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Show vs. Tell
Show, don't tell!
If ever a statement came like a blunt kick to the novice writer's head, this is it. It's brutal, exclamatory, assertive. And terribly vague.
Oftentimes, new writers receive this bit of advice, but fail to receive an explanation of any logic or meaning behind it. Show. Tell. What exactly are these, how are they different, and how does a writer go about implementing them into his work successfully?
Let's take a look at each.
Telling is easy. It's simply that
It was a sunny day. Despite previous warnings, Robert acted like a jerk. Rhynny hated her lunch, but she ate it anyway.
All of these statements serve one purpose: to tell the reader how things are, what's going on, or who's feeling what. And telling sentences like these
whether they are simple, complex or compound
strung together into paragraphs, are known collectively as narrative summary.
If we look at the definitions of each word, narrative and summary, we can get a good idea of what narrative summary really is. Narrative
a recounting of past events; summarya condensation of main points.
Thus, narrative summary could be defined as the concentrated telling of a story's primary points, or a concise report of prior happenings, all relayed through the words of a narrator.
Because of its foreshortened nature, narrative summary tends to read as easily as something recited to a friend over the phone or at a casual lunch meeting. A second-hand account, if you will, with a here's what had happened or this is the way it was or looked feel to it, which is not necessarily a bad thing. Even in today's world of writing, where immediate scenes (or showing) have taken precedence, narrative summary serves an important purpose. It can:
Vary a piece's rhythm
It slows things down, allows the reader to take a breather after a grueling or lengthy scene. A story filled entirely with action can be exhausting for the reader, and a varied rhythm can help temper this.
Help condense repetitive action
A scene that happens time and again need not be stretched out into further scenes, time and again. Shown once and, since the reader will know what the scene consists of, others can be summarized thereafter. Or summarize less important scenes similar to a key scene later on.
Aid plot development involving a minor character
Instead of having to introduce a minor character at length, or for one that's already been introduced but his interaction with the main character doesn't warrant a full scene, narrative summary can be used. Needed information is delivered without straying unnecessarily from the plot line.
Transition between scenes
A brief event can smooth the way between bits of action or character interaction, without leaving an illogical gap or a sudden, unintentional jump in time.
So what does telling look like? To find a perfect example, one need search no further than a young children's book. With the aid of pictures, many of these books are constructed through telling; nothing needs to be shown.
Take Leo Lionni's book
, the tale of a mouse with a special gift for words, for example:
All along the meadow where the cows grazed and the horses ran, there was an old stone wall. In that wall, not far from the barn and granary, a chatty family of field mice had their home. (pages 1-3)
Simple, straightforward telling. The reader is told the place and the characters involved; neither are described through a particular character's viewpoint. But since the pictures do the visual work, there is no need for any elaboration. Things are told as straight fact: this is the way it is and here's what happened. A concentration of the story's primary points.
Sometimes, however, narrative summary in more detailed works can engage a reader very well. Take a passage from chapter one of Tolkien's
The Hobbit
, for example:
It [the hole] had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel; a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats. (page15)
And the passage goes on to say: . . . bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining rooms . . . [and] deep-set round windows looking over his garden and meadow beyond . . . (page 15)
Here, Tolkien, through omniscient narration,tells the reader what the hobbit hole looks like, rather than bring the reader into the dwelling through the main character's eyes. But because of its structure and the nature of the words chosen, the summary is just as engaging as a first-hand account would be, especially coming directly after his introductory paragraph:
In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it . . . it was a hobbit hole, and that means comfort. (
The Hobbit
, page 15)
For many writers, showing can be a bit more difficult. Short of physically bringing a story world and its events to a reader (which, on many levels, is impossible), the writer is forced to recreate it through the written word; a task not easily done.
Showing entails wrapping the story around the reader through character action, interaction and dialogue, and through the use of the main character's senses
sight, sound, smell, taste, and touchto describe the surroundings and relate a series of events to a reader. He is not told flat-out how things look or the way things are, but is instead pulled in by the main character through his role in the story. A first-hand account, in other words. And all of this can be accomplished through what are called immediate scenes.
