Podcasts about show don't tell

Industrial Design, Creative Inspiration & Personal Projects! We chat about our progress with the Polestar design contest, judgement on Instagram and where we would move in the US (if we had no other choice). On today's episode of “The Process” we discuss: The Dylan trifecta Dissecting Polestar styling Show don't tell Instagram judgement Story always wins Living in the US People watching Cashew butter vs peanut butter All the links, all the time! Industrial Design, Creativity & Inspiration! Follow us on Instagram! @theprocess__podcast https://www.instagram.com/theprocess__podcast/ Zak Watson // LinkedIn: https://www.linkedin.com/in/zak-watson-48618517a/ Behance: https://www.behance.net/zakwatson Website: https://www.zakwatson.com/ Dylan Torraville // LinkedIn: https://www.linkedin.com/in/dylantorraville/ Website: https://dylantorraville.com Portfolio: https://dylanjtorraville.myportfolio.com/ Behance: https://www.behance.net/dylantorraville Send us an email to hi.theprocesspodcast@gmail.com if you have any questions or want to reach out! The Process is a podcast created by industrial designers Dylan Torraville and Zak Watson. Dyl and Zak are picking up microphones to chat about their experiences in design school, personal projects and navigating the creative process. Oh yeah, and there will be some sweet interviews with other designers and friends too.

Sponsor: An Earl, the Girl, and a Toddler by Vanessa Riley  - Shadow & Bone on Netflix - Shadow & Bone by Leigh Bardugo - https://amzn.to/3vEmutN - Six of Crows by Leigh Bardugo - https://amzn.to/3uaWIN7 - My interview on Elodie Nowodazkij's podcast - Imaginarium Book Festival - May 8 & 9, 2021 - https://www.imaginariumbookfestival.com/ - My events: https://lpenelope.com/calendar - Colleen Hoover in process and failing (and not giving up) https://www.instagram.com/p/CL-6pcxJwDw/?igshid=5wbvwx2wdbuz   The My Imaginary Friends podcast is a weekly, behind the scenes look at the journey of a working author navigating traditional and self-publishing. Join fantasy and paranormal romance author L. Penelope as she shares insights on the writing life, creativity, inspiration, and this week's best thing. Subscribe and view show notes at: https://lpenelope.com/podcast | Get the Footnotes newsletter - http://lpen.co/footnotes Support the show - http://frolic.media/podcasts! Stay in touch with me! Website | Instagram | Twitter | Facebook Music credit: Say Good Night by Joakim Karud https://soundcloud.com/joakimkarud Creative Commons — Attribution-ShareAlike 3.0 Unported— CC BY-SA 3.0 http://creativecommons.org/licenses/by-sa/3.0/ Music promoted by Audio Library https://youtu.be/SZkVShypKgM Affiliate Disclosure: I may receive compensation for links to products on this site either directly or indirectly via affiliate links. Heartspell Media, LLC is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.

We must be warming up to these Breaking Bad cold opens... because we're back for Season 4! With the bar already so high, did Season 4 live up to Breaking Bad's reputation for inventive show don't tell cold opens? Was Season 4 the moment Walt finally went full Heisenberg!? Will Walter Jr. ever get to actually keep a sports car!?!? Strap in, break bad with us, and find out. Enjoy! Check us out at FrivolousFandom.com!

In een mum van tijd is Conner Rousseau - de jongste partijvoorzitter uit de geschiedenis - erin geslaagd de politiek wakker te schudden. SP.A-partijvoorzitter Conner vertelt in deze aflevering hoe hij ondanks alle externe druk zichzelf probeert te blijven, hij leert het het BV-schap kennen en wat daarbij komt kijken en waarom hij schrik heeft voor eindes.

In our 43rd episode of The Resilient Entrepreneur Podcast, Kevin poses a question: Can you show me you are successful without telling me you are successful? What is on paper isn't important, it's how you apply that experience and knowledge that counts.

The Jungins talk Depeche Mode, acting on things other than just talking, speaking for a group, the art of shutting the fvck up when you don’t really know and Rush…

One of the biggest pieces of advice any writer gets is to "show don't tell." And even though it's something writers hear over an over again, we still end up doing it in our drafts. That's why my editor, Emily Krempholtz (@writersofrohan) told me to do a "show don't tell" revision. This is what I explore in this episode so you can make your novel or screenplay that much stronger. After listening, kindly feel free to ask questions or offer opinions of your own, whether down in the comment section or by hitting me up on social media @PhilSvitek. Lastly, for more free resources from your 360 creative coach, check out my website at http://philsvitek.com. RESOURCES/LINKS: -Coach or Consultant Services: https://philsvitek.com/lets-work-together/ -Podcast Services: http://philsvitek.com/podcastservices -Patreon: https://www.patreon.com/philsvitek -Merchandise: https://shop.spreadshirt.com/phil-svitek---360-creative-coach/ -Adorama Affiliate Link: https://www.adorama.com/?utm_source=rflaid914115 -Instagram: http://instagram.com/philsvitek -Facebook: http://facebook.com/philippsvitek -Twitter: http://twitter.com/philsvitek -Master Mental Fortitude Book: http://mastermentalfortitude.com -Idyll Film: http://philsvitek.com/idyll -Elan, Elan Book: http://philsvitek.com/elan-elan -In Search of Sunrise Film: http://philsvitek.com/in-search-of-sunrise

Get your off-brand Destiny on YouTube or Crunchyroll, but be warned that the characters in Destiny might actually be better.

So... Show, don't tell. If you're a writer, it's likely you've heard about this somewhere unless you're new to writing. And if that's the case, welcome to the writing community! In this episode, I'll explain how you should show what your character is feeling rather than just tell your reader what is happening. In most cases, "He was crying." just won't do. It won't be interesting for the reader. For some beginner writers (me too when I was a beginner), this topic might be tougher than they first realise. That's why you get 15 helpful emotion cards when you subscribe to my mailing list. Here's the link: https://mailchi.mp/72e7c29f6677/senja-laakso . Connect with me! :) Website: https://senjalaakso.com/ Instagram: https://www.instagram.com/senja.laakso/ ( @senja.laakso ) Pinterest: https://fi.pinterest.com/misssenu/ Email: senjalaaksoauthor@gmail.com More links and newsletter signup: https://linktr.ee/MissSenu When you sign up to my newsletter, there's a FREE GIFT for you! 15 Emotion Cards for showing, not telling.

Hello to my fellow Nerds!!!  This week Nicky and Tony take a look at another Snyder Cut reveal of an alternative look to Jared Leto’s Joker, Next we discuss HBO Max creating an animated series of Velma from the Scooby-doo Mysteries, Also Disney now bringing Hercules to live action and last Paramount released a Sonic the Hedgehog 2 teaser with Tails featured in the logo. This week on Nicky’s corner review we take a look at VOD rental called “Don't tell a Soul” starring Rainn Wilson, Mena Suvari , Jake Dylan Grazer and Fionn Whitehead And last Tony announces some upcoming Local events. Follow us on:  Facebook Twitter Instagram

In this episode, the Digital Selling Secrets podcast discusses how to build trust, digitally. So if you are tired of spinning your wheels and not moving forward in your sales process, tune in now! We will discuss · How to build credibility online and in-person · What clients really care about · How to cut through the noise in the market and get your clients attention Our Sponsor Learn more about digital selling with a free copy of Amazon Bestseller, B2B Digital Selling Secrets (only pay for shipping). Go to www.b2bdigitalsellingsecrets.com and claim your copy. Thanks for Tuning In! Thanks so much for being with us this week. If you enjoyed this episode on digital selling, please share it with your friends. Don't forget to subscribe to the show! We are on most major podcast platforms, just search “Digital Selling Secrets.” Thanks for listening!

A lesson from "the next Michael Jordan" ...

Sandra Gerth hat über dreißig Jahre an Schreiberfahrung und einen Ratgeber zum Thema "Show, don't tell" verfasst, in dem sie diese wichtige Schreibregel genauestens erklärt. Du erfährst, was der Unterschied zwischen "zeigen" und "behaupten" ist und warum es so wichtig ist, das zu beherrschen. Zum Abschluss gibt es noch eine Hörprobe aus Sandras Kurzgeschichte "Die Liebesroman-Wette".

Guiacast 142 - show don't tell com emoções

This is a teaser for the episode with Children's Author Nancy Ganz. Don't miss the full episode.              

On this week's episode of Filmmaker's Corner, Hosts Connor Heck and Peter Murphy feature the show-runner of the popular micro-budget filmmaker's podcast Show Don't Tell: Noam Kroll. This is part 2 of our crossover episode with Noam Kroll.SHOW NOTES:Noam Kroll's Website: https://noamkroll.com/Show Don't Tell Podcast: https://podcasts.apple.com/us/podcast/show-dont-tell-micro-budget-filmmaking/id1228448011Parallax: https://www.parallaxmovie.us/The Primal Group: https://www.theprimalgroup.us/

It's always good to be reminded of the best writing practices. That's why we dusted off this old episode of HowSound with This American Life's Brian Reed about the writing maxim "show, don't tell."

