Writers often hear the advice: “show, don’t tell.” But what does it mean? Read and study a story from the Stone Soup archives to see the power of this technique, and then try it for yourself. Activity Eleven-year-old Ari Rubin’s story, “Lindy,” was first published in Stone Soup magazine in 1993, and it has been included in all the editions of our anthology, the Stone Soup Book of Friendship Stories, since then. To prepare for this activity, read “Lindy.” Consider the way that the story unfolds. You’ll notice that the whole story is “told” to us by a strong narrator’s voice. But he doesn’t explicitly tell us the real story underneath the story. He shows us the various events as they happened to him, so that—like him—we don’t understand Lindy’s bigger story until the very end. Then, we notice all the hints dropped along the way. We see the journey the narrator has been on, and how he got to where he is now in terms of his feelings about Lindy. This approach makes you want to read the story again. And then you see that the clues were there all along, cleverly laced in to the narrative. In “Lindy” the author brilliantly controls what he shows us, what he tells us, how, and when. This mastery of the content makes a complex emotional tale come across in an authentic voice that sounds simple and matter-of-fact. The author demonstrates how much more powerful it can be to reveal things to the reader through action and dialogue, instead of listing and explaining all the underlying thoughts and feelings in the order they happen. Read “Lindy” again with a pencil in your hand, and mark the points in the story where something happens, or a clue is dropped, that you only recognised as a clue when you read the story the second time. Now, take a look at one of your story ideas; one that you have developed enough that you know everything about your characters, where they are going in the story, and what happens in the end. Think about when you want the reader to know all those things. Think about how you might structure your story and what clues you might be able to give along the way, and where you might drop those hints. Try to identify the crucial events or moments in the story that relate to the ending, and think about what might your characters do or say or observe at those points, without the words that literally tell us ever coming out of their mouths. How can you give your readers just enough information to mean that the truth revealed right at the end has been signposted, but never explicitly given away, in the course of the story?
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Writing Activity: working with dialogue
The most remarkable part of Lena’s story as a demonstration of the power of dialogue is the last quarter, where four characters respond to a traumatic event. This section, beginning with the “No!” spoken by the narrator and continuing to the end, depends heavily on dialogue. It could almost be a play. Notice that, although the lines spoken by Sandy, Carrie, Mom, the narrator, and Mrs. Hall are often very short, we get a clear sense of how each character differs from the others and how they relate to each other as family, friends, and neighbors. This is accomplished through the narrative that accompanies the dialogue.
Juvenilia: an introduction via Jane Austen, the Brontës and others
Juvenilia is the name given to creative work produced by recognized authors and artists when they were children and young adults. The late eighteenth and early nineteenth century was a fruitful time for juvenilia, especially that of writers. Jane Austen, the Brontë family, and Dante Gabriel Rossetti, amongst others, among others, wrote extensively when they were young. Many of their manuscripts have survived, and a few are available on the Internet. The childhood and adolescent creative work of authors who became famous provides interesting comparison with the work of children and students we know in our lives. As editors of Stone Soup we have published extraordinary work by young writers, work that compares favorably with the best juvenilia. What makes writers, though, is not what they write as children and teenagers, but that they keep on telling stories throughout their lives. The juvenilia you will find on the Internet, in your local libraries and in the creative work publish in the pages of Stone Soup will provide entertainment for yourself, for your children, and for your students. And remember, after getting lost in the world of Jane Austen and the Brontë family, come back to us for the latest and most wonderful work by young people, being written today! To get you started on your journey through juvenilia, we have pulled together some links for you below. If you are interested in the original manuscripts, many of them tiny, handmade and handwritten books belonging to the authors, the British Library web pages have some excellent images and short articles of and about them. Jane Austen (1775-1817) Love and Freindship [sic], circa 1786, age 11 (see also our post on the 2016 movie by Whit Stillman with the same name, but actually based on a later novel, Lady Susan) Frederick and Elfrida, circa 1788, age 12-14 The Three Sisters, circa 1790, age 15-16 You can read more about Jane Austen’s juvenilia, and see images of some of her original hand-written notebooks, at the British Library website. Charlotte Brontë (1816-1855), Emily Brontë (1818-1848), Ann Brontë (1820-1849), (and Bramwell Brontë, 1817-1848) The young sisters and their brother created entire imaginary worlds–such as Emily’s Gondal and Bramwell’s Angria– which they wrote about prolifically in their youth, and produced tiny handwritten newspapers and magazines for themselves. The Brontë Sisters Web by Mitsuharu Matsuoka More links from Great Britain about the Brontës There are notes about and images of the Brontës’ notebooks, and an interesting video of a discussion about the Brontës’ juvenilia (in which experts handle the tiny original materials), at the British Library website. Dante Gabriel Rossetti (1828-1882) Poems written around 1843, age 14-15
