“SDT” is IMPORTANT—But what on earth is “SDT”?

We writers are told that we should concentrate on “show don’t Tell” in order to ensure our work is powerful and appealing to the reader.  But what does this actually mean?

For many of us our Primary schooling years included sessions of “show and tell”.  This always involved carting along some object we thought might interest others then standing up in front of the class and talking about it.  If we did this well we received accolades that made us swell with pride; it was great and did our egos no end of good.  “Show and tell” involved both an object and a talk.  Neither of which has much connection with writing, does it?

Show don’t Tell is a very different kettle of fish.  What does it mean – exactly?  And how on earth do we achieve it?

The thing to realise is that there are actually two facets to this problem.  The first is dialogue which we talked about last week.  The second, for want of a better word, is “description”.  This is the prose that links the dialogue bits together; the bits that can’t be covered by dialogue.

If we think of film, TV or the theatre, there is a lot of speaking (dialogue) but equally important is the acting; the movement, the expression on the face, the tone of voice…  This is true whether it is Shakespeare, a sitcom or the worst sort of crass commercial.  Both are essential to move the story along and maintain the interest of the viewer.

Even in radio where the visual has been eliminated there is much more than simply talk – music, sound effects (water dripping or waves crashing; cars racing; planes taking off; screams; laughter…).  Dialogue is important.  But only part of the deal.  When we are writing “description” is the equivalent of acting and sound effects.

By way of illustration, compare the following two accounts of the same event, an excerpt from my (unpublished) children’s story, Chaos in the Kingdom:

“Lady Cecilia was exhausted but could not fall asleep.  She was so worried about what had happened yesterday; how she’d realised what was causing all the trouble in the household.  She held herself responsible.  She tossed and turned all night then finally fell asleep as the sun rose.

It was late when she woke up and for a short while enjoyed being in her own room again; back with her own family.  When she thought of the family she remembered how upset she’d been and got out of bed, put on her dressing gown and hurried downstairs.  Miss Honoria met her in the hall, saw something was wrong so ordered tea and toast then took her outside to sit in the garden.  She tried to calm her even though she had no idea what the matter was but her efforts were not much good.”

Now for the second version of the same incident:

Meanwhile, in a bedroom back at the castle the Lady Cecilia, despite feeling exhausted, was unable to drift into peaceful slumber as she had done so easily every night since returning home.  She tossed and turned, fussed and fretted, switched on the light and tried to read but gave up, unable to make any sense of all the black marks on the pages.  She longed for the night to end then finally, just as dawn began to break, fell into a troubled slumber.

When she woke it was late in the morning.  She stretched luxuriously, smiling to herself as she did every morning at the delicious pleasure of awakening in her own bed in her own room in her own home with her own family all around her.  Her family!                                                

Memory flooded in.  Dismay overcame her.  She tumbled from the bed, thrust her feet into slippers and, seizing her robe, struggled to don it as she left the room and hurried downstairs.  Miss Honoria met her in the hall and, taking one look at her, hastily ordered tea and toast then shepherded her out into the warmth and fresh air of a sunshiny day.   Comfortable garden seats in a sheltered spot were nearby and she was soon installed in one.  Miss Honoria murmured soothing nothings as Lady Cecilia wrung her hands and kept moaning, ‘How could I?  Oh, how could I?  I’m so silly.  How could I have done that?’

Did you enjoy reading one more than the other?  Can you work out why?

Which one gave you the clearer picture of what happened and what the people involved felt about it all?

A word of warning though– you need to keep a balance between dialogue and description but at times simple, concise and to the point description is fine – if it is; no more than a statement connecting events.  As with most things in life; too much really is too much.

Particularly when it comes to the description side of “show don’t tell” many of us find it difficult.  Sharing your writing with others you trust to be critical but kind often helps – but it must be someone (or someones) whose judgement you respect and value.

And always remember:  Balance is Best!

© Mary McDee 2022

Feature Photo: Castle like, Murten, Switzerland © L.M. Kling 2014