Writing a novel is like creating a movie in your reader’s mind. You need to show the story, not just tell it. As writing coach Randy Ingermanson reminds us, our goal is to “create a movie in our reader’s head” by focusing on showing, not merely telling. To do that, novelists use seven core tools: five showing tools (Action, Dialogue, Interior Emotion, Interior Monologue, Description) and two telling tools (Flashback, Narrative Summary). By learning each tool – especially the foundation tools of Action and Dialogue – you’ll make scenes vivid and help readers feel the story.

Action (Show – The Foundation)

Action is simply what characters do. It’s the stuff that happens in real time: running, fighting, hugging, smashing doors – anything physical. Action drives the plot and keeps the story moving. Every exciting scene is built on concrete actions. For example, instead of saying “They argued,” show them yelling and slamming fists.

• What it is: Physical movement or events in the scene.

• Why use it: Action moves the story forward, creates tension, and makes scenes feel dynamic.

• Tip: Use strong, specific verbs and short sentences to make action punchy.

Example: John sprinted across the hallway, dove through the door just before it slammed shut behind him. His heart pounded as he dashed down the stairs.

This snippet uses verbs like sprinted, dove, and dashed so you can almost see John’s frantic escape. That’s the power of Action – it lets readers watch the story like a movie.

Dialogue (Show – Voices in the Scene)

Dialogue is what characters say to each other. Good dialogue brings characters to life and reveals their personality. Think of it as eavesdropping on a real conversation in your story. As one writing guide notes, “Dialogue … is an indispensable part of every story”, because it reveals backgrounds, motivations, and feelings while keeping readers hooked. Dialogue also breaks up action and gives the reader a rest from narration.

• What it is: Spoken words between characters, written with quotation marks (or appropriate punctuation).

• Why use it: It advances the plot, reveals character traits, and makes scenes feel natural and immediate.

• Tip: Keep dialogue realistic and concise. Each character should have a unique voice.

Example: “We have to get out of here!” Maria whispered, voice shaking. “Now!”

In this example, Maria’s urgent whisper (and her words) tell us she’s scared and pressed for time. The reader hears her voice and feels the tension. Notice how we avoid long speeches – short lines often feel more urgent and real.

Interior Emotion (Show – Feelings on Display)

Interior Emotion is showing how your character feels through physical or sensory cues. Instead of stating the emotion (“She was nervous”), you describe the body’s reaction or the character’s emotional experience. For instance, heart pounding, knotted stomach, sweaty palms – these details let the reader feel the emotion. This tool is still showing, because it describes sensations rather than just labeling a feeling.

• What it is: Descriptions of what the character is feeling inside (often via body language or physical reactions).

• Why use it: It connects readers to the character’s emotional state, making them empathize and feel along with them.

• Tip: Use sensory details (heartbeat, breathing, trembling, etc.) to convey the emotion.

Example: Her stomach twisted into knots and a cold sweat broke out on her forehead as she stepped into the dim room.

Rather than saying “She felt scared,” this example shows fear through her body. Notice how vivid this feels – you can almost feel what she feels. As one writing tip puts it, rather than telling “Jane felt scared,” it’s more powerful to show the pounding heart and cold sweat. That way the reader experiences the emotion firsthand.

Interior Monologue (Show – Thoughts)

Interior Monologue (or “inner dialogue”) is when you write the character’s thoughts in their own voice. It’s like letting the reader hear the character’s silent voice in their head. This is different from emotions: it’s actual words or images in the character’s mind. You can put these thoughts in italics or make it clear they’re thinking (e.g., using “he thought” or simply formatting).

• What it is: The character’s unspoken thoughts and reactions.

• Why use it: It gives direct insight into the character’s personality, plans, and conflicts. Readers get to know the character from the inside.

• Tip: Keep it concise and relevant. Only use interior monologue when it adds to the story or character.

Example: “No, this can’t be happening,” Mark thought, fisting his hands in frustration. “Why did I ever trust him?”

Here we italicize (or can prefix with thought tags) to signal these are Mark’s thoughts. The reader hears exactly what Mark is thinking, adding depth beyond what he says out loud. It feels like sitting inside his head.