On this week's special crossover episode of Filmmaker's Corner, Hosts Michael Bachochin and Brooke Lorraine feature the show-runner of the popular micro-budget filmmaker's podcast Show Don't Tell: Noam Kroll.In this cross-over special, Noam, Michael and Brooke talk about the development and production of the feature film Parallax and the distribution foray being explored by the two producers.SHOW NOTES:Noam Kroll's Website: https://noamkroll.com/Show Don't Tell Podcast: https://podcasts.apple.com/us/podcast/show-dont-tell-micro-budget-filmmaking/id1228448011Parallax: https://www.parallaxmovie.us/The Primal Group: https://www.theprimalgroup.us/

Hi everyone, and thank you for tuning in to another episode of the We Make Books Podcast - A podcast about writing, publishing, and everything in between! We Make Books is hosted by Rekka Jay and Kaelyn Considine; Rekka is a published author and Kaelyn is an editor and together they are going to take you through what goes into getting a book out of your head, on to paper, in to the hands of a publisher, and finally on to book store shelves. We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Send us your questions, comments, and concerns! We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast   Episode 47: Let Us Tell You About Show Don't Tell (Our usual transcriptionist is taking a well-deserved break. Any drop in quality of today's transcript is totally our fault.) Rekka (00:00):Hi, everyone. Welcome back to another episode of we make books, a show about writing publishing and everything in between. I'm Kaelyn Considine. I am the acquisitions editor for Parvus Press. Rekka (00:08):And I'm Rekka. I write science fiction and fantasy as RJ Theodore. Rekka (00:11):And you know what you've done? You have shown us that you write science fiction and fantasy as RJ. Theodore, you have not just told us Rekka (00:18):Although today I did just tell you. Rekka (00:20):You did just tell me now, but I mean, the books exist. I've seen them. So you've shown us that, but you have also talked at length about different parts and aspects of how you've written these and things that have happened to you, therefore showing us that you wrote them. Rekka (00:34):Or did I just tell you all this stuff? I don't know. What does this rule mean anyway? Rekka (00:41):Yeah. So today we're, we're tackling another one of those,uthose weird, funny little notes that you get from,ueditors and people critiquing your work. And you'll see, "show me, don't tell me" and – Rekka (00:52):Really frustrating because everyone says it and assumes you know what they mean, but if you haven't really processed what it means, or you haven't managed to do it and have someone say, "yes, that's what I mean by show, don't tell," like you just feel a little bit lost. You feel like maybe you are falling behind in the class kind of thing. Like why does everyone know what this means? And I still don't understand? Rekka (01:16):It is difficult, but I think it's one of those things that once you kind of figure out, it's a lot easier to understand what the note means. What, you know, we're trying to get at here is describing something to the reader and making the sentence do a lot of– do work in more than one way is a lot more interesting to read than just a list of descriptions, actions, emotions, or feelings. Rekka (01:41):If you at least identify when you're doing it in the revisions that's going to go a long way to improving your relationship with beta readers and editors later. Rekka (01:51):And improving your relationship with your characters, because we're going to talk a lot about that in this episode too. So– Rekka (01:56):All right. So let's not tell you what the episode is. Rekka (01:59):Let's show you! Rekka (02:00):On the other side of the music. Kaelyn (02:17):In this case, we're here mostly just to tell people things. If we just record this while showing things to each other, it's not going to be very, Rekka (02:25):What we're showing is our competence with writing skills and techniques Kaelyn (02:30):Ah okay. Rekka (02:31):And demonstrating, Ooh, maybe that's it. Okay. I solved it. Don't call it. Show don't tell because that confuses people show, call it demonstrate don't elucidate. Rolls right off the tongue. Kaelyn (02:44):Oh goodness. That's going on a mug somewhere. So yeah, but today we're, we're talking about one of the other great notes that people frequently get back from editors and agents, which is "show me, don't tell me I, I will, I think this is not as quote-unquote unhelpful as, you know, "tighten your storylines, work on your character arcs," that kind of thing. Um. Rekka (03:12):But it's one of the ones that people get early on in their writing because it's supposed to be so helpful, but if you haven't come across it and you don't know how to identify why it's being pointed out in your work, like what the heck does it mean? Kaelyn (03:30):Yeah. So there's, you know, before we, before we get started in too deep into this, let's kind of define some of the areas that we're talking about here. And it's funny because Rekka and I were talking about doing this episode and we both came to this with kind of different approaches to the show. Don't tell me like, things that were important to Ned,uwhile doing some research, I kind of discovered that what Rekka and I both think is important. Most of the literary world doesn't think is as important. Rekka (03:57):Well, we are genre-focused. Kaelyn (04:00):Yeah. Exactly. Rekka (04:00):That just supports that. Kaelyn (04:02):Yeah. So I came into this with like one of my big pet show me, don't tell me a pet peeves is characters. Urecords is world-building and,I– Rekka (04:13):It's not even that it was that you said characters first. So I said, Oh, okay. But also "world building." It wasn't like, I was like, "No, world building first!" This wasn't like a showdown. Kaelyn (04:22):It's always a showdown. Rekka (04:22):It was a telldown. I'll show myself out. Kaelyn (04:28):All right. That's the podcast, everyone. We're done. Rekka (04:30):Like forever. She can't take it anymore. Kaelyn (04:34):Oh God. Okay. but it's funny because then when I was doing research on this and most of these "show me, don't tell me examples. And what everybody's talking about is more of writing and prose and style. So the point of all of it is nobody wants to be bombarded with facts and told "this is the way things are in this book" without actually experiencing it while reading it. One it's bad storytelling and two it's disorienting, Rekka (05:04):But if they're reading it, aren't they experiencing it? Kaelyn (05:07):Well, no, they're not because that's not experiencing it, that's just being read a list of facts and statements. Rekka (05:14):I know I'm playing devil's advocate in case you didn't tell. Kaelyn (05:18):I know. Um so why is this a problem? Rekka (05:23):Because you bore your reader, you don't engage them. You don't pull them through the book. Kaelyn (05:27):Yeah. This is one of those things that, and we rarely, you know, kind of come down to this it's bad writing. It's like, I mean, really, you know, we don't, we don't talk too much about like, you know, universally accepted things that are considered bad writing, but this is one of them because as Rekka said, it's boring, it is not engaging. It's not pulling the reader into the book. Anyone can sit here and rattle off a list of, you know, facts about like the, you know, the kitchen table that had sitting at right now, it was brown and round. Light brown with wood patterns on it. It was made of wood. And that's not really interesting. It distracts from the story. It doesn't paint a scene. It doesn't give you any indication of how the character is feeling or interacting, or considering how to act based on their surroundings or their thoughts. It's bad writing. And it's well, not always lazy, but oftentimes lazy. Rekka (06:30):But it's also not serving a purpose other than to describe the table. And if the table itself doesn't have anything to do with the tension you're trying to build in a scene or inform you what this character might be like, because you know, you're discussing the furnishings of their house, which describes the character. Maybe more than just saying the character can afford lots of nice furniture. You know. Kaelyn (06:58):The, every everything, well, the vast majority of what you write in your book should be serving two purposes. If a monster erupts out of the ground to try to eat our heroes and you have to stop the action and the story to describe the monster, that's serving two purposes. One, you want to describe the monster. You want to know what the heroes are about to fight against, but two, you want them to know how scary this monster is. So the words you use, you don't just say, "it looked like a centipede. It was purple. It had a lot of legs and weird green eyes with lots of facets on them. Venom was dripping off its fangs." Actually "venom was dripping off its fangs" is a good example of what, how to describe it. But instead of stating facts about it, what you should be doing instead is, you know, "the creature erupted out of the ground, spraying rock and sand everywhere. Once they cleared the dust from their eyes, they beheld the monster before them. It was a towering behemoth of," you know, and go on like that, because what you're doing is you're showing that the readers are, or excuse me, that the heroes are freed here. And then you also don't have to tell us that they're afraid. Rekka (08:09):I was just going to say well can't you sum it up and say the monster burst forth from the ground and scared the heroes? Kaelyn (08:14):Absolutely. If you don't want anyone to know what the monster looks like. Yeah. Rekka (08:19):Yeah. So you would use this to do both things, show that the person is scared and the reaction without having to say this is their reaction and do the thing that you'd really like to do, which is, I assume if you're creating a monster as you want to get into what the monster looks like and the creature design. Kaelyn (08:35):Yeah. So in this case you know, what we're kind of talking about here is the last thing I brought up, which is sort of like the style and prose and writing technique of, you know, making your sentences do extra work for you. You're describing the monster and then you're also establishing that it is threatening and our heroes are afraid of it to, you know, circle back to some of the other ones that Rekka and I came up with here. You know, well Rekka you know, had specifically said world-building. Rekka (09:05):Yeah, well, mostly because when you have a genre book, you've got some sort of aspect of the world that you've invented from whole cloth. And of course, you're very proud of that. And of course you want to talk about it. And this isn't to say, like, there's the whole iceberg theory thing, and I'm not going to go into that. That's not what I mean by this. But the idea that you want to keep the book interesting, which means you need to keep the motivation of the reader of wanting to find out what happens next. If you're just describing a setting in your world. Well, it doesn't matter what happens next. That setting is probably unaffected by the plot and the story. And the time you take away from keeping that reader in the story is detrimental to their, you know, their draw into the whole world. Rekka (10:01):So even though you think like, "Oh, my world is so cool. I have to get all this in here." Your reader cares less and less about the world when you keep interrupting the story to tell them about it. So just like Katelyn was saying, do two things with your sentences, you know, throw a little bit of your world building into an action. That's happening in the story. You know, passing the,uneon ice cream shop where all the ice cream was neon of course is what I mean. Not that it's painted neon. That's ridiculous. You know, so like build your world building in the same way that you're going to build your emotional reactions to things in and your physical descriptions of things. So in the sense, your first example kind of was world building. Ubut it was also emotional. And so your sentences need to do at least two things. So they can be emotion and world building or action and world building, or action and emotion, or character and world like, you know, mixing match. Don't just have nouns and verbs in the right order. Kaelyn (11:03):Yeah. So, and then my, my particular pet peeve with the show me don't tell me is is character related. I hate reading books, I hate getting submissions, where all I'm reading about is how a character is. So this and guys, this character, they are just, so This Thing, this, that they're, so This, that it's practically coming out of their ears. Everyone knows that they're, they're, This they're just the most This that there is. And then you see nothing in their actions, thoughts, or speech that would indicate that aside from the author and then usually other characters around them telling you this. Rekka (11:42):Reinforcing it in a very direct and obvious way. Kaelyn (11:45):Yeah. So it's that's, that's one of that is my big show me don't tell me pet peeve is,uif you know, you've got a guy who's supposed to be like the most brilliant, I don't know codebreaker in the entire world, but we don't actually see him break any codes and that's not part of the plot, why is that, you know, why do you need me to tell to know this? Why is that important here? And,uubut you know, there's, there's things that I think you get a little more and you see this a lot in,uyoung adult and teen novels where,uyou know, you want the cool kid, the shy kid, the goth kid, the, you know, where we get these sort of like emotional angles and none of them are actually then displayed in the writing of the character. Uso why... You know, apart from why is this important? Why, why is it bad writing? Rekka (12:45):Good writing is something that someone can enjoy. So if they're not enjoying it– you know, like, okay, across the board, not everyone is going to enjoy every story, but there are things you can do to increase your chances that someone's going to enjoy the story. And one of those things is to control, for example, the pacing and the immersion of the reader in the world. And when you tell someone something, rather than show it to them, you're kind of saying, "No, no, no, no, just trust me on this," without providing the proof. Exactly. And so it's hard for a person to sink into that world and enjoy it if they're constantly thinking, "Well, okay, you say that, but where I, like, what does that mean to this character? Or what does that, how is that going to impact the story or anything like that?" Kaelyn (13:36):Yeah. And I think that where this comes from a lot is this, especially, you know, in genre fiction, like, you know, Rebecca and I work in is "I've come up with this really cool thing, and I need everybody to know all about it. I need them to know about how awesome this world is or how scary this monster is or how cool and bad-ass my main character is." Rekka (14:00):Well we do want to know these things. Kaelyn (14:02):Yes, absolutely. But "if I tell them over and over again, they'll get it," and that is not how you get a reader to internalize things, readers, internalize things by the actions of the characters or the interaction with the world around them. Rekka (14:18):Do you think this is kind of, and I hate this phrase, is this just like a "rookie mistake" where they know they need to convince somebody of this, or they know they need to include this. They just don't know how to go about doing it properly? Kaelyn (14:30):Yeah. And I think it is. I think it's something that you see a lot with new and emerging writers, where you've just got all of these amazing ideas coming out of your ears and you've just, you know, gotta gather them all up and get them on a page. And so what it turns into is just, you know, a list of reasons why this thing is how you say it is rather than seeing people you know, either display those characteristics or seeing the world, or even just the way that you're writing. So a lot of times, you know, as we said, when you, you're going to get into, if you Google, you know, "show me, don't tell me" it's going to be pages and pages of you know, examples and literature and all of these famous quotes and stuff about it. But it goes beyond just style and the ability and the way that you write. Within the story itself, you can't, you know, make a character a certain way by having everyone else around them insist they are that way, but them showing no signs of that whatsoever. Rekka (15:41):So I'm going to give an example with Charles Dickens, A Christmas Carol, because when you think about Scrooge, you tend to think like, "Oh, well he's a cheapskate." I mean, the name is synonymous with cheapskate. This is a thing Dickens did. He made stuff pretty clear just by the way he named people. His story is about his character arc. You think about it, and you're like, "yeah, no, people are pretty clear that Ebenezer's really awful." And you can say "Ebenezer's is really awful," if you were writing the story