If we pick apart the phrase immediate scene, we can discover its underlying meaning. Immediateoccurring at once; scenesomething seen by a viewer. Thus, an immediate scene could be defined as a real-time unfolding of events that happens before a reader. But since the reader can't really see the goings-on of a story, the writer must manipulate the mind's eye, or the imagination, through immediate scenes in order to bring the tale to life.
Yet, because of their complexity and involvement, immediate scenes are often harder to write. They tend to be longer, contain settings and some type of action (usually dialogue), and are constructed out of a series of relevant details to form a pattern through which a reader can logically infer what's happening. And this is the biggest difference between showing and telling: reader inference versus writer relation.
So, what do immediate scenes look like? Take this bit of narrative summary, for example:
Sarah loved her horse, Star. Every morning she went to the barn to feed and groom the mare, even in the wintertime. She would give her carrots and bits of apple as treats, then clean out her stall and put in fresh shavings for her bedding. The barn manager was always impressed with this.
With a little effort, we can expand this into an immediate scene by folding it around the reader through action and dialogue, and through the character's senses:
Sarah arrived at the barn with muck boots on, pitchfork in hand and grooming bucket by her side. Pale morning sunlight filtered through the evergreens alongside the meadow, where a new snowfall had blanketed the stunted field grasses beyond the fence. A chill nipped her face. She shivered and blew into her cupped palms before rolling back the sliding door.
At the entrance, Sarah paused to take in the sweet scent of hay, the rustle of livestock. Inside, her mare, Star, nickered from the corner stall. Sarah smiled, dipping her hand into her pocket, feeling for the bits of carrot and apple she had stored away, then eyed the pile of fresh shavings and the wheelbarrow in the corner of the barn.
First things first
, she thought.
Right on time, a voice said behind her, as usual. You have to be the most dedicated horsewoman I've ever seen, Sarah.
Sarah turned to watch the barn manager lean over and pick up her grooming bucket. He straightened and smiled.
Yep, replied Sarah. Dedicated to the last.
Notice the difference? The first gives a straight-fact rundown of Sarah's love for and dedication to her horse, even through the wintertime, while the second sets the reader beside Sarah in the cold winter morning and shows him her love and dedication through Sarah's actions and dialogue.
But even within larger immediate scenes, showing on a smaller scale can take place, most notably for setting and character description, and for character emotion. Consider this bit from Rand and Robyn Miller's novel,
Myst, The book of Atrus
You want me to dress the child for the journey?
Gehn did not answer, and for a moment she [Anna] thought that maybe he had not heard, but when she went to speak again, he turned and glared at her.
Keep it. Bury it with its mother, if you must. But don't bother me with it. You saved it, you look after it.
She bristled, then held the child out, over the gap.
This is your son, Gehn. Your son! You gave him life. You are responsible for him. That is the way of things in this world.
Gehn turned away. (page 2)
Instead of directly stating, Gehn was a callous man. He disowned his infant son and his mother, Anna, was angry over it, the reader can easily infer this through the characters' actions and dialogue. Gehn glares and turns away. Anna bristles before rebuking Gehn. The reader is shown their emotions and the tension between them.
And in sentences from further passages: Gehn stamped across the churned ground and quickly climbed the steps, pushing past her roughly to go inside. (page 2) and She made to give the child to Gehn, but he brushed past her and stepped out onto the rope bridge. (page 3), the reader's assumptions are backed up.
In the prologue to John Saul's
Comes the Blind Fury
, the reader is asked right from the beginning to form his own descriptive opinion of the main character, an unnamed girl of twelve:
She moved slowly along the path, her step careful, yet not hesitant. The path was familiar to her, and she knew almost by instinct when to move to the left, when to veer to the right, when to stay close to the middle of the trail. . . . she looked more like an old woman than a child of twelve, and the walking stick she always carried with her did nothing to lessen the impression of age. (page 1)
The reader is provided with hintsprecise and deliberate movements, an instinctual approach, a walking stickall before Saul mentions anything about the girl's blindness. He has expected the reader to glean this information all before he tells him that he's correct in his assumptions.
So which is better, showing or telling?
Neither. Each serves a purpose within writing, and it's up to the writer to decide which parts of his story need to be shown and which parts can be told. In general, key moments that drive the plot forward, actions that develop a character, and character description or one that provides a setting are shown, whereas bits of background and exposition, small shifts in time or transitions, and repetitive actions are all told.
