Show, Don't Tell: What It Actually Means

"Show, don't tell" is probably the most repeated piece of writing advice out there. It's also one of the most confusing, because it's rarely explained in a practical way. Like, what does it actually mean to show, not tell?

Well, here's a clear breakdown, with real examples you can apply right away.

What "Telling" looks like

Telling means stating a fact or emotion directly, without showing how it plays out. It gets the information across quickly, but it doesn't give the reader much to picture or feel.

Example:

Sarah was nervous about the interview.

This is clear and correct—but it's also flat. The reader is simply informed that Sarah is nervous.

What "Showing" looks like

Showing means describing specific actions, physical details, or sensory cues that let the reader work out the emotion themselves. It takes a bit more space, but it makes the moment feel real.

Example:

Sarah checked her phone for the third time in a minute, then wiped her palms on her skirt before realizing she'd already done that twice.

This gives the same core information—Sarah is nervous—BUT through behavior instead of a label. It's more vivid and easier to picture.

See more examples:

Telling: He was furious.

Showing: He slammed the laptop shut hard enough to knock over his coffee, and didn't bother wiping it up.

Telling: The house was creepy.

Showing: The floorboards groaned under her weight, and somewhere upstairs, a door she was sure she'd closed creaked open.

Telling: They were in love.

Showing: She caught herself smiling at a text he'd sent an hour ago, one she'd already read six times.

Telling: It was a hot day.

Showing: The asphalt shimmered, and sweat had soaked through the back of his shirt before he'd even made it to the mailbox.

In each case, a direct label (nervous, furious, creepy, in love, hot) is replaced with a specific, concrete detail. That's the core technique: instead of naming the emotion, you describe something the reader can picture, and let them arrive at the emotion on their own.

Telling isn't always wrong

It's worth pointing out that telling has its place. Showing every emotion and every small detail throughout an entire manuscript would make for slow, exhausting reading, wouldn't it?!

Telling is a useful tool for moving the story along, and works well for:

• Transitions, like "Three weeks passed before she heard from him again."

• Minor details that don't need much attention, like "He grabbed a coffee and left."

• Moving quickly through less important moments so more space can be spent on the moments that matter

The goal isn't to show constantly, but to recognize which moments are worth slowing down for—usually emotional turning points or key scenes—and which moments can be told briefly so the pacing stays strong.

Now, check your own writing

When revising, look for sentences that name an emotion directly, such as nervous, sad, angry, excited, or scared. For each one, consider whether that moment carries real weight in the story.

If it does, try replacing the label with a specific action or sensory detail. If it doesn't, it's fine to leave it as telling and move on. Not every sentence needs the full treatment, just the ones doing the most emotional work.

That's the main idea behind "show, don't tell." It's not a rule to follow at all times, but a technique to use when you want readers to experience a moment rather than simply be informed about it.

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