How Can Readers Know Information Unless I Tell Them?

image by TPHeinz

When information and explanations


slow the story’s pace, or

bore or frustrate readers

writers need to hear, “Much information and explanations

aren’t necessary,

shouldn’t be told through author intrusion,

can be fed in a little at a time,

can be given without head hopping, and

should be shown through actions and dialogue.

Here’s an example.

Information and Explanation Overkill

“How are you today, Todd?” CNA Cassie, her title meaning Certified Nursing Assistant, said to nursing home resident, Todd, a thirty-year-old man who’d been in Serenity Nursing Home since his car accident a month ago.

“No worse than yesterday.” Todd hoped Cassie would deliver his breakfast and leave. He didn’t feel like talking.

image by dfbailey

Todd was missing one leg below the knee and the opposite hand. After he’d seen his girlfriend enter a restaurant with his business rival, he’d texted her while driving. The rescue squad had to cut him out of his wrecked car.

Todd’s therapist would arrive soon. Danny had become his friend and watched TV with him after his shift.

CNA Cassie set his tray on his roll table, the kind all nursing home rooms had. “Todd, you need to eat more.” She’d checked with the nurse and learned he’d lost ten pounds because he ate less.

She was drawn to Todd and had enjoyed bantering with him until he’d stopped about a week ago. She’d thought he liked her more than a CNA or a friend.

She removed his comb from his bedside table drawer, but when she tried to comb his hair Todd stopped her with the arm that still had a hand.

Why’d Cassie always have to do things for him? She knew he could comb his hair with his right hand.

Cassie, downcast, but wanting to show she didn’t care he’d pushed her away, grabbed his laundry bag and left the room.

image by OpenClipart-Vectors


  • Choose only Cassie’s point of view because the scene’s main purpose is to show Cassie’s feelings for Todd.
  • Save how Todd lost his limbs for a later scene to add suspense and boost a sagging story middle.
  • See below. I’ve deleted unnecessary information and explanations and worked other information into Cassie’s thoughts and dialogue to get the story moving.

Improved Scene

Certified Nursing Assistant Cassie carried a breakfast tray into Carl’s room and smiled. “How are you today, Carl?”

“No worse than yesterday,” Carl mumbled.

Cassie rolled her eyes. Every day for the last week, he’d been grumpier than the day before. If only Carl understood missing a hand and a leg below the knee didn’t make him a freak.

He thumbed the bed control device and raised himself to a sitting position. His arm stub nudged the TV remote aside on the roll table.

Cassie set the tray in front of him and opened his milk carton. “Your therapist is scheduled for ten.”

“Don’t you think I know that? Danny’s the only one I can stand around here.”

Cassie forced her smile to remain as she unsheathed his straw. “Try to eat more this morning.” She inserted the straw into the carton. “You need to gain your weight back.”

Carl grunted.

Why wouldn’t he look at her? In the first weeks, their banter had been fun. For a good-looking guy of thirty, he could have an enjoyable life. When Serenity Nursing Home released him, she’d gladly date him.

image by waldryao

“During my afternoon break, would you like me to wheel you around the garden?”

He stabbed a sausage link. “No.”

“I thought you enjoyed the walks. Would you go if someone else took you outside?”

He met her gaze as he bit off the end of the sausage. “It’s not you. I just prefer my own company.”

Her heartbeats fluttered. She wasn’t his problem. Maybe with time …

She glanced at his unruly dark curls. How she’d love to touch them. She removed his comb from the bedside table. “Let’s make you presentable for your own company.”

He pointed the fork at her. “Don’t. I can comb my own hair.” He directed the fork toward the door. “Just go.”

A knot formed in Cassie’s throat. No way would she let him see he’d hurt her. She grabbed his laundry bag and left.

How to handle explanations and relay information in your story. Click to tweet.

Look at one of your scenes. How did you relay information?

COOKING UP KISSES – has earned an Amazon #1 bestseller ribbon in two categories!

Five scrumptious e-book romance novellas, all for $0.99 or free on KindleUnlimited. Here’s the link.  Here are the blurbs:





Candace Parks lives a passionless life in Richmond. The computer programmer returns to the empty family home in the Blue Ridge Mountains solely to evaluate her job, faith, and boyfriend. Her high school crush, Trigg Alderman, who barely remembers her, visits his Gram next door. Sorting her life out? How about nothing of the sort!