or you can describe him as "the cold within him froze his old features, nipped his pointed nose, shriveled, his cheek, stiffened, his gait made his eyes red, his thin lips blue and spoke out shrewdly in his grading voice." Like– Kaelyn (16:27):Yeah, that's good writing that. Rekka (16:29):Yeah. And I'm not a huge Dickens fan. He got paid by the word. And so he did go on, but like he was described, he described Scrooge as "a squeezing wrenching, grasping, scraping, clutching covetous, old sinner." Like these are descriptive things but they're adding so much. Right? And then not only that, but the character behaves in such a manner. You're not just told this, but he says, you know, when people come to him and this is what you're saying about like the character supporting like, "Oh, just saying, Oh, you're an old miser, Scrooge," no people come to him looking for charitable handouts for the holidays. As, you know, as being established as, as good and wholesome and Scrooge says, "are there no prisons? Are there no workhouses?" Like, he has an argument with people that shows how you might expect a person to behave and how this person is behaving in contradiction to that. And so it's just like a really, Kaelyn (17:34):No, that's. Rekka (17:34):It's rich. Like the way that, you know, this is, this is seven layers of Scrooge-ness that you get out of these, these, these words that are chosen. And so like in some ways it's good that he was paid by the word. Kaelyn (17:46):Most people in the English speaking world, even if they haven't read a Christmas Carol or seen one of the movies, which by the way, the Muppet version of it is, is the best one. Michael Kane, as Scrooge, there should be no other Scrooges ever. Rekka (18:01):Certainly not Jim Carey. Kaelyn (18:03):Most people know when somebody says like, Oh God, he's a Scrooge. Or, you know, like call you Scrooge. They, Rekka (18:11):It's an idiom now. Kaelyn (18:11):Yes, exactly. Because this was so effective in the writing. So that's a really, really good example of why this is important. Going back to, you know, like new writers and just wanting to get this stuff out there. I just think that information dumps, this insisting upon– the characters that insist upon themselves, is really distracting from the story. Rekka (18:37):Because you can feel it's the writer doing the insisting. Kaelyn (18:40):Yes. It makes you not like the characters. And I'm not saying every character in your book needs to be loved and cheered for, but you usually need at least one to love and cheer for or everyone's going to have a really hard time getting through the book. Rekka (18:53):Yeah. And I'm dealing with that in some of the TV shows I'm watching right now. There are so many important characters, but you at least understand their motivations, even if you don't like them or want to spend any time in their presence. Kaelyn (19:06):Did you just finished The Boys, Rekka? Rekka (19:08):I might have, yes. There's no one left to root for almost. But the, the idea of you insisting, "Mary Sue–" Kaelyn (19:20):Yeah, let's lean in here. Rekka (19:20):"Was So beautiful. Everyone loved her and she looked great in everything she wore." That's, that's great, but I'm not getting anything out of that. Kaelyn (19:32):Well, also, do you see what just happened there? You're not developing a character. You're giving me a list of qualities and traits about them. Rekka (19:41):This is like a job application. Kaelyn (19:43):Yeah, exactly. Let's use Bella from the Twilight series. Rekka (19:49):I think she's a prime example of this. Kaelyn (19:51):Yes. So you know, for those of you who have not read this or have not seen the movies and I, dear God, Kirsten Stewart Um so one of the really common critiques of the Twilight books apart from, you know, like apart from the "dear God, why?" Was, you know, on, a literary level that Bella is an empty vessel and there's debate as to whether or not this was the intention of the author, you know, that she'd just come off as like a very plain uninteresting character with very little personality to speak of, so that young girls reading this could, you know, easily put themselves into, you know, relate to her and say, "I am just like Bella." But what is really infuriating about this character and full disclosure—I have read all of these books. I haven't read the most recent one because why would I, at this point Um one of the things that, you know, a lot of people pointed out about this that is a legitimate critique of Twilight apart from the fact that these are vampires that don't catch fire the sun, but that's fine. It's, it's fine. We don't actually see Bella do too much that would establish her personality. If you took out the fact that this is written from her perspective. And even despite the fact that it's written from her perspective, there isn't a whole lot going on with this girl. She doesn't have a whole ton of defining characteristics other than the fact that she's in love with a vampire. That is her entire personality. We're told things like she's very smart, she's very accident prone. She's very you know, she's a hard worker. Kaelyn (21:38):She's really loyal. The loyalty one, maybe we see a little bit, but I'm not sure if it's loyalty or obsession. One of the running jokes through the whole book is how accident prone she is. I, I could not come up with anything other than sometimes she bumps into people in the hallway there, so this is a good example of, you know, show me, don't tell me where and granted, here's the thing: this may have been deliberate on the part of the author, even though I said, I haven't read the newest one. So,ushe re-wrote the first book from the perspective of the shiny vampire boyfriend. Okay. Uso you're getting everything from his angle and you know what, for the sake of this podcast now, I think I'm going to have to go read this book because it would be very interesting to see Bella from outside Bella, and whether or not she seems to have a personality. And I think that's exactly what this book is. So now.. Dammit, Now I've gotta go read this book. Rekka (22:41):Well you don't HAVE to. Kaelyn (22:43):No. I have to, for the sake of science. Bella, I think is a good example of in terms of characters, "show me, don't tell me" because we just keep hearing all this stuff about her without ever actually seeing her be anything except pretty much completely passive aside from acting dramatically and irrationally when it comes to Shiny Vampire Boyfriend. Rekka (23:05):And you say, this is an effective tool to rope in a certain kind of reader. But it seems to me that if you write a compelling character, you're going to rope in a reader of any type. Kaelyn (23:18):I would hope so because here's the thing, there were, she was surrounded by compelling characters, everything around her was far more interesting than she was. Rekka (23:26):And it was just rubbing off on her, was that the idea? Kaelyn (23:29):I GUESS. You know, like I didn't, I remember talking about this with someone and they were like, "I don't understand why, you know, girls, like all of these young girls love this book so much. Like, I mean the main character is like so boring." And I said, "they're not reading it for her, the reading it for the love triangle, the reading it for Hot Werewolf Guy and Shiny Vampire Boy." Rekka (23:49):Yeah. Kaelyn (23:49):Um Bella's just a vessel to carry that story along in all of this. Rekka (23:56):It just seems like it could also be done effectively with someone who is not an empty vessel. Kaelyn (24:00):Absolutely. And that's the better story. Rekka (24:04):Okay. So getting back to the "show, don't tell," don't don't take too much to heart from the gobs and gobs of money that the Twilight series has made. Please. We would hate for you to go down that dark and disturbing path. Kaelyn (24:16):–To Make a lot of money off– Rekka (24:19):Look, if, if that's what you enjoy reading and that's how you liked your characters... I guess? Kaelyn (24:23):Hey, you know what, look, everybody like knocked Twilight for a lot of stuff. If that's just something you enjoy sitting down and reading and kind of, you know, mindlessly, or in a very engaged way, going through. Awesome. That's great. But Bella is a good example of characters that we were told about rather than shown. Rekka (24:42):Okay. So getting back to the, the origins of this, when it's handed out as advice and who's handing it out as advice and where does it come from? Where's it supposed to take you and how do you want a new writer to interpret the phrase? Kaelyn (25:02):So if I tell somebody, I never just put, you know, highlight something and say, "show don't tell me," I always put a note next to there saying like, "Hey instead of you telling me about how, you know, sharp, this sword is, have the character pick it up and slice something in half." That's way more interesting than, you know, just staring at this sword and describing it in great detail. Rekka (25:27):Although a little irresponsible. Kaelyn (25:28):Well, it depends what you're slicing in half. You know, if there was a watermelon that you were about to eat anyway, then sure. You know, Rekka (25:34):Yeah but the sword doesn't deserve to be used as cutlery! Kaelyn (25:38):Depends on the sword. Rekka (25:39):Okay. So two characters arguing over whether or not they can use the sword to cut the watermelon. "I'm Not saying it won't cut the watermelon. I'm saying that's not an appropriate use of our family's sacred sword." Rekka (25:49):"And I'm saying that we all want the watermelon. I see nothing else around except the family sacred sword. Don't you think your family would want us to have the watermelon?" Rekka (25:56):"And we'll wash it right away. We'll hang it back on the wall over the hearth. Everyone will just think we polished it. It'll look better. Everyone will be happy." Kaelyn (26:03):And then we get watermelon. Rekka (26:04):And then later, monsters attack and the edge of the sword is dull because you cut the watermelon with it and everybody dies, the end. Kaelyn (26:10):Oh. Very good Rekka. Very good. Yeah. So when I highlight these things, what I'm trying to communicate to the reader really at the core of it is either one, you were slowing down the story or two, you're missing an opportunity to contribute something to the story. Be it, you know, establishing of piece of information we didn't know before, giving the characters a chance to kind of show their feelings or their emotions a little bit you know, having an action rather than a description. The author who wrote Fight Club– Rekka (26:47):Palahniuk. Kaelyn (26:48):There you go. Chuck Palahniuk. I remember reading something that he wrote and I actually, I did go and look it up before this, and he, to remember doing exactly he said. But he doesn't like what he calls Thought Verbs thinks knows, understands, wants desires. What he's saying instead is make sure you have an Action Word in there. Kaelyn (27:14):And by that, like, instead of saying like, you know, "understands," describe what they're understanding. They smelled something and it triggered a memory and they remembered this. They, you know, reach their hand out in the dark and touch something and realized it was the centipede monster from earlier in the story. It ate both of those heroes and unow it's hiding in the dark. Rekka (27:38):He's back. Kaelyn (27:39):Yeah. He's back, the centipede monster's here forever. So, sensory and action details are a good way to avoid telling people about it because what you're doing then is you're making the character experience something and you're making them relate things to you and have to describe it. You can't just say "Rekka smelled something," you need to say, "Rekka smelled something foul. It made her nervous. It reeked of death." Because now what you're doing is you're describing what Rekka smelled. You're giving us a sense of her emotional state. And you're implying that there is probably a dead body somewhere. Rekka (28:14):Right. Kaelyn (28:15):So you're setting up the scene. Rekka (28:17):And I did find the Lit Reactor article that you're talking about with Chuck Palahniuk's words. And so "instead of characters knowing anything, present details that allow the reader to know those things" is kind of how he phrases it. So instead of a character wanting something, you have to describe the thing so that the reader wants it. In the sense of Twilight, you're putting the character in that main character's shoes, except you're not doing it by making those shoes empty for the reader to step into. You're actually tying them onto the reader's feet yourself. Kaelyn (28:50):Okay. That's– There you go. Yeah. And that's exactly what it is, is it's immersive. Every story is told from something's perspective, be it, you know, a super advanced alien life form or a somehow borderline sentient rock. They're both still experiencing things. Now they're experiencing them very differently, but that's your job to communicate in the book, and just telling us what they're experiencing is not immersing the reader. If you're a rock on Mars, just sitting there going "wow, I'm just this rock of Mars. It's really red and dusty here." Rekka (29:23):See, I thought you were going for Sylvester and the Magic Pebble when you talked about being a rock. Kaelyn (29:27):Oh, that's a good book. Rekka (29:28):That's an excellent book. Kaelyn (29:30):Scared me when I was a kid. Rekka (29:31):Scared you, really? Kaelyn (29:32):I don't know. It's just like, so for those of you who haven't read Sylvester and the Magic Pebble, first of all, go, go read that. But it's a story of a donkey who finds a magic pebble. Rekka (29:43):I think his parents give it to him. Don't they? Kaelyn (29:45):I thought he found it in a Creek and if he holds it and he realizes he can make a wish and the wish will come true. And he's being attacked by a lion at one point, and I'm not sure geographically where takes place. Rekka (30:00):It was Oatsdale, of course. Kaelyn (30:01):He's being attacked by a lion and wishes that he were a rock because the lion won't attack a rock. Except then he realizes he's dropped the pebble and he's not holding it anymore and he can't wish himself to be back from being a rock. Yeah. And he stays a rock for a really long time. Rekka (30:17):Well, that's what I'm saying, this is the point of view of a rock. Kaelyn (30:20):Yeah. But no, it's actually really sad because his parents think like he's dead and like go, you know, search for him forever. And like, they keep like standing on top of him to like search for him and sitting on him and crying about him. And it's, it's a really weird children's book. You know, so if you're, you know, as I said, the rock on Mars and you know, it's still dull, dull, boring life. And then all of a sudden robot shows up your prose and your sensory words and your, you know, way that you're experiencing, and the things that you're seeing obviously have to change in order to communicate the excitement of the rock, because "Hey, robot!" Rekka (30:58):Which you can't call to or wave to, or walk over to, or offer ice cream to. Kaelyn (31:03):Maybe it's going to pick you up to study you. Rekka (31:07):If you're lucky. Kaelyn (31:07):Yeah. And then what if, you know, you start to fall in love with the robot, but it turns out that it's not actually the robot because it's a bunch of people in NASA controlling the robot, but you don't know that. Rekka (31:16):I don't know, the robot's got algorithms. Kaelyn (31:19):Yeah. That's true. How do you fix this? How do you avoid falling into this trap? Rekka, have you ever had to kind of reconcile with this? Rekka (31:29):I was just thinking like, I wish I'd grabbed the notes, but Ryan Kelley, my editor at Parvus, when we were working on Salvage, one of the things he did was point out a few areas,uwith the one character Emeranth where some opportunities were there that I had missed to make her as clever and as caring and as smart as she could have been. And so his suggestion was something along the lines of like, "this is a great opportunity to show her doing the governing that she's forced into" and that sort of thing. Kaelyn (32:00):Yeah. That is something that I frequently make notes of is it's not even, you know, with the writers at this point that I'm getting bored, it's that you're missing an opportunity to have this person do something and, you know, be the bad-ass that you're saying they are. Be the clever person that you're saying they are, the great leader, the great fighter, the coward, you know, any, any number of these things Rekka (32:23):He said when he was pointing out a spot that needed showing, not telling he wasn't saying "show don't tell" waggling a finger and then moving on like, "Oh, my job is done. What a good editor I am." He was saying, "I would suggest that you use this to build this character into the character you say they are." And now Emeranth's scenes make me get all, like we be in shivery on the regular. So... Kaelyn (32:49):"Show don't tell" helps develop, you know, whether it be like your world building, your character, or just even your writing technique, it's going