SHOW, DON'T TELL (is a lie) | On Writing

The speaker critiques the common advice of 'show, don't tell' in writing, emphasizing that telling can be appropriate for conveying character emotions, particularly when time is limited or the emotions aren't central to the narrative. They introduce the idea of a series called 'beyond writing' which will delve deeper into the writing of emotions and storytelling.

The first major point addressed is the misconception of the emotion iceberg, where all emotions must be deeply explored. The speaker illustrates that not every emotion deserves extensive prose and that sometimes telling emotions in brief, non-dramatic ways can enhance storytelling without dragging pace; they cite Neil Gaiman's work as an example of effective emotion telling.

The second point emphasizes the necessity for specificity in describing emotions; emotions should not be generalized, as characters experience nuanced feelings. The mention of Margaret Atwood's specific framing of sadness fosters a clearer understanding of the depth of emotion. The speaker stresses that every emotional description should aim for specificity to create an immersive experience for readers.

The discussion continues with the importance of showing rather than telling through physical actions, as demonstrated by character actions showing anxiety or fear, richly depicting emotional states without drawn-out exposition. An example from Philip Pullman's work illustrates how physicalization makes emotions immediate and relatable.

Moving forward, the speaker warns against excessive physicalization of emotions, as it can disrupt narrative pacing, especially in fast-paced scenes. Instead, they argue that character action is a more effective mechanism to communicate emotions while maintaining the narrative flow, contextualizing emotions through the characters' choices and reactions.

The speaker identifies a common pitfall where writers fall into repetitive patterns of emotional description across settings and conflicts. They encourage writers to intertwine emotion throughout the narrative, showing it as a connective force that evolves, as suggested using Kin Liu's story which explores emotions in transitions instead of just amidst central conflicts.

Introspection is highlighted as an essential component for deepening emotional experiences. Showing how characters reflect on their feelings allows for a richer understanding of their internal states. The speaker uses the example of Haruki Murakami's introspective style to illustrate effective emotional depth without overt explanation of feelings.