But these are only guidelines. Like everything, it varies from writer to writer, story to story, depending on how an individual chooses to construct his tale. A writer may rely more heavily on narrative summary for a short story that spans a long period of time and devote more immediate scenes to a full-length novel with fewer restrictions on word count.
According to Rennie Browne and Dave King, two long-time editors and authors of the book
Self-Editing for Fiction Writers
: . . . thanks to the influence of movies and television, readers today have become accustomed to seeing a story as a series of immediate scenes. Narrative summary no longer engages readers the way it once did. (page 3)
But even they acknowledge that show, don't tell isn't a rule set in stone and that There are going to be times when telling will create more engagement than showing. (page 11)
Show, don't tell!
The blunt kick has been softened. Logic and meaning have been offered. Ambiguity has been removed.
Now it's up to you, the writer, to wrap your story around your potential readers in a subtle balance of narrative summary and immediate scenes. A confident writer isn't afraid to both show and tell, but he also knows when, how and where to implement each in order to present his story in the best possible light.
Show, don't tell.
Not such an ironclad rule after all, is it?
Twenty-year-old Marisa discovers her life is all a lie:
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In the past few weeks, most of our nation has had to deal with extreme cold, snow, ice and all the troubles which accompany such things.
One might ask, is there an explanation for all this? The answer is yes, but it's not what we might think.
Our inclination is to blame changes in the weather patterns and maybe even global warming, although it is difficult to argue for the latter when it is so cold.
I suggest more far-reaching explanation; the Lord God, sovereign ruler of the universe is trying to get out attention — and we are not paying much attention. As a people, we are bound and determined to do our own thing in our own way. We have rejected God's law and thus the law-giver is becoming impatient with us.
Consider the Ten Commandments are violated constantly. We worship gods other than the God of the Bible, gods such as power, prestige, pleasure and wealth; we commit wholesale adultery and, more recently, so-called same sex marriage; we violate the commandment not to murder with constant reminders on our streets of how little we value human life, and this includes life in the womb or life at the end of our days; we are constantly lying one to another, not just at the higher levels of government, but on the streets and in business; and then we covet what others have and often do "whatever it takes" to get it.
The ancient prophets spoke the word of God to the children of Israel, but Israel did not listen; consequently, the Northern Kingdom of Israel was conquered by the Assyrians around 721 B.C., never to return to their homeland again, and the Southern Kingdom was sent into 70 years of captivity a little more than 100 years later in about 606 B.C.
Therefore instead of blaming weather patterns or "Mother Nature" for our ills, we should look inward and see where we have transgressed the law of God and turn in repentance to the only one who can — and has promised — to bless us.

subset: commoncrawl


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Hooksett ushers in new era with new police chiefBy BRENDAN CLOGSTON
Union Leader Correspondent
January 07. 2013 11:03PM
HOOKSETT - Peter Bartlett was sworn in as Hooksett's new police chief Monday evening in a ceremony attended by his family, department employees, the Police Commission, Hooksett residents, and town government officials.
After the swearing in, Bartlett's son Ryan, standing next to the new chief's other two children, Jake and Sydney, pinned the badge on his father's uniform.
The chief then gave a brief statement, thanking the town for its confidence in him. He also spoke about the revitalization he wants to bring to the department.
"If you stop by my office ... you'll see that my office is painted a different color than every other wall in this building," Bartlett said during his remarks. "That's because a freshly painted office is so much more than a different color on the wall: it represents change, and a willingness not only to move away from beige walls, but business as usual here at Hooksett police. An opportunity to resurface an already solid inner structure of good, professionals officers and employees who have dedicated themselves to serve this community for a safer place to live, work, and play."
"My office was painted by me as proof that I am committed to this new beginning," Bartlett continued, "and it starts with me, in my office."
The audience gave his swearing in and his speech a standing ovation.
Residents and town councilors present spoke optimistically about Bartlett's appointment.
"By all indications, he seems like a good hire," said Councilor Vincent Lembo. "I hope he settles in well."
"It's a good day for the town," said Councilor John Danforth. "We're going to have a qualified officer to lead the department going forward. Things are only going to get better from here."
The Police Commission has also expressed pride in the chief, saying it signals a "new era" in the town.
