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Show, don't tell


Show, don't tell is a technique often employed in various kinds of texts to enable the reader to experience the story through action, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. The goal is not to drown the reader in heavy-handed adjectives, but rather to allow readers to interpret significant details in the text. The technique applies equally to nonfiction and all forms of fiction, literature including Haiku and Imagism poetry in particular, speech, movie making, and playwriting.

The concept is often attributed to Russian playwright Anton Chekhov, reputed to have said "Don't tell me the moon is shining; show me the glint of light on broken glass." In fact, the quote is probably apocryphal, but derived from a letter to his brother in which he wrote "In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you’ll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball."

Nobel Prize–winning novelist Ernest Hemingway was a notable proponent of the "show, don't tell" style. His Iceberg Theory, also known as the "theory of omission", developed from his background as a newspaper reporter. The term itself originates from his bullfighting treatise, Death in the Afternoon:

If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water.

Creative literature (as opposed to technical writing or objective journalism) in general hinges on the artful use of a wide range of devices (such as inference, metaphor, understatement, the unreliable narrator, and ambiguity) that reward the careful reader's appreciation of subtext and extrapolation of what the author chooses to leave unsaid, untold, and/or unshown. The "dignity" Hemingway speaks of proposes a form of respect for the reader, who should be trusted to develop a feeling for the meaning behind the action, without having the point painfully laid out for them.


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