to give you a more rich style. You know, like at the most basic level you don't say you know, "Stephanie was a selfish immature entitled girl." You write a scene where Stephanie's throwing a fit because everybody forgot to throw a surprise party for her dog's half birthday. Rekka (33:20):So we talk about this broadly, we've talked about children's books, we've talked about movies, we've talked about YA books and all kinds of stuff, but are there genres in which this applies less or more like, are there expectations of like, "yeah, no, I actually just want you to get out of my way with this character and let me use them as an avatar for myself in this story." Kaelyn (33:46):I don't know if there are, genres where it's acceptable. I'll be honest with you. This is something that I think is pretty universally frowned on. This is one of the few sort of constants. You know, that said, anytime you're writing something, there's going to be instances where you have no choice but to do a little bit of quote-unquote telling you know, be it because maybe it's a really fast-paced scene and you want to keep the reader engaged and you want to keep the action going. So it's, "he parried left. She swiped, right. He ducked, she dodged they've rolled on the ground," you know, like you're. Rekka (34:20):But that's action. Kaelyn (34:21):Exactly. Yeah. Rekka (34:22):It's engaging. And if we're using Chuck Palahniuk's example, like that's exactly where you want to be, is more in the physical. So if you are telling and, but it's action beats, would you say that's better than telling in thought beats? Kaelyn (34:38):Absolutely. Yeah. Rekka (34:39):Okay. So then my question is, what role in this conversation specifically, would you say adverbs play? Kaelyn (34:49):Ooh. Rekka (34:49):I feel like there's some bleed in, you know, between the two. Kaelyn (34:52):I think adverbs are, like any other thing in life, good in moderation. You know, there's again, and this is another thing that there's a lot of people with very strong opinions about there, about– Rekka (35:05):Never ever ever use adverbs. Kaelyn (35:07):Yeah. That's impossible. Rekka (35:09):Right. Kaelyn (35:09):It's simply, it's simply, it's like not ending your sentences with a preposition, it's like just not the way the English language works. So what Rekka's referring to here is, you know, some editors and, you know, people who get all stuffed up about this stuff. Will say, I don't want to see you write "'Oh, you'll see,' Rekka said slyly.'" I want to hear "Rekka closed the laptop and turned to me with a sly smile on her face and a glint in her eye. 'Oh, You'll see,' she said." Notice how I made it not an adverb. Rekka (35:44):Yeah. By not connecting it to the say. Kaelyn (35:46):Exactly. Yes. And yeah, there is this little kind of weird nebulous area there where like, you're like, "well, I'm describing what she's doing. It's, it's kind of an action." But at the same time, you're telling me what she's doing, rather than showing me with a sly smile on her face. Rekka (36:05):That's I would point out that in the, the example, your quote-unquote correction, we also have things that ground us in the space. And so one, a person who might feel the need to tell you what everyone is thinking might also feel the need to show all the actions in the right order, what hand they're using. Like "she used her left hand to close the door while she scratched her nose with her right, with the fingertips of her right hand," you know, like being very specific about everything. Kaelyn (36:36):Yeah. That's interesting that you bring this up because what you're doing now is you're crossing into a different literary problem. We are past the "show, don't tell" and we are into the "excessively detailed for absolutely no reason." Rekka (36:47):And we will maybe talk about that in another episode. Kaelyn (36:49):Yes. But that is, that is a good point. Is that there is a certain, you know– we get past a certain telling like capacity and into the you're now describing the placement of every single thing in the room for no reason. Rekka (37:05):This is a game of twister. Kaelyn (37:05):Yeah, exactly. Yeah. Rekka (37:07):But what you did was you combined the two things to say, like, we've moved ahead with the story because the laptop has been closed or maybe "Rekka closed the laptop and grabbed her jacket. 'You'll See.'" That implies movement. Kaelyn (37:21):Yes. But you're leaving is she being threatening? Rekka (37:25):I wasn't going so much for the sly as talking about like trying to get more action in, in that sense. Kaelyn (37:29):Yeah, exactly. Rekka (37:30):In the case of being sly, then you might say "Rekka closed the laptop, grabbed her jacket and narrowed her eyes as she shut the lights off. 'You'll See.'" Or whatever. Kaelyn (37:39):Yeah. So yeah. Are there times where you have to, you will have to tell rather than show? Absolutely. Are adverbs a never use them? No, I mean, you will, at some point have to use an adverb, but they are a slippery slope to telling, not showing, even though they sound like you're doing a good job of describing something, they're really telling rather than describing, Rekka (38:00):They are skipping the cues that we want in the story and they are jumping right to the judgment. So what you're doing is you're telling the reader how to feel rather than making them feel that. But one thing you did mention earlier, real quick, that I just wanted to get back to before we wrap this up, is the idea of a fast paced scene where there's a lot of action and maybe you've just, you know, watched a Jason Statham movie and you feel like you need to really show all that action and show and describe the, say, like train– underground train tunnel they're in while they're running around chasing each other. But if stopping to describe the space they're in means that you lose that momentum, then it may still be in the physical, but it could also be more telling than we need. You know, "I nearly slipped on a loose piece of old soggy newspaper" or something like that. That's still– Kaelyn (39:02):Gross. Rekka (39:02):That brings you back into the action, increases the threat because you could fall down now, versus like "the train station had been abandoned since 1970, despite many attempts by the local politicians to renovate and drum up support for a Renaissance of the train museum, which was founded by so-and-so." Kaelyn (39:24):Yeah, Exactly. Rekka (39:26):That's world building! Kaelyn (39:27):We don't need to know all of that. Rekka (39:29):That doesn't serve your action scene with Jason Statham, who's got to get in that train car and then take off his sweater and use it to defeat his enemies. Kaelyn (39:36):Yeah. Because unless the enemy he's defeating is the corrupt politician that was siphoning money out of the budget to restore the train station. All we need to know is that has been abandoned for about 50 years. Rekka (39:46):Yeah. And some gross newspaper will communicate that better than a history lesson. Kaelyn (39:51):Just to round this out. You know, somebody comes back to you and is like, Hey, show me, don't tell me you're kind of going, "Oh, well, what the heck do I do with this?" Take a look at the sentence or the paragraph in particular that they're calling attention to and try– read it out loud, try to figure out if it sounds like the paragraph or the sentence is doing double work to you. Is it conveying more than simple statements of fact or very straightforward descriptions of what people are doing or how they appear or a feeling? Rekka (40:24):Is it a list of judgements of a thing versus list of evidence to support that judgment? Kaelyn (40:30):Yeah. I would say that, listen, this isn't, you know, we're being kind of catty about this in terms of, you know, like this is one of those universally considered bad things, but this is also very hard. This is one of the reasons why it's difficult to be a good writer. Because we, as humans are used to, when you describe something, you know, like, "Oh, I went on a date with this guy. Oh, cool. Let's say like, well he's tall and he has Brown hair and blue eyes and he's got a scar on his eyebrow. And,uhe, you know, plays the saxophone and he works as a barista." Like you're telling me, like, you're just listing this stuff about a guy who is a real living, breathing person, but that's a totally acceptable thing that we do all the time. Uyou know, a friend of mine is like, "Oh, let me tell you about my new boyfriend. I don't need poetic soliloquy about, you know, his feelings on the bass versus the alto saxophones,uand why he prefers one and the childhood trauma surrounding that. Umou know, I just like to know that he plays the saxophone. So that's a normal thing for us with how we talk and how we describe things to people in everyday life. However, when you're doing that, you're looking at your friend as they're doing that and you're and you know, says like, "'Oh, he, you know, plays the saxophone and he's a barista.' Rekka rolled her eyes. This was Kaelyn's fourth barista of the year. Second one that played the saxophone. Where was she finding these men?" But Rekka knows that that's going on in her head. Rekka (42:01):Right. But you put that in the story and suddenly there's context again. Kaelyn (42:05):Exactly. But for regular conversation, you don't need context. And hopefully if that's what Rekka's actually thinking, she's not going to start narrating her internal thoughts to me, because then I'm going to– Rekka (42:15):Oh! That's a great idea. I'm going to start doing that now. Kaelyn (42:20):Um so it's a hard thing to do just because of the way we're used to conducting ourselves in our daily life. We don't need to, you know, I don't need to describe to Rekka the fact that I'm sitting in my kitchen right now and I'm wearing a sweater because it's finally getting a little bit chilly here, but I still have some of the windows cracked open... Because one, Rekka doesn't need to know that two, she can see me in the sweater and probably see the window behind me. In stories you don't have that. So you need to make your sentences do as much work as they can, otherwise you are just describing lists of actions, emotions, and feelings. Rekka (42:57):And this might be a great opportunity to take the book that made you feel the most feelings, and give it a skim and see how their prose sounds compared to yours in areas where you're being told this needs some showing versus telling. I mean, the best thing to do is to pay more attention to people who are making you feel the way you want your reader to feel when they read your book. Rekka (43:19):"What Can I do to become a better writer? How should I get started writing?" And my first answer is always you need to read a lot. Rekka (43:25):Always. Never stop reading. Kaelyn (43:27):Really. Never stop reading, because having all of these things in the back of your head, you know, it's not stealing. Think of it as a research. How did this author, that I really liked this book, how did they handle this problem? How did they make sure, how did they grab me by, you know, the heart and really squeeze it for this one scene? Kaelyn (43:45):Like, what did they do that left me in tears here? What did they do that made me stand up and cheer? Why did I stay awake until three in the morning? Because of something I read? You know, so don't think of that as copying. It's not that I think of it as research. Rekka (44:00):Right. Cause you're not going to take their words and use them in your book. You're going to figure out what they did and find how that parallels what you're trying to do. And that's a good thing, you know? Chances are, they did that too. Kaelyn (44:15):Yeah, exactly. So anyway, I'm not sure how much advice that was on Show Don't Tell, but at least hopefully that was some information about why it is important and what people are trying to say when they point it out to you. Yeah. And if this is something you struggle with, don't feel down about that. It's hard. We don't think about practicing writing, but like you really do have to practice writing. Now granted, practicing is doing revisions, but you know, I think we think like you practice piano and then, you know, you don't really have anything to show for it at the end, but practicing can still, you know, it's the same way as like, you know, practicing cake decorating. Maybe it's not great, but you still have a decorated cake at the end of it. Rekka (44:56):Yeah. Rekka (44:57):Yeah. And you can use that to look back and say how much you've improved because your next cake has way more skill applied to it because you've learned Kaelyn (45:05):Plus cake! And even if it doesn't look pretty, maybe it tastes really good. Rekka (45:09):Exactly. You know, when you keep writing, that's how you keep improving. You're not going to sit down and plunk out one amazing novel and never write again. And it will need revision and whatever you write is going to need a second draft or is going to need at least another pass. There's little you can do to avoid that. The more that you write, the less often that you will fall upon some of these like quote-unquote rookie mistakes, you'll make all new mistakes of more advanced variety, but you will get better. And reading more, writing more, and you know, getting other people's opinions will help. There are critique groups out there on the internet, you know, that you can join and you'll get feedback of varying harshness and helpfulness, but like, it will help you. When you critique other people's work, it will help you critique your own work. Because if you can sit back and read it like you were reading someone else's work, how am I going to help this person understand what I'm trying to say I think it needs? Because sometimes you need to rubber ducky your own thoughts a little bit. Kaelyn (46:18):You know, at the end of the day, you hope that you get to a point where somebody puts a note in there of show, don't tell and you go, Oh, of course, right. You don't just sit down and be awesome at writing. That's not how this works. As I said, hopefully that at least kind of clear some of the mystery around the "show, don't tell me." Rekka (46:38):Hopefully clear some of the frustrations so that, you know, when you see those words, if they aren't paired with concrete advice, then you can back up and take a look from, you know, a little bit further away from where it is in your mind and say, "okay, what, what do I think I'm communicating that I'm not communicating?" Kaelyn (46:58):Exactly. Rekka (46:58):Because that's what it comes down to a lot of the times, it's like, okay, you say this person's great. Or you say this monster is scary, but – Kaelyn (47:04):You know that in your head for these reasons and you're not showing it to me, the reader. Rekka (47:09):Yep. Kaelyn (47:09):Well, I think that's, that's pretty much it. I guess that's what we got there. Rekka (47:12):We did manage to go on at length, despite me thinking it was going to be pretty straightforward. I got a whole bunch of these really straightforward quickie episodes planned that are going to be at least the normal length, if not longer. So if you're looking forward to those, make sure that you are subscribed to the podcast. If you have questions about any other kinds of editing tips that you've received in your manuscripts that you were like, "what, what?" Kaelyn (47:35):What is this note? Rekka (47:36):"Kaelyn, Explain this to me, please. Tell me I don't have to do whatever this is saying. "I Think did it say rewrite? Is it saying revise? No, I don't want to just tell me it's perfect." if you have any questions for us about these random topics that editors mark up in your manuscripts, and you're not really sure what they mean, or you want to know how to avoid them in the future, or advice you see that you still don't quite understand, just let, let us know, for sure, @WMBcast on Instagram or Twitter. Kaelyn (48:09):We like, we like these episodes. These are fun. Rekka (48:10):And we love to answer questions and we love to help people. So let us help you. And hopefully we have helped you. And if you feel that we have, you could really help us out by sharing these episodes with a friend who might be interestedUm do make sure that you're subscribed and not just clicking the link that we post on social media because having more subscribers helps other subscribers potentially find us. And also um, really helpful in getting subscribers to find us is to leave a rating and review on Apple podcasts or, you know, generally any review is helpful anywhere, but the Apple podcasts really seems to still have the corner on the market for that. Kaelyn (48:46):That's very true. Rekka (48:46):And, and if you are super, super appreciative and want to show that with currency, in gratitude or in an expression of the editor's fees we've saved you, you can go to patreon.com/WMBcast. We are not trying to steal the work from the professionals. We love all editors, present company included. Kaelyn (49:07):Thank you. Rekka (49:08):We will talk to you in two weeks. Kaelyn (49:10):Thanks for listening, everyone. Rekka (49:11):Thanks everyone.