"It's very exciting to be at this juncture, to be able to swear the new chief in," said Police Commission Chair Joanne Mchugh.
"We look forward to a new era in Hooksett and it starts today," said Police Commissioner Kenneth Scherer. "Hooksett is back, and back in a good way in the news and we're excited."
Monday was also Bartlett's first day at the department, which he spent primarily meeting with the employees and finalizing paperwork, all of which he said went well.
"Everybody's been so great," he said of his first day meeting with the staff. "They've been very welcoming. It was good."
Bartlett, who salary in Hooksett is $95,000, had previously served with the Manchester olice Department for 24 years, with nine of those years as a supervisor. He retired from the department in 2011 as a lieutenant. He was also the president of the Manchester Association of Police Supervisors. Bartlettholds a bachelor's degree in criminal justice from the University of Massachusetts, Lowell, and graduated from the New Hampshire Police Academy in 1987. While in Manchester, he was awarded the Chief's Achievement Award and a Meritorious Service Medal.


text:
Search the Fatabase
The federal goal is for Canadians to limit their average daily intake of sodium — which has been linked to high blood pressure, stroke and cardiovascular disease — to 1,500 milligrams.
So why is the Heart and Stroke Foundation of Canada allowing its Health Check logo on restaurant entrées containing almost two-thirds of that amount in just a single serving?
The explanation is much like a diet: getting to where you want to be takes time and commitment.
When it comes to providing consumers with some semblance of independent guidance on eating healthy in restaurants, Health Check — with B.C. government support — is the current standard in Canada.
But restaurants have been slow to sign on, leaving the foundation in a fragile position: adopting tough criteria could simply act as a deterrent to moving the program forward.
"It's a very challenging area, a gradual process," confirmed Carol Dombrow, the foundation's registered dietitian in Ottawa. "You can't go in and say everything has to be low-sodium. First of all, no one's going to want to eat it. Second of all, they'll never be able to meet it."
Experts interviewed by The Vancouver Sun agree the criteria set by Health Check should be tougher.
"I have some criticisms," said Vancouver registered dietitian Jessica Begg of Flourish Wellness and Nutrition. "I know they're trying to get restaurants to buy into it, but they're really not that strict."
Begg noted that a customer adhering to Health Check could consume up to 360 grams of sodium in a side salad plus 720 grams in a small entrée — that's up to 1,080 grams in a single meal. What about people who eat out twice a day?
"That's quite a bit," Begg said. "Are they really healthy? The criteria is kind of lax."
Boston Pizza sells a Health Check-certified Szechuan pizza with 800 milligrams of sodium per 369-gram serving — which compares with 1,460 milligrams for a 354-gram serving of classic pepperoni and mushroom pizza.
Swiss Chalet gets the Health Check logo despite not counting the dipping sauce for its chicken or the dressing for the salad, Begg noted.
"There's no way you'd say no to dressing and sauce. Then it doesn't meet the criteria."
Nanci Guest runs Power Play and is a Toronto-based registered dietitian who served as head sports nutrition consultant for the Vancouver 2010 Olympic Games.
She agrees with Begg's concerns over sodium levels allowed under Health Check. In addition, she said trans fats levels should be zero and that allowing "43 grams of protein at one sitting is not necessary." It is important, she said, to reformulate the criteria to keep pace with scientific nutritional research.
Humble beginnings
The foundation launched Health Check in 1999 for products sold in grocery stores, with the goal of setting nutritional criteria designed to be 25-per-cent healthier than in the general market, Dombrow said. The program works with the food manufacturers who distribute to the retail outlets.
Since then, 150 companies and more than 2,000 products have come on board, each providing a lab analysis for their relevant menu items showing they meet the nutritional criteria.
In 2005, the foundation launched its restaurant program, setting criteria in areas such as fat, sodium, protein and trans fats, but not carbohydrates or cholesterol. To date, only 15 restaurant companies have signed on to the program, including familiar chains such as Boston Pizza, White Spot, Wok Box and Swiss Chalet.
Red Robin was a member for three years, but recently dropped out. The company's Canadian marketing manager, Michele Varley, said only the kids' menu was Health Check certified and that the company plans to take another look at the program once they develop some adult menu items that fit the criteria.
