in the moment?

For example:

Telling

Jake was angry.

Showing

Jake shoved the chair backward so hard it crashed into the wall.

Readers naturally connect the dots.

One thing I've learned is that showing isn't easy. Telling is faster. Showing takes practice because you have to think about behavior, reactions, and subtext.

The good news? Your first draft doesn't have to be perfect.

When I'm drafting, I'll often write things like:

"She was nervous."

"The room felt eerie."

Then, during revisions, I go back and replace those shortcuts with stronger scenes and details.

That's the secret I wish I'd known earlier: first drafts are allowed to tell. Revisions are where the showing happens.

At its core, "show, don't tell" is about trusting your reader. Instead of explaining everything, give them the clues and let them experience the story for themselves.

Because readers don't want a report about the story.

They want to live inside it.