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Welcome to THE most popular Irresistible Woman Podcast episode, originally released December, 2019. Find out why women keep coming back to this episode over and over to better understand how to effectively express their needs in a way that cuts through games and miscommunication, and inspires men to powerfully respond.  Join my free Facebook community for women, Confident In Love, for exclusive dating resources, trainings, and an amazing sisterhood: https://www.facebook.com/groups/904645606349156 Connect with me: http://madelinecharlescoaching.com/ Send me a DM: https://www.instagram.com/madelinecharlescoaching

Enola Holmes. Sherlock Holmes is one of the most enduring characters in all of literature and film, having been played by more that seventy-five actors in over two hundred and fifty different productions and now it is his sister's turn to share the limelight. In this episode hosts Matthew Rushing and Christy Morris discuss Enola Holmes from Netflix. We discuss our Holmes experiences, a book first, a passion project, the cast, stagnate or move forward, the value of selflessness, heavy handed, the store, our ratings and recommendations. Chapters Holmes Experiences (00:03:42) A Book First (00:05:51) A Passion Project (00:08:00) Millie Bobby Brown (00:13:05) Henry Cavill (00:19:44) Sam Claflin (00:24:08) Helena Bonham Carter (00:27:15) Louis Partridge (00:30:46) Stagnate or Move Forward (00:33:45) The Value of Selflessness (00:36:10) Heavy Handed (00:39:41) The Score (00:46:32) Ratings (00:48:33) Recommendations (00:52:26) Host Matthew Rushing Co-Host Christy Morris Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Ken Tripp (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Associate Producer) Davis Grayson (Associate Producer) Daniel Noa (Associate Producer) Ryan Maillet (Associate Producer) Social Twitter: @The602Club Instagram: @the602clubtfm