"We still believe in the program," she said. "It's awesome."
A 'real challenge'
The average Canadian consumes an estimated 3,400 milligrams of sodium per day. The Sodium Working Group last year recommended to Health Canada a target of lowering consumption to 2,300 milligrams by 2016. The recommended daily intake level for sodium is 1,500 milligrams.
"It's a real challenge for them to meet our criteria," Dombrow said. "With sodium, you have to go down gradually. Do it slowly, and customers will acclimatize to it."
Health Check announced changes in 2007 and 2008 to the nutrient criteria for the retail program, including reductions to sodium levels on a number of food groups by between 25 and 70 per cent, she said.
To meet the new criteria, companies reformulated existing products and developed new ones, removing even more sodium from the food supply. The changes came into effect in November 2010.
A study of 14 member companies showed they removed about 500,000 kilograms of salt — "the equivalent of 20 dump trucks" — from their products over four years, Dombrow said. "We continue to monitor this. We'll push companies as hard as we can to reduce sodium."
Extreme Pita became the latest restaurant to join, in April.
"Providing transparent nutritional information has always been important to us," explained company president Alex Rechichi. "We felt Health Check was a great opportunity to leverage our offering and gain some more public notoriety around the healthy offerings in our restaurants. People come to us because they want a healthy product."
He urged changes at all levels of the food chain to produce healthier food and to provide customers with nutritional information.
"The entire industry needs to revolutionize," he said. "Young and old, people are really focused on the types of foods they eat. There's a huge shift in the marketplace."
A user-pay program
Restaurants are charged an annual fee to cover the cost of the Health Check program: $1,350 per menu item for a company with one to nine outlets; $2,675 per item for 10 to 35 outlets; $3,325 per item for 36 to 99 outlets; and $4,000 per item for 100 or more outlets.
"We're seeing demand from consumers for more healthy items," confirmed Health Check director Terry Dean. "They're starting to sell more. It's all about choices."
He said the B.C. government contributes $125,000 annually to the program, covering the full cost of restaurants joining the first year and 50 per cent in the second year.
Each incremental change in criteria requires the participating restaurants to come into compliance.
In addition to independent lab nutrition tests to determine nutritional information for menu items, Heart Check does its own independent random tests to ensure continued compliance. To date, none have failed.
Dietitian Begg said her "cardiac rehab clients" do look for the Health Check sign.
"People who are watching their sodium and fat do pay attention to it. They know all about Health Check."
Concluded Guest: "It's become a bit of a business. There are benefits to the food companies, the restaurants, to have Health Check. They're paying for it, but they're also getting that money back to them by increased purchases of those items.
"It's a lesser of two evils, but some of these Health Check options are not healthy options."


text:
Earlier this week, "Boss" star Kelsey Grammer took the "should babies be allowed in bars?" debate to the next level when photos surfaced of his 3-month-old daughter Kayte at the Playboy Mansion's annual Halloween party.
Celebrity gossip site TMZ posted a picture of the child asleep in her baby carrier at the event, "surrounded by hot chicks, booze…and velvet," as the publication so eloquently put it.
PLUS: 25 Things to Do with Leftover Halloween Candy
The surprise twist in this story is now not only is Grammer owning up to bringing his daughter to the party, but he is defending it…in the name of breastfeeding.
"Kayte is breast-feeding and we do not have a nanny or a trusted baby-sitter at this time, so Faith goes everywhere with us," said Grammer in a statement to USA Today. "We enjoyed the party with a few of our friends, the baby slept as her ears were covered the entire time and we left shortly after midnight… We enjoyed the evening. We love our child."
What do you think the Grammer family should have done? Has breastfeeding ever caused you to bring a baby somewhere unusual, or even inappropriate? Share your stories below.


text:
barr 159 (Chlordiazepoxide Hydrochloride 25 mg)
Pill with imprint barr 159 is Green / White, Capsule-shape and has been identified as Chlordiazepoxide Hydrochloride 25 mg. It is supplied by Teva Pharmaceuticals USA.
Chlordiazepoxide is used in the treatment of alcohol withdrawal; anxiety; light sedation; burning mouth syndrome; opiate withdrawal (and more), and belongs to the drug class benzodiazepines. FDA has not classified the drug for risk during pregnancy. Chlordiazepoxide 25 mg is classified as a Schedule 4 controlled substance under the Controlled Substance Act (CSA).
