Wait Bob, isn’t that backwards? Nope, that’s exactly the advices I want to speak about today.

Beginning writers are told, it’s really hammered into their head, Show do not tell. A lot of the time this is really good advice. It takes skill, time, and patience to slow down and show the reader the character, the world, and the important details of the story. Many times if you are a novice at fiction writing you are so energized by the ideas and characters cascading through your head that you do not take that requisite time in crafting scenes and rush to tell the grand glorious tale. In those case the advices, Show, don’t tell is spot on.

But there are other cases, where writers slow down the pacing of otherwise wonderful stories to show every detail of the character’s life and each tiny action in the scene. Here they need to skip the show and just tell us.

So what the yardstick to measure if you show or tell?

Of course there is no one answer, but for me the default is what is the drama of scene? If there are no stakes, no drama, then skip writing it out as a scene and just tell the reader in narrative what happened.

For Example:

Bill enjoyed his usual Sunday Brunch. He stopped over at the cafe, consumed his favorite breakfast at a leisurely pace, savoring the late morning decadence Stepping outside, the cool autumn air brushing his hair across his face, the sky blackened with the arrival of the invader’s massive starships.

Where is the drama in that bit? Right there at the end when alien invaders arrive. That last sentence will transition from telling into showing as we follow Bill and his now very unusual day. Everything that happened before is set-up and while it can be expanded a bit to illustrate character there is little there we have to experience directly. I could write pages about that brunch. Where he sat, how the smells, sounds and light of the dinner created an atmosphere, his banter with the waiter, even loving descriptions of the food itself, but there is no drama in any of that. A little bit for flavor and mood is great but too much and the reader’s desire, if they possess any left, is to skip ahead to where ‘something happens.’

In many ways this ends up at Elmore Leonard’s advice to writers: “Cut out the parts that people skip.”

This is not to be confused with the prevalent and related issue of Terminal Rewriting Syndrome(TRS). Those afflicted with TRS rework their prose and poetry, revising, rewriting, and refusing to consider a piece complete until they have wring all life from whatever art that had nearly crafted.

Chronic Rewriting Syndrome, while related, displays itself in different symptomology. Patients afflicted with CRS suffer distress when encountering writing that varies from their own style. Their minds instantly edit and rewrite the prose and product of others, wishing it to conform to their own standards. Afflicted persons can often be heard mumbling out their preferred lines while viewing television and feature film presentations.

There is currently no cure or treatment to alleviate the symptoms.