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In first instance, we're being told about her embarrassment, not how she behaves when embarrassed. Now, take another character, who perhaps becomes angry when she's embarrassed and sentence would read like this:
"She clenched her fists and scowled, enraged he would embarrass her with such lewd comments."
By fixing reader deeply into character, there is no need to tell them she felt, or she saw, writer simply needs to show what that characters feels and sees. As in a character who has a background in fashion design might look at a sunset and see:
"The glowing sun cast landscape in vermillion and gold, a combination she could use in fall designs."
Or another character, who is a romantic at heart, might see same sight and think:
"The glowing sun cast landscape in vermillion and gold, a lush and perfect backdrop for her date's handsome face.
Neither of above would have quite same impact if writer used:
"She saw glowing sun cast landscape in vermillion and gold."
Working with you're characters, their experiences, and learning to show their thoughts rather than telling them, will enliven your work and carry story to next level.
Author of dozens of articles and award winning short stories, Jennifer Turner offers caring and concise critiques for aspiring authors without the high cost of big business editorial services at, ROTO-WRITER CRITIQUE SERVICE http://jturner.00books.com/index.html