Show Don’t Tell Is the Most Misunderstood Writing Advice

“Show don’t tell” is the most repeated writing advice in existence. It’s also the most misunderstood.

Telling isn’t bad. “She was exhausted” works fine if exhaustion is background the reader needs to move forward. Spending a full paragraph on heavy eyelids and stumbling steps would be self-indulgent.

The real distinction is stakes. Tell when the information is small: logistics, transitions, time passing, context. Show when the information carries emotional weight the reader needs to feel, not just know.

“He was disappointed” tells us the fact. A scene where he sets his acceptance letter face-down on the kitchen table and starts loading the dishwasher shows us the feeling in a way we can’t dismiss.

Ask yourself: does the reader need to experience this, or just know it happened?

A good novel does both. The showing does the emotional work; the telling moves the furniture between scenes. Cutting all telling would give you a very long, exhausting book.

Most first drafts go wrong in the other direction — they tell us what to feel about scenes that should do their own work. The fix is almost never “add more description.” Let the action carry the weight.

Pull up your draft and search for direct emotion words: “felt,” “seemed,” and named feelings like “angry,” “relieved,” “afraid.” For each one, delete the emotion label and rewrite the moment so the feeling lives in what the character does—what they grab, avoid, say too quickly, or can’t bring themselves to say at all. If a reader can name the emotion from the action alone without the word, you’ve made the shift from telling to showing.

---

Want more craft lessons like this — plus personal feedback from me? The Author’s Success Bundle Pro gives you access to all 20 Writing Academy courses. Special offer: subscribe now for 70% off — just $29/month →

This topic is covered in depth in our Novel Writing Workshop.