Enola Holmes. Sherlock Holmes is one of the most enduring characters in all of literature and film, having been played by more that seventy-five actors in over two hundred and fifty different productions and now it is his sister's turn to share the limelight. In this episode hosts Matthew Rushing and Christy Morris discuss Enola Holmes from Netflix. We discuss our Holmes experiences, a book first, a passion project, the cast, stagnate or move forward, the value of selflessness, heavy handed, the store, our ratings and recommendations. Chapters Holmes Experiences (00:03:42) A Book First (00:05:51) A Passion Project (00:08:00) Millie Bobby Brown (00:13:05) Henry Cavill (00:19:44) Sam Claflin (00:24:08) Helena Bonham Carter (00:27:15) Louis Partridge (00:30:46) Stagnate or Move Forward (00:33:45) The Value of Selflessness (00:36:10) Heavy Handed (00:39:41) The Score (00:46:32) Ratings (00:48:33) Recommendations (00:52:26) Host Matthew Rushing Co-Host Christy Morris Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Ken Tripp (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Associate Producer) Davis Grayson (Associate Producer) Daniel Noa (Associate Producer) Ryan Maillet (Associate Producer) Social Twitter: @The602Club Instagram: @the602clubtfm

Geschichten, die verkaufen: https://www.geschichtendieverkaufen.de/ Nr. 40 - Show don't tell - Verwende immer Beispiele in deinem Content Marketing. Mehr Erfolg im Social Media und Content Marketing durch Fallstudien, Case Studies und Storytelling. Der Podcast für Content Marketing, Social Media, Kommunikation und Vertrieb & Sales

The Book of Genesis

The Book of Genesis

“You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.” ― Octavia E. Butler. 1 tip for each of my "pillars for becoming a successful author" - writing fundamentals, productivity, and mindset habits!

Sarah Hurwitz underscores that what people remember is stories and images, not adjectives. Think about how Michelle Obama started her 2016 Convention speech. She didn't say, “on my daughters' first day of school at the White House, I was anxious and scared and worried.” She said, “on my daughters' first day of school, they climbed into those big SUVs with all those men with fins and I saw their little faces pressed up against the window and I asked myself, what have we done?” That image conveys sooo much more. --- Send in a voice message: https://anchor.fm/nextgenpolitics/message

We're back at it again for round 3 of the Breaking Bad cold opens. In this one, Curtis and Kev discuss the significance of the pre-intro shorts, and if they help Walt finally avoid a season where he isn't in his underwear. Spoiler alert, no, not this time. Sit back, relax and get lost with us in the magical world that is Breaking Bad. Enjoy! Be sure to check us out at:  FrivolousFandom.com!

Curtis and Kevin revisit Breaking Bad and break down the cold opens of Season 2. Walt's tighty whities also make a comeback in this glorious season. Is Season 2 the Empire Strikes Back of Breaking Bad? Tune in to find out! Be sure to check us out at:  FrivolousFandom.com!

Isaac Morehouse is the founder and CEO of Crash, the career launch platform. Isaac joined me on the podcast to talk about the power in showing the skills that we have instead of just telling others about them. We also talked about his belief that experience and skillset is more valuable than most educational degrees and how he defines freedom. Isaac also previously founded and currently serves as an advisor to Praxis, a startup apprenticeship program. Isaac is dedicated to the relentless pursuit of freedom. When he’s not with his wife and kids or building his company, he can be found smoking cigars, playing guitars, reading, writing, getting angry watching sports teams from his home state of Michigan, or enjoying the beach. Connect with Isaac at IsaacMorehouse.com and follow him on Twitter, LinkedIn, Instagram, and Medium.

In this episode we discuss the old adage in television, that showing is better than telling. What better way to discover the wonders of show don't tell, than by having us tell you, what they showed us. Breaking bad cold opens, has you flying by the seat of your literal pants. Just don't run them over...you know, like Walter did in the pilot. If you're not in your tighty-whities while listening to this one, you'll make Vince Gilligan weep. Be sure to check us out at:  FrivolousFandom.com!

This episode discusses white privilege, leadership opportunities and finding your "why."

last week's goals - cycle, fix hips - short storyIt’s something we, as writers, are constantly being told.  We have to show the reader our world, show them our characters and let them experience the story.  I’ve thought a lot about the old adage and have come up with a way I find useful to weed out my telling and replace it with showing.What is Telling?What do I mean when I say “telling”?  The easiest way I find is to read my work out loud.  If it sounds like I am recounting something that happened, like I’m chatting with friends, then it’s probably telling.  Here is an example:Ratchetman flew over the Perth skyline.  He stopped and looked at the beautiful river dotted with boats.If you read the above out loud you’ll hopefully see what I mean about it sounding like you are just recounting events while chatting.  That’s how I think of it.What is Showing?Showing is when you write about the experience of doing the action.  It is a form of writing that would sound funny if you spoke like it in casual conversation.  If you read it out loud and it sounds just like you are reading a story out loud, then it is probably showing. Here is the same example rewritten:Wind whipped Ratchetman’s cape about as the Perth skyline slipped underneath him.  The boat-dotted river caught his attention, rendering him speechless with its beauty.If you read the above out loud, it would sound funny in ’round the water cooler’ conversation.  You can feel the cape flapping in the wind and see the city as Ratchetman flies over it.  That’s what showing is all about.  Most of your novel should be showing, but every now and then you’ll need to tell.When to Tell, When to ShowAfter reading all about showing and not telling, except when you should tell and not show, I have been left wondering, like you, when you do which.  I’ve read a lot of books.  I’ve read science fiction, fantasy, biography, literary fiction and books about guns (I’m a boy after all).  In all the story driven stuff (so everything except for the guns) I would say about 90-95% is showing and the remainder is telling.  OK, maybe biographies have more telling, but not all.  As a rule I show, but when I need to skip ahead or pass over some necessary, yet uninteresting, detail, I tell.  For example:Wind whipped Ratchetman’s cape about as the Perth skyline slipped underneath him.  The boat-dotted river caught his attention, rendering him speechless with its beauty.  It was midnight.  Time to fly home.Poor example, but I wanted to show you the ratio of showing vs telling and do it quickly without writing a whole chapter.  The first two sentences are showing because I want you to feel the flight and experience the river.  The second two sentences I’m telling because, while it is important you know it is midnight and he has to get home, it isn’t important that you feel that.  I could have written something like:The moon’s bright glow lit the low-lying clouds with a ghostly radiance.  Ratchetman raised his arm and glanced at his watch.  He squinted to make out the dial.  Midnight.  He banked into a sharp turn, the skyline slewing sideways and dropping away behind him.  blah blah blah…You could say that you tell when you need to move quickly without getting bogged down.  Sort of like the set up for a joke: “Three men walk into a bar…”  The joke only really starts after the men get to the bar and start talking to the bar tender.  So you tell the audience the entry and then start showing them the joke.Next Week's goals - cycle, fix hips - short story

