Readers coming to Andre Aciman’s Call Me By Your Name only after having seen Luca Guadagnino’s film adaptation will perhaps notice that the luxurious setting depicted in the film is less of a concern in the book. In a way, this makes perfect sense-- film is a visual medium, after all. But we can also say that the amount of attention a writer pays to setting is a choice; in other words, a writer may use it to shape the story as much or as little as they like. When a writer rea

Sometimes writing advice gets distilled into slogans that proliferate unchecked. “Show, don’t tell” is a prime example. In a sea of more nuanced (and often more confusing) tips and explanations, it offers something clear and immediately usable. As a result, it is bandied about with confidence in workshops and online forums, despite the frustrations it often creates. The frustrations come when trying to fulfill the directive itself, which can be further distilled into another:

Writing dialogue can often feel daunting. When faced with everything it is said to achieve—advance the plot, build character, create tension, add atmosphere-- it can begin to feel like a juggling act. When is it doing one thing rather than another? Or is it meant to be doing them all at once? It’s no surprise that many developing writers try to avoid it altogether, hoping their characters will make do with weighty silences and meaningful looks. Part of the anxiety stems from