• Wondering which camera, gear, computer, or software to buy? Ask in our Gear Guide.

Show vs Tell

Hi,

I've been reading a script titled "John Q" as I want to understand how to convey emotions in a screenplay using not only dialogue and facial expressions, but environment, mood and tone etc.

I came across this in the script and I keep thinking it's against screenwriting regulations as it's not show but tell, but yet it seems okay in this example as the script was obviously produced. Would you class an example like this acceptable:

J.Q. blinks. The wound, the hysteria, the events of the day, and now a leg sticking through the ceiling. It's all very surreal. He gets up, moves to the leg, and pulls. And the ceiling comes crashing down.

Going back to emotions, is it better to not really explain facial expressions and instead convey them using different methods? Like instead of saying after hearing someone speak:

Luke is astonished

Write: Luke hears the words as they sink in.


Or how about:

Linda expresses anger towards Joe

Write: There's a chill in the room. (We can use the dialogue to convey their feelings)

Does anybody else know any other examples as this is something I need to learn.

Thank you.
 
Last edited:
"Luke hears the words as they sink in" is wasted space. Of course he hears words, unless he was previously a deaf character.

Astonished at least gives an emotion for the actor to convey.
 
"Luke hears the words as they sink in" is wasted space. Of course he hears words, unless he was previously a deaf character.

Astonished at least gives an emotion for the actor to convey.

That line where the words sink in for Luke, that I've seen the John Q script as well. Same with the chill in air.
 
Talking symbolism and metaphor - I love it!

The most obvious method is use of lighting. Too many film makers focus on camera work, dialogue and scenes, and then dabble with lighting as an after-thought. There are a lot of tools at your disposal: soft lighting, harsh, spot, coloured, flagged, shadowed, moving, natural, even old gas lighting if you like. Lighting is a massive part of telling a story on camera, so start dabbling.

Then we have scenes. This is pretty obvious too. You can use cliches like shadowy scenes in horror to help project the emotion on the viewer, or you can use symbolic scenery. For Ceremony we are using a drag, browned parkland to symbolise the coldness of the characters feelings towards others and their wish to escape the urban environment. The colouring and bordering of trees pays to just the feel we want during the scene, so the shots are narrow view with plenty of depth.

Of course you could go abstract - we're also using symbolism there for Breaking the Habit in an abstract fashion (but I won't give too much away there ;) ).

And don't forget colouring in post-prod!
 
Hi,

I've been reading a script titled "John Q" as I want to understand how to convey emotions in a screenplay using not only dialogue and facial expressions, but environment, mood and tone etc.

I came across this in the script and I keep thinking it's against screenwriting regulations as it's not show but tell,
As you can see in the "John Q" example it's not against screenwriting regulations
to embellish a bit. Many new writers over do it which is why the general advice
directed towards new, unproduced writers is to leave it out altogether.

I would say that "There is a chill in the room" doesn't fit in a screenplay. It's not
against any "regulations" but there are more visual ways to convey that mood.
The finished product is visual so it's good practice to write what can be seen rather
than write what is felt.

joelhall; I'm not understanding how your post fits into a discussion about the
writing of the screenplay. I agree with you about lighting and coloring in post
but I don't quite see how that relates to the screenplay. Can you elaborate?
 
As you can see in the "John Q" example it's not against screenwriting regulations
to embellish a bit. Many new writers over do it which is why the general advice
directed towards new, unproduced writers is to leave it out altogether.

I would say that "There is a chill in the room" doesn't fit in a screenplay. It's not
against any "regulations" but there are more visual ways to convey that mood.
The finished product is visual so it's good practice to write what can be seen rather
than write what is felt.

joelhall; I'm not understanding how your post fits into a discussion about the
writing of the screenplay. I agree with you about lighting and coloring in post
but I don't quite see how that relates to the screenplay. Can you elaborate?

Sorry, directorik, I didn't explain myself too well.
Now and then it's not too unusual to add a little direction to the screenplay (obviously not to the point of telling a director what to do, unless you are writing it for yourself). I often do this where I feel I must set a tone, or there is an important visual element. Of course many of my screenplays have an abstract or art character to them which makes this a little more accepted than writing say, an action film, which may bias my point somewhat. Something along the lines of:
"John Smith opens and reads a telegram. Shadows appear across his face."
"Jane Smith stares intently at John Smith, smiling. The room around them becomes brighter and richer."

Or as a real example from Ceremony:
"The young woman continues along the path. The rose in her hair gradually dulls in colour."

It's not a strict adherence to rules but it conveys something which can act as a powerful tool when someone is reading through to get a sense of emotion. Granted, it's not quite as elaborate as what I wrote above, but there are ways of being creative with the screenplay. Sometimes it feels as if writing can be too confined. Point is of course not to overdo it, and start directing every part of the screenplay.
 
dissecting ""The young woman continues along the path. The rose in her hair gradually dulls in colour."

People dont "continue to walk", they just walk.

The rose is already moving through time, any action it takes is gradual, so gradual is not helpful in this context.


"The woman walks along the path, the rose in her hair fades"
 
The one thing worse that tell instead of show is to tell AND show. On these grounds, this is said to be why the film "42" is arguably the worst screenplay in history that ever made it onto the big screen: every time anything happens, even though you have SEEN it, all the characters go around telling each other about it over and over again.
 
Back
Top