Tutti i testi narrativi si fondano sulle emozioni. Le emozioni sono alla base della caratterizzazione dei personaggi, influiscono sul loro modo di parlare e di comportarsi e, di conseguenza, determinano le loro decisioni e le loro azioni.Le emozioni sono dunque la benzina che fa girare il motore della storia. Senza emozioni i personaggi non agirebbero e la trama non andrebbe da nessuna parte.Se dunque tu vuoi scrivere un buon libro di narrativa, devi fare i conti con le emozioni, le tue di scrittore, certo, ma soprattutto quelle che vuoi attribuire ai tuoi personaggi.A questo punto, la difficoltà maggiore che gli scrittori incontrano è quella di mettere in scena le emozioni dei loro personaggi, perché le emozioni si possono descrivere, analizzare e perfino catalogare, ma per sembrare vere agli occhi dei lettori, devono essere vissute dai personaggi e trasparire dalle loro azioni più che dalle loro dichiarazioni di intenti.Quello che devi imparare a fare, dunque, è mostrare i comportamenti esteriori dei tuoi personaggi che indicano il loro stato emotivo, dare al lettore i sintomi e lasciare a lui il compito di fare la diagnosi.Gli americani hanno sintetizzato questo principio con la formula “Show, don’t tell”, che significa per l’appunto “Mostra, non raccontare”.#ScritturaCreativa #ProgettazioneNarrativa⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇⬇SCOPRI GLI ALTRI PODCAST DI LIBROZAhttps://libroza.com/podcast/I LIBRI CHE CONSIGLIOAmazon

In Chapter 6, Devs puts it all on the table: Lily finally knows what the Devs project is for. Also, she told a shocking revelation. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/the-kids-wear-crowns/message Support this podcast: https://anchor.fm/the-kids-wear-crowns/support

There are three steps to managing a social media crisis: (1) Sacrifice (2) Show - Don't Tell (3) Be Transparent

Historians will argue (bitterly) over this episode for decades to come! Download and find out why, but WHATEVER you do- DON'T TELL KENDALL about this show! #SHHHH

And also, upload the episode! I can't believe it, but I forgot to upload the episode to libsyn. So here it is! We're back! We spend a few minutes catching up and then dive into trying to save a white lady's Chinese restaurant after it's already closed.

Do you love product design? Are you a product designer? Our next Terminal Tech Talk features Matt Rae who will walk us through how design teams can leverage other teams to change design culture. He will cover how designers should collaborate, evangelize and equip teams internally. He also covers how to listen to your teams to create great products and a strong design culture. Matt is a design ambassador, outdoor enthusiast and founder. Matt Rae is also a product designer at Zenreach. Zenreach is a technology company based in San Francisco, California. Zenreach also has offices in Scottsdale, Arizona as well as Kitchener, Ontario, Canada. Zenreach produces a SaaS marketing platform used by businesses with physical locations. They are presently hiring across all three offices. We will explore a number of topics including: 1 Collaboration: effective design through team collaborate. 2 Evangelism: showing the success of design initiatives to the team. 3 Equipping: equipping teams with the tools to engage with design. 4 Listening: for feedback on product, design teams need to listen

Show Don't Tell - Episode 20 Check out all of my A-Z Resources Bellow

The key to magnetic attraction and lasting intimacy with high quality men in dating comes down to how much you can reveal the truth of your heart. In today's episode, I break down exactly how to do that with practical tools you can use right away. If you're loving The Irresistible Woman podcast, please subscribe, rate, and review so more women can find this free resource! https://podcasts.apple.com/us/podcast/the-irresistible-woman-podcast/id1479298292 Join my free Facebook community for women, Confident In Love, for additional dating resources and trainings: https://www.facebook.com/groups/904645606349156/

With Eli Rubin. Navy Veteran. Again Faster & X Training Equipment Ops Manager, Eli Rubin. "Show, don't tell" As a business or fitness professional showing your clients, your people how its done, is better than just telling them. The Brave and Faithful Podcast is sponsored by Fortis Et Fidelis, a brand dedicated to the brave and faithful service of our military members. To learn more about the brave and faithful, go to https://www.fortis-fidelis.com/blogs/news-stories --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fortis-et-fidelis/support

In this episode of the Best Amazon Seller, we interview Albert Polanco, a founding member of Zon Product Photography. He gives us a wealth of knowledge not only on product pictures for Amazon but also on the subject of general marketing tips. - How did you start? 1:20- The Primary Image 5:37- Show Don’t Tell 11:55- Good and Bad Lifestyle Photos 15:01- Text and Badges 20:01- Mistakes of Past 30:09“If your product is stronger than the competition, don’t say that. Show your product doing something stronger than the competition. Demonstrate it.” 13:52Link for 7 step framework. https://7steps.zonproductphotography.com/  Promo Code: BuyBoxer5  Contest for product photography. https://vyper.io/c/18009hhdyuhttps://www.instagram.com/smartestseller/https://www.buyboxer.com/

In this episode of Recur Now, we talk everything and anything related to product-led growth.

Writers must learn the principle of Show Don't Tell. From novels to TV, movies, and plays, all writers need to learn the amazing power of Show Don't Tell. Zena Lowe has years of experience as an actress and screenwriter and is passionate about telling amazing stories. With interesting and powerful examples from powerful movies, listen to this great conversation about the power of Show Don't Tell.

One of the biggest mistakes we make when preaching is to only tell something to our audience. We need to show it to them, not just tell them. In this episode, I'll explain what "Show, don't tell" means for your preaching. Resources Mentioned: • Preaching Books For more content like this, go to ProPreacher.com

Kristin’s errant shopping trip nearly leaves her and Brett starving, a new car shows up in the neighborhood, and unlike this description, this episode explores the importance of show, don’t tell. Email: nightmareboxproductions@gmail.com Website: https://thenightmarebox.blog Facebook: facebook.com/nightmareboxproductions Instagram: @nightmareboxproductions Twitter: @nightmareboxpro

Yvonne Leong is an experience designer and innovator. She is passionate about creating experiences to help others bring their awesome (whole) self to work. Yvonne tells us about her journey from (human-centred) sales to co-founding the design practice at Vodafone, and how to jump on a Silicon Valley adventure when the opportunity comes knocking. Links: https://www.linkedin.com/in/curiouskidyvonneleong/ "This episode is a look back on Yvonne's personal journey, and time at Vodafone, she since departed Vodafone to pursue a more significant impact in the future of living. "

What is exposition, and why should novelists be leery of it? Turns out there's brain science behind “Show Don't Tell.” Editor Anne Hawley lays it all out in this 20-minute Bite Size Edition. Here on the Roundtable we're dedicated to helping you become a better writer, following the Story Grid method developed by Shawn Coyne. In these episodes we bring you some shorter solo articles and interviews on topics that interest us as writers. Click here for the full show notes.

After discussing the dynamics involved in the revolting practice known as boofing, we actually have a good writing discussion about the importance of showing rather than telling in regards to your fiction.  Of course, it wouldn't be a DPW episode without some shenanigans, but we manage to stay in line in this episode. And for once we didn't talk about comics at all. That might be a new record for us! You can check out the article used in this episode written by Leona Brits over at https://writingcooperative.com/my-golden-rules-to-show-dont-tell-f4d030eca8c9 You can also check us out at www.drunkenpenwriting.com where we share fiction, poetry, articles, and more. 

Get your free book at www.brandonchin.net now...and a another bonus book in the next few days if you jump on my list soon

Forest and Shawn discuss Happy Death Day 2U, Rachel True story update, the Aladdin trailer, the Avengers: Endgame trailer, Danai Guirra being left out of the Endgame poster, the Dark Phoenix, JK Rowling queerbaiting again, R Kelly/Gayle King interview, One Day At A Time canceled, the college admissions scam, Lennon Stella, Anderson .Paak

We've all heard “show, don't tell,” but what does that mean? Join J. and Zach as they discuss the Robert McKee technique of exposition as ammunition along with examples.Welcome to the newest Molten Universe Media author, Cameron Coral!Get exclusive bonus content by supporting The Career Author Podcast on Patreon at www.patreon.com/thecareerauthorWant to work with us? Get the details at https://thecareerauthor.com/services/Links:The Career Author - http://www.thecareerauthor.comThe Career Author YouTube Channel - https://www.youtube.com/channel/UCmIYVcr1UdWgSvYpb3Ol3xg StoryLevels - http://www.storylevels.comMolten Universe Media - http://www.moltenuniversemedia.comEvents - https://thecareerauthor.com/events/ See acast.com/privacy for privacy and opt-out information.

This week on Supertrash, Alyssa and Jen discuss 'Supergirl' episode 4.12 "Menagerie."

This week on Supertrash, Alyssa and Jen discuss 'Supergirl' episode 4.12 "Menagerie."

This week Sarah and Lisa chat about: their current understanding of 'show don't tell' the (three) different levels of showing and when it's ok to show and tell the books they're currently reading and they give an update on what they've been up to since the last update

This week we head back into the vault of Writing Skill Questions. I, (host Rebecca Galardo) and Author/Teacher Holly Lisle discuss the advice often heard - and not so often explained - "Show, Don't Tell." Holly walks us through the topic with examples and points out the important things to keep in mind, including her most important tip of all. Questions or comments after the episode? Join us in the Podcast forum at hollyswritingclasses.com

Iman Oubou (IG: @iman.noelle)(TW: @imanoubou)(swaay.com)(in:@imanoubou) is an entrepreneur, the creator of SWAAY, and model. Our conversation covers many different topics. We chat about her childhood all the way to present day. She was extremely open, honest, and forthcoming with tons of information in regards to what she has created with her company and lessons learned from life. I hope you enjoy this conversation!!