Images for barr 159
Chlordiazepoxide Hydrochloride
- Imprint:
- barr 159
- Strength:
- 25 mg
- Color:
- Green / White
- Size:
- 14.00 mm
- Shape:
- Capsule-shape
- Availability:
- Prescription only
- Drug Class:
- Benzodiazepines
- Pregnancy Category:
- N - Not classified
- CSA Schedule:
- 4 - Some potential for abuse
- Labeler / Supplier:
- Teva Pharmaceuticals USA
- Inactive Ingredients:
- aluminum oxide
lactose anhydrous
microcrystalline cellulose
D&C Yellow No. 10
FD&C Blue No. 1
FD&C Blue No. 2
FD&C Red No. 40
ferrosoferric oxide
propylene glycol
titanium dioxide
Note: Inactive ingredients may vary.
Other Labelers / Repackagers:
|NDC Code
|Labeler / Repackager
|UDL Laboratories Inc.
|A-S Medication Solutions, LLC (repackager)
|Altura Pharmaceuticals Inc. (repackager)
|PDRX Pharmaceuticals Inc. (repackager)
More about chlordiazepoxide
- Chlordiazepoxide Side Effects
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- Drug class: benzodiazepines
Consumer resources
Other brands: Librium
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Always consult your healthcare provider to ensure the information displayed on this page applies to your personal circumstances.


text:
March 18. 2013 9:34PM
Bedford dog park advocates trying to find a path forward
By HENRY METZ
Union Leader Correspondent
BEDFORD - A proponent of the dog park that was cleared for town-owned land off Nashua Road said there's still a chance the facility could be built, despite what he sees as a deliberate effort by some members of the town council to bury the plan.
Fred Hurwitz, of the Friends of Bedford Canine Corner, said he will address the council at its meeting next week to argue that because the warrant article on the dog park proposal was so poorly written, it would be impossible for councilors to determine the intent of the voters who cast ballots. And because interpreting the will of the voters would be difficult if not impossible given the language of the warrant article, the town council could take its own steps to make the park a reality.
"I'll take my five minutes and tell them there's nothing you can really conclude from the (warrant article) question," Hurwitz said. "I don't expect they'll agree with me, but I'll nevertheless be there to raise the issue with them."
The issue that Hurwitz and other proponents of the dog park refer to deals with language in the warrant article that addressed how to pay for and maintain the dog park.
The warrant article read as follows: "Are you in favor of the construction of a dog park on Nashua Road in Bedford, with the cost of construction fully funded in advance by a private citizens group?" The warrant article then gave voters three options for maintaining and paying for the park. The first called for the park to be paid for through taxpayer-funded money, taken out of the town's operating budget; the second option called for private funding the dog park; while the third called for the park to be privately funded and maintained "subject to a lease" with the town. While the question asking voters whether they were in favor of constructing a dog park won 63 percent of the vote, option three, calling for the park to be funded and maintained subject to a lease won the most votes, 1,554, out of the three secondary options.
"That was a poorly written warrant article," said Town Councilor Jim Scanlon, a proponent of the dog park. "Nobody on that nonprofit committee (Friends of Bedford Canine Corner) will sign a lease and assume the liability, and the council knows that. I told that to the other councilors well over a year ago. There hasn't been anyone in six years stepping forward to offer to sign a lease. There are two chances of it happening - little or none. I said it publicly then, and I'll say it again now."
Scanlon said he and Hurwitz drafted their own warrant article language and presented it to the council with the idea that it would find its way onto the March 12 ballot.
"Three people on the council turned down the wording we had come up with, and they drafted their own language" said Hurwitz. "I think what they came up with was intentionally poorly worded. Unfortunately, it was a small contingent that basically manipulated the process."
Hurwitz said that even if the town council rejects his recommendation at next week's meeting, the Friends of the Bedford Canine Corner can still work to get a referendum question placed on the next election ballot.
"I guess it's really up to us," said Hurwitz. "If we go through the referendum process, we just have to get 5 percent of the voters in town to sign a petition, and then we get to control the wording of the referendum."