Alana Mulvaney’s life is in a holding pattern. Consumed by day-to-day operations of the family business, Alana has no time for fun or romance. But a little fun and a whole lot of romance is just what Alana’s sisters have in mind when they learn childhood friend Donovan O’Reilly has returned to town.
Donovan O’Reilly has loved Alana Mulvaney since he moved in next door to her at the age of five. But he broke her heart when he was forced to leave town, and now that he’s returned home to Winding Ridge he has a second chance to prove himself. But is it too late to earn her trust…and her love…again?


Toni Littlebird believes that when she meets the man God created for her, she’ll know—and she’ll love him in that very moment.
But then Dax Hendrick roars into Hummingbird Hollow on a noisy, crippled Harley, stinking up the air and chasing away her beloved hummingbirds. One look into the intruder’s eyes and her heart sinks. He’s “The One.” She’d been right ab

A 50-Item Checklist You Won’t Want to Leave Your Scene Without

“Scenes are capsules in which compelling characters undertake significant actions in a vivid and memorable way that allows the events to feel as though they are happening in real time.”

—Jordan E. Rosenfeld (Make a Scene)


Scene Checklist


[  ] Has 3 reasons the scene should exist. Possibilities:

  • Progresses or changes character’s goal
  • Moves plot forward
  • Adds conflict between opposing characters
  • Introduces a character
  • Develops a character
  • Foreshadows
  • Raises stakes


[  ] Clear beginning, middle, climax (disaster), and end. 

[  ] Opening hook – lines that grab reader.

[  ] Opens mid action – not description or explanation.

[  ] Action scenes – goal->conflict->disaster. 1

[  ] Reaction scene – response->dilemma->decision. 1

[  ] Point of view (POV) character – character with the most to lose in the scene – reveal immediately.

[  ] Reader immediately grounded in who, what, where, when, why.

[  ] Setting – revealed through what POV character reacts to, sees, hears, does.

[  ] Something’s at stake, or story stakes are raised or reinforced – make situation worse, or stakes matter more.

[  ] Fear hovers – character might not meet her scene goal.

[  ] Actions –interesting; advance plot or exhibit character; performed in real time. 

[  ] Pace – appropriate for what’s happening.

[  ] Mood, tone, or author’s voice – realistic for scene, and the book’s genre.

[  ] Obstacles – people, events, emotions, secrets get in the way of characters meeting their goals.

[  ] Climax (disaster) – relevant to the plot or characterization.

[  ] Element of suspense, surprise, twist, or foreshadowing – creates anticipation; delivers a worthy payoff relevant to plot or characterization.

[  ] Metaphor or symbol.

[  ] Ending hook – transitions to next scene; entices reader to read on.


[  ] Clear wants, emotional and physical – drive actions, dialogue, thoughts.

[  ] Pushes away from something negative; pulls toward something positive (emotional or physical). 1

[  ] A hint of victory; two hints of failure. 1

[  ] Conflicting values.

[  ] Reader can identify or empathize; knows whom to root for.

[  ] Secondary characters – clear purpose for being in scene.

[  ] Hints of wounds, fears. Or competencies.

[  ] Reactions shown – to stimuli that affect feelings.

[  ] Balanced emotion, dialogue, internalization (considering scene type).

[  ] 5 senses included – sight, sound, taste, touch, smell.


[  ] Tight, every word needed.

[  ] Interesting; moves scene forward.

[  ] Natural – leaves out boring parts of actual dialogue.

[  ] Characters’ voices – distinctive; could know speaker by his word choices.

[  ] Reveals or hints at emotions, undercurrents, or secrets.

[  ] Reveals character, plot, conflicts, or bits of important information.

[  ] Includes a zinger – jibe, bold truth, dry or humorous comment. 1

[  ] Action beats or simple speaker attributes (said) – identifies speaker.


[  ] Clichés – in dialogue, characterization, plot.

[  ] Coincidences (something drops in to save the day).

[  ] Vagueness (it, that, pronouns that don’t tie, etc.).

[  ] Clever writing that adds nothing; confuses.


[  ] Boring, purposeless sentences and paragraphs.

[  ] Detailed body movement descriptions.

[  ] Unnecessary explanations.

[  ] Weasel words – except when they work in dialogue.


[  ] Shows often; tells as needed.

[  ] Clear, concise, uncomplicated sentences.

[  ] Correct words (dictionary and thesaurus).

[  ] Power noun, verbs.

[  ] Short narratives when necessary (getting from one place to another).

[  ] Active voice – limit “was.”

[  ] Positive form used when possible.

[  ] Backload – ending words (sentence and paragraph) that tie to passage’s meaning.

Idea from Susan May Warren’s MBT Deep Thinkers Retreat manual.

Transform your scene with this comprehensive checklist. Click to tweet.

What would you add to this checklist?