Commercial Banking is a complex B2B sales motion. Like any complex sales team, these bankers have turned to process and technology to create better customer experiences and to create measurable value. One of the complexities comes in the sheer number of products these bankers have to offer their clients. Jake Heugly of Zions Bancorporation leads one of the most successful fee income teams in the United States. They are growing at an industry-beating rate and are averaging 15 products per customer…double the industry average…without having product-related goals. In this insightful episode, Jake shares how his team uses process in a unique way to create experiences their customers aren’t used to having and how this not only creates successful customer relationships, the process creates powerful coaching opportunities that inspire and engage the members of his teams.

Hey, we're hitting those double-double digits with this one, and you know what that means: time to check a couple boxes off on our List of Discoveries.  Oh, and let's not forget that it's Hot Ball pre-season y'all, and Mr. Steal Your Grill has been sighted around the neighborhood.   Up in this one we talk about Cheer AGAIN, and demonstrate the Show Don't Tell approach re: stupidity/sweetness.  We talk about Katrina Johnson's Ross Perrot, reference Gen-13, and give thanks to Michael Schenk for incepting our daily bread.   Proselytization or prostitution?  You decide!

Dr. Ben Judkins KungFu Tea was the Keynote speaker on making the Academic Study of Martial Arts Matter. This is well worth the listen. Download I created a PDF so that you can see the images that Ben references during the podcast, if you like : You can also watch the video here : https://kungfupodcasts.com/2017-martial-arts-studies-conference-keynote/

Today, let's talk on the clear difference between selflessly "doing something" and selfishly "being someone". I've often thought of what I was taught when I was a kid growing up with a strict and tough Japanese mom -- but she was also the most loving, devout + admired mom, too. She and my father raised us by example and Jenni (my sister and I) later took what they showed us and all became a family of honor.  We will learn about how I am in the thick of the middle, a time of learning, struggle, financial pain, and balancing businesses from LA to NY -- no this shit is not easy -- but we do it bc we love it with honor.  - How the Japanese lost in the World Cup, they gave 110% -- ganbatte! and they still bowed with honor to the crowd after barely losing 3-2.  - We learn of the Japanese people after the game, picking up their own trash + others after losing the match... they show-- they do not tell.  - The Japanese term "gaman" with great resilience and honor - We learn from my Father, when he was drafted into the military at 18, how he moved his life forward with honorable action and integrity -- even though this was an uncertain time. - We learn from dad, what he calls, "basics" it seems so many of us are losing: like how to properly email someone + how complaining is not the way you + to be a better team mate means to work together.  - Be on time, be prepped, do as you are told. Simple. Basic shit.  - We learn from Maya Angelou and Kendrick Lamar.  - We learn how we can be better, how we can focus on our own work and life's calling - follow your calling -- even if it is far too great of an ask -- you will never be disappointed if you give it your all. - We can see action is the way to success, not talk. Anyone can talk and blab all they want.. but my stack of books and magazine stories will still stand the test of time + I honor myself, my work and mostly, I honor, care and value you + my contributions to society and the world.  Why I care about you? Find out in Episode 8 + have a think about what it means to be more mindful, to show others, by action and to live an even badder and better life.. I've said this before, I'll say it again -- you do not have to do what everyone else is doing.  Check out my new book Kintsugi Wellness -- I'll be on the TODAY show cooking with it!! JULY 12th 10 am hour!!  + Dr Oz JULY 16th!  Love and care for you, keep going babes, the middle is tough, but you are tougher!  xx ck     

In dieser Folge beschäftigt sich der Autor in Ausbildung mit einer Säule des Autorenhandwerks: show don't tell.

Der Autor in Ausbildung vermittelt sein Wissen an interessierte Autoren und solche, die es werden wollen. Das Autoren-Handwerk wird in vielen Facetten betrachtet und verständlich erklärt. Ein Handwerk braucht Techniken. Dieser Podcast hilft bei der Theorie.

Melanie Deziel is an award-winning branded-content strategist, consultant, and speaker who travels the world teaching marketers and publishers how to tell better brand stories. Melanie started The Overlap League native ad newsletter, writes the New Media Navigator column for Inc., is on the board of the Native Advertising Institute and developed one of the first Master’s courses in Content Marketing for Fairleigh Dickinson University. She is the former director of creative strategy for Time Inc. and was the first editor of branded content at The New York Times, where she wrote the sponsored content pieces that won the 2014 and 2015 Best Native Advertising Execution OMMA Award, including the acclaimed “Women Inmates” piece for Netflix. Melanie's journalistic approach to brand strategy is smart, fun and educational.  Enjoy this fun chat as Melanie walks through her journey and her thinking.

Segment  1. Thunder allow Ricky Rubio to go nuts.  Different Jazz playing Thunder killer every game.  Thunder have needed too many wake up moments this season. Melo told us to wait for the playoffs, the playoffs are here, and in the last two games we've seen 2018 Thunder show up.   They only time OKC seems to care is when they are pushed.  Must win situation for OKC, don't see Thunder coming back from down 3-1.    Segment 2.  Steven Adams can't stay out of foul trouble. Adams on talking to refs. Utah continues to win on the boards.  Future of Billy Donovan if the Thunder bow out in the first round.        Segment 3.   Looking at other series may have counted the T-wolves out too soon.  LBJ buys suits for his teammates why doesn't Russ do something similar?   Learn more about your ad choices. Visit megaphone.fm/adchoices

Every student that has ever graced the halls of a creative writing class has undoubtedly heard the mantra of countless writing instructors: "Show! Don't tell." Every one of us has heard it, but I don't think that there has been a professor or teacher that I've had that truly took the time to explain this. In fact, it's something that we all struggle with consistently and will for a very long time as we travel the path to authorhood.  Which is why, I'm putting out this podcast episode to debunk the mantra's weighty shouts and give you a comprehensive breakdown of what that means and the tips you need to put it to good use!

Jays Journal Podcast - November 7. "Show Don't Tell."  As rumours swirl around the future of certain players and the club's desire to improve on a number of key deficiencies from last year, we're thrilled to bring you a round table comprised of serious experts that'll have you coming back for more. Be sure to join host Ari Shapiro as he offers you a compelling hour of round table banter from earlier in the week (11/02) featuring Sportsnet's Tao of Stieb (@TaoOfStieb), minor league guru with Prospect1500.com, Jason Woodell (@JasonAtTheGame), and marketing research analyst Marshall Auerback (@Mauerback). Together, they explore:  What they took from the 2017 World Series that may have gone unnoticed (9:42), was Dave Roberts insane for using Brandon Morrow on 14 different instances during the playoffs (17:11), if the Blue Jays should kick the tires on the falling stock that is Yu Darvish (26:32), why fans should have faith in the front office when it comes to talent acquisition (31:18), if constantly reliving and re-marketing the glory years can be detrimental to a millennial fans (33:14), the inherent risks in marketing an elite prospect before they take their first at-bat in the big leagues (36:16), if rebuilding and spending money on your payroll is nothing but a pipe dream (43:43), and how one should feel about Mark Shapiro and the future of prudent baseball decisions in Toronto (53:09).Tonight's episode was brought to you by: Cloudwifi (cloudwifi.ca). Do you live in a condominium and are paying too much for internet? Surf faster & save money by getting your building on-board and win a pair of season tickets for the 2018 Toronto Blue Jays regular season. E-mail bluejays@cloudwifi.ca today to see if you qualify.

Caitlin, Kristen, Cameron, Dan and special guest author Emily R. King chat about how to show instead of tell. They then critique a submission in which a young lady stows away on a train only to find out it's a circus train, and the circus knife-thrower needs a new assistant.

This week we discuss the best way to raise the kind of children you want. We're not talking about how to get you kids to behave, or how to make them stop fighting with their brothers. Those sort of things are pipe dreams. We are playing the long game and talking about how to turn your children into the kind of adults you want them to be by leading by example.

« Show, don’t tell » (montrez, ne dites pas) est une admonestation classique des manuels d’écriture en langue anglaise. Dans cet épisode, Mélanie Fazi, Laurent Genefort et Lionel Davoust explicitent en détail cette technique qui permet de s’appuyer sur l’action pour rendre un récit plus vivant et y impliquer le lecteur. Mais son abus présente également des dangers, et il peut être pertinent, dans certains cas, de ne pas la suivre : « tell, don’t show » est tout aussi valide ! Vous pouvez commenter sur le forum d'Elbakin.net : http://www.elbakin.net/forum/viewtopic.php?id=8813

As Interaction Design Lead for 3M's Health Care Business Group, Andy Vitale is excited about making an impact in the healthcare space and designing meaningful healthcare solutions at the enterprise level. Andy believes that being proactive in the enterprise environment is the best way to get the conversation started about designing successful solutions for enterprise problems. He also knows that it's important to always inform and educate people on what exactly it is that you do because it's more valuable when other people buy into and support what you do than simply speaking for yourself, especially on the enterprise level. In this episode, Andy sits down with Anthony to discuss his perspective on ways to measure the impact of user experience, UX processes with his team and 3M, and how to grow user experience competency within a large organization like 3M. Follow Andy here: Twitter: @andyvitale 3M: Twitter: @3mdesign Web: 3M Design & Careers Visit the Funsize website Subscribe to The Funsize Digest Check out Funsize on Instagram

Show Don't Tell - that's what video marketing expert, Melanie LoBue believes brings out the power of a good explainer video. Seeing the visuals is exciting and brings a business product to life. On this episode host Joel Goobich and Brendan Carty discuss how Melanie and her team at Business On Tapp use video marketing.

Kurt Vonnegut's beautiful letter, how to find the time to write, why writing no longer buys a champagne lifestyle (or does it?), how to get 'show, don't tell' right, Writer in Residence and blogging sensation Nikki Parkinson, why you need name dice, what to do when you hear nothing from an editor and much more! Read the show notes.  Connect with Valerie, Allison and listeners in the podcast community on Facebook Visit WritersCentre.com.au | AllisonTait.com | ValerieKhoo.com

This message was given at LifePoint Christian Church on October 9, 2011 by lead pastor, Phil Ayres.

A sermon in the series about the biblical meaning of Jubilee; about God's passionate love for us.