Descriptive writing in a novel is like the cream filling in a cake. Too much and it is overpowering, making the whole experience a little distracting for the consumer; too little and the result is boring and tasteless. The trick is finding that happy medium. But what makes good description?
1. Keep it basic.
As I’ve briefly mentioned in the opening of this post, description should neither be too long nor too short; there is a sort of Goldilocks zone where one can convey a realistic scene or situation in as few words as possible. No matter how much you love that particular sentence or turn of phrase, ask yourself how much it adds to the overall story. You are, after all, there to tell the story and if your description is getting in the way of this then it should be cut.
2. Keep your characters vague.
I don’t know about you, but I really don’t like reading descriptions of characters. This is usually because I, more often than not, replace the descriptions the author makes with my own particular images based on the character’s actions or dialogue. Sