Occasionally
I get to work with writers who feel they need to tell the reader how a
character feels about a statement from another, or an event. I usually advise them to “Show, don’t tell.”
Nothing
new there... except many seem to have a hard time with the concept. Oh, they GET it. It’s just hard to know how to DO it.
I like
to take a tip from songwriters. Some of
them can show me an entire story occurring over several years using just three
or four short verses. Here’s what I
sometimes use as an example. Are you
familiar with the George Strait song “I Can Still Make Cheyenne?”
Lyrics
Her
telephone rang 'bout a quarter to nine
She heard his voice on the other end of the line
She wondered what was wrong this time
She never knew what his calls might bring
With a cowboy like him it could be anything
And she always expected the worst in the back of her mind.
He said, "It's cold out here and I'm all alone,
I didn't make the short go again and I'm coming home.
I know I've been away too long.
I never got a chance to write or call
And I know this rodeo has been hard on us all
But I'll be home soon and honey is there something wrong?"
[Chorus:]
She said, "Don't bother comin' home.
By the time you get here I'll be long gone.
There's somebody new and he sure ain't no rodeo man."
He said, "I'm sorry it's come down to this.
There's so much about you that I'm gonna miss.
But it's alright baby, if I hurry I can still make Cheyenne.
Gotta go now baby, if I hurry I can still make Cheyenne.
He left that phone danglin' off the hook
Then slowly turned around and gave it one last look
Then he just walked away
He aimed his truck toward that Wyoming line
With a little luck he could still get there in time
And in that Cheyenne wind he could still hear her say.
[Chorus]
The
first stanza sets the scene. I figure
that in paragraph form it would be written in three sentences, punctuated like
this:
Her
telephone rang 'bout a quarter to nine.
She heard his voice on the other end of the line; she wondered
what was wrong this time. She
never knew what his calls might bring—
with a cowboy like him it could be anything—and she
always expected the worst in the back of her mind.
In
those three sentences we know that the two are apart, that his infrequent calls
often mean “something’s wrong” since she thinks, “this time.” We learn he’s a cowboy, thus it could be “anything,”
and we gather that it’s usually bad since she always expects the worst. In just those three sentences, we are “shown”
a lot, but the hook is set. We want to
know what “it” is this time. We assume
it’s evening, and the tension is palpable.
But
look at what we learn from the next three sentences; all dialogue from him:
He
said, "It's cold out here and I'm all alone; I didn't make the short go
again and I'm coming home. I know
I've been away too long. I never
got a chance to write or call,
and I know this rodeo has been hard on us all, but
I'll be home soon... and Honey, is there something wrong?"
We’re
immediately in his head. From his three
sentences we learn that he’s down and out.
He wants her to know that he’s alone, so he mentions it almost first
thing. Why? Out of guilt?
Has he been alone all along, or just now? Why does he feel the need to tell her;
shouldn’t she assume he’s been alone?
Hmmm. Cold and alone? Looking for sympathy. He’s trying to work
her. “... didn’t make the short go again.”
Translation: he’s about out of money, so he’s heading back to Mama. He’s feeling guilty, and his guilt forces an
admission: “I know I’ve been away too long.
I never got a chance to write or call.
I know this rodeo’s been hard on us all...” Wow.
We can see him humble, cowering, almost crawling. He says, “I know...” twice, trying to
convince her he can change. And he says,
“...hard on us all.” There’s a family here, not just a man and a
woman. He’s left her with the kid(s) to
do his own thing. He knows who it’s been
hardest on.
“But I’ll
be home soon...” He’s hopeful, wanting
to end on a positive. But when he doesn’t
get his hoped-for reprieve (we assume there’s only silence), he tries to sound
concerned, “...and Honey” (Oooo, a pet name!
THAT oughta make her feel better!) “...is there something wrong?” What could possibly be wrong? I’ve apologized, I’m coming home soon and
everything will be fine. We can almost
hear him teetering between hope and desperation, figuring out what he needs to
say next to get her to come around.
She
lowers the boom. No gentle build up, no
hope of reprieve. It’s a done deal.
She
said, "Don't bother comin' home.
By the time you get here, I'll be long gone.
There's somebody new, and he sure ain't no rodeo man." Three short sentences. You can hear the finality and the
disgust. She’s made her plans and is on
her way out of there tonight, or tomorrow for sure. She sums up his sins and his shortcomings and
their incompatibility in her final words, “...he sure ain’t no rodeo man.” Just six words. She knows what he is, and she will have no
further part of it. Whatever they had,
it’s over. And that’s all she has to
say.
But do
we need a description of his countenance, mood, attitude, emotions to “see”
him? No.
His simple response in dialogue without any descriptors paints the
clearest of pictures.
He
said, "I'm sorry it's come down to this. There's so much about you that I'm gonna miss.
But it's alright baby, if I hurry I can still make Cheyenne. Gotta go now baby, if I hurry I can still make
Cheyenne.” You can hear the
resignation mixed with relief in
those words. He knew! He knew it was over, but they hadn’t admitted
it to each other so it didn’t seem real.
Now it’s real, and his path forward is clear. There’s no need to argue, plead, cajole or
deny.
“I’m sorry... I’ll miss you... But it’s alright, because now I can do what I
want to do without so much guilt.”
So few
words, almost no adjectives or adverbs, yet we get such a clear picture. That’s showing, not telling.
As for
the rest; why didn’t he hang up the phone?
Then, he gave it one last look before walking away to his truck. I think it’s because we are being SHOWN that
he was torn; he didn’t want to be the one to sever the connection they had once
had. He remembered how good it used to
be, but his rodeo addiction was too strong and he knew he was giving in to it
despite being tugged toward her.
Here
you could say we are being told as
much as shown:
He left
that phone danglin' off the hook,
Then slowly turned around and gave it one last look.
Then he just walked away.
He aimed his truck toward that Wyoming line;
With a little luck he could still get there in time.
And in that Cheyenne wind he could still hear her say...
But I
think this is also showing. We are told
of his actions, and thoughts, but they give us more insight into his real
feelings and emotions which are shown by
his actions.
Okay, enough.
Clearly this song is a favorite of mine.
In those few verses we get enough hints of the man’s life before and
after this one phone call that a novel, or a movie screenplay could be
written.
I love
songs that do that.