Description (Show – The World of the Story)

Description is painting the scene with the five senses. It tells the reader what the character sees, hears, smells, tastes, or touches. Good description grounds the reader in the setting and mood. It’s how you make the world feel real. But don’t overload with needless detail – focus on what’s important in the scene.

• What it is: Sensory details about places, objects, sounds, smells, weather, etc.

• Why use it: It creates atmosphere and helps readers visualize where everything is happening.

• Tip: Show only what the POV character would notice and what adds to the mood or plot.

Example: The lantern’s flicker revealed peeling wallpaper and a thin layer of dust on the mantel. Outside, a soft drizzle tapped on the window, and the air smelled of damp earth.

This description uses sight, sound, and smell to set a spooky mood. You can imagine the old room and hear the rain. By focusing on details the character would notice, the scene becomes vivid without slowing down the story.

Flashback (Tell – A Trip to the Past)

A flashback tells a past event by pausing the present scene to show something that happened earlier. It’s like a mini-scene from the past, often triggered by a memory or a clue. Flashbacks are telling tools because they explicitly pull back the curtain on backstory. Use them to explain a mystery or show important history, but use them sparingly – too many flashbacks can interrupt the flow of your present-story “movie.”

• What it is: A short scene or memory from earlier in the story (often indicated by a time cue or transition).

• Why use it: It reveals crucial backstory or character history that shapes the present moment.

• Tip: Introduce a flashback naturally (e.g., a character hears something that reminds them of the past). Limit them to key moments.

Example: As Lisa reached for the old photograph, the edges blurred and she remembered that rainy day five years ago: the same cabin, the same red door where she first met Tom.

This example “cuts back” to Lisa’s memory. The reader steps into her past. Notice how we signal the flashback (through her memory of the photograph) and shift the scene. It fills in backstory that’s important for now.

Narrative Summary (Tell – Telling It Quickly)

Narrative Summary is telling the reader what happens in a brisk way, rather than showing it moment by moment. It’s useful for covering routine events or skipping ahead in time. Think of it as the narrator saying “and then this happened” in a few sentences. Summary tells rather than shows, so use it to speed up or skip details you don’t need to dramatize.

• What it is: A concise overview of events or facts, often skipping minor details or time gaps.

• Why use it: It moves the story forward quickly when scene-by-scene action would bog it down. It can also explain information efficiently.

• Tip: Use summary for transitions between scenes or to cover long periods (“Three months later…”). Keep it brief and lively.

Example: Over the next three weeks, the team trained every morning at dawn. They grew stronger and the plan became clear, day by day, without a word wasted.

Instead of showing every training session, this summary jumps ahead. It tells us what happened in broad strokes. Notice words like “over the next three weeks” that signal a timeskip. This keeps the story moving so you don’t have to read every single training scene in detail.

Putting It All Together: Building Your Story Layer by Layer

Think of writing your novel like building a structure. Action and Dialogue are the foundation – they anchor each scene in real-time and keep readers watching. Next, add layers of emotion, thought, and description to flesh out the scene and characters. Finally, use flashbacks and summary sparingly to fill in backstory or skip time. The right mix of showing and telling will help readers feel your story, not just read about it.

• Start with the big picture: Use Action and Dialogue to create immersive, movie-like scenes that grab attention.

• Add depth: Sprinkle in Interior Emotion and Interior Monologue so readers live the characters’ feelings and thoughts. Enrich the setting with Description so scenes are vivid.

• Use telling when needed: Rely on Flashbacks or Narrative Summary for backstory or to bridge gaps, but keep your main focus on showing.

• Rule of thumb: “Show” the major events so your reader feels like they’re actually there. Show what’s exciting; tell briefly what’s necessary.

By practicing these tools, scene by scene, you’ll learn to balance showing and telling. Before long, your writing will spark scenes in readers’ imaginations. Keep it fun and remember – giving readers a taste of the action and emotion will make them live your story, not just read about it. Good luck!

Key Takeaway: Use these seven tools wisely – build from strong action and dialogue, layer in emotion and detail, and use brief telling (flashbacks/summary) to round out the novel. This way, you’ll create a rich, engaging story that feels like a vivid movie unfolding in your readers’ minds.