There’s a special feature here today. Paranormal romance author K.F. Breene is sharing about what every writer hears: showing versus telling.
This stop is just one of many as she tours her novel, Into the Darkness, with Goddess Fish Promotions.
As part of her tour, K.F. will be awarding one lucky commenter a $50 Amazon or Barnes and Noble gift card. To be entered for a chance to win, use the form below. To increase your chances of winning, feel free to visit other tour stops and enter there, too.
A little bit about Into the Darkness:
saw emptiness. Large, human shaped shadows, fierce yet beautiful, melting into
the darkness. I collected secrets like other women collected bells; afraid to
fully trust lest my oddities be exposed.
confidence in every step. It wasn’t just that he was breathtakingly handsome
with perfect features. Something about him drew me. Sucked my focus to him and
then tugged at my body. As his eyes met mine, I was entrapped.
light, but only I had perceived.
even when my secret box was blasted wide open, dangers hurled at me like
throwing knives, I couldn’t stop until I unraveled his true identity.
expression deepened. “You’re human…”
want to know is, if I am human, what does that make you? And why do I notice
you when others usually don’t?”
easy balance, his lethal edge; he was like a blade resting on billowing silk.
“Very few humans are able to withstand our pheromones. Fewer still to break a
Kolma once it has been placed. You’ve not been trained, that’s obvious, so how
is this possible when you’re definitely human? Do you possess the blood of
pounding ache of my body, begging to touch him. I needed to get a grip! He was
revealing some very interesting factoids that I needed to jot down in my mental
right; your arousal is a unique scent. Like a spicy, warm drink on a
mid-winter’s night. It rises above other smells, entrancing the mind.”
versus Telling; Why Many Indy Writers Don’t Make It
biggest critique I have for Indy authors is telling the story instead of
showing it. What does this mean?
It was a dark and stormy night.
Outside the wind howled. Rain slapped the windows in angry whips. Janice looked
up from her desk with wide eyes, clutching her blanket around her tightly.
Lightning cracked, momentarily illuminating wildly swaying tree branches
punching at the cloud covered sky. A peal of thunder rumbled through the
rafters, drowning out the surge and crash of the waves far below. (I just added
the ocean element on a whim)
a writer, writing “it was a dark and stormy night” is insanely easy. A short
sentence requiring no visualization equals a quick write.
great many (great, great many) Indy writers tell.
Whole books are told. The character goes from one place to another. Does one
thing. And then another. Meets a guy. Kills a dragon. Kisses the girl. The end.
writer tells you all of this.
is insanely boring.
first drafts always have a lot of telling. I want to get ideas down so I can
move on to the next thing. Telling, for me, basically serves as my outline. A
quick, dirty place marker. The first revision is re-writing those areas.
is way harder. It takes time, focus, and feeling. As a writer, you have to get
involved. You “see” what’s going on. You feel it unfold. You also have to take
longer to get it on paper. Look at the difference in length of the examples
above—showing takes more words. When you want to just get the book written, you
reach for telling.
thing is, though, showing is not only great for the reader, it can act as a
diving board for the author. The waves
far below place Janice on a cliff. So now there’s a rolling, surging ocean,
a house possibly precariously balanced on a cliff, and Janice, freaked out
about the intensity of the storm. This is an interesting setting. What will
to the reader—showing lets the reader fall in. The reader goes on a discovery.
She visualizes right along with the writer. She is sitting there, in that
house, as rain batters the window in angry sheets. It’s interesting. It keeps
the reader involved, and an involved reader wants to turn the page.
shouldn’t always show, of course. That’d take too long. Set the stage, and then
use the stage. Give character reactions, but also keep the story moving.
order to figure out when I’m doing more telling than showing, or when things
aren’t working, I let my focus be the guide. On a revision, if my eyes glaze
over, or I want to skim, there’s a problem. I stop, go back, and re-write.
Often times I have no idea what the cause is, but I know something is making me
lose interest. Re-write. I don’t generally have to lose everything in the
problem area, but I need to expand on it. I need to add more feeling, or
reaction, or setting.
side: too much showing. (You can see now why this is such a hard thing to
master, and what sets writers apart.)
many details. I get notes about this more often than anything. I picture it in
my head, like a movie, and write down what I see. Sometimes I give too much.
Readers have imaginations, too. You have to let them use their own creativity
to fill in the blanks. Or sometimes they don’t care as much about the presence
of a tire swing as the heat in the hero’s eyes. How can you tell? You, as a
reader during a revision, get bored. At least, that’s how I know.
cut out almost entire chapters because the side story was taking too long. I
just wanted the characters to have a little nooky. Or wanted some action. It’s
like swiping a table out of the way to kiss the hero. That cut chapter was the
proverbial table. I’ve lost humorous situations I absolutely loved, and worked
hard on, because they took too long. At the end of the day, if you’re going to
publish, you need to keep the reader in mind. The first draft is for you, the
other drafts are for your readers.
this is why many revisions are key. Either you already know this stuff and can
do it in your sleep, or (if you’re an accountant moonlighting as a writer, like
me) you need to do multiple revisions to figure out what doesn’t work, and fix
it. Usually, for Indy writers, it’ll be that telling versus showing situation
that sinks them. Not enough detail, and not enough sensory input. Put yourself
in the character’s shoes, have a look around, and describe what you see and
feel. This way, your reader will see and feel it, too. And that will keep them
wine country native, K.F. Breene moved to San Francisco for college just shy of
a decade ago to pursue a lifelong interest in film. As she settled into the
vibrant city, it quickly became apparent that, while she thought making and
editing films was great fun, she lacked cinematic genius. For that reason, her
career path quickly changed direction. Her next goal was a strange childhood
interest, conjured at the dining room table while filling out a form. For some
reason, her young self wanted to be an accountant. Thinking on it now, she
often wonders how she had any friends. Regardless, it was the direction she
she could wrangle numbers with the best of ’em, and even though she wore the
crown as the most outspoken, belligerent accountant in the world, her mind got
as stuffy as her daily routine. It was here that she dusted off her creative
hat and began writing. Now she makes movies in her head, not worried about
lighting, shutter speed or editing equipment. Turns out, a computer is much
easier to manage than a crowd of actors. She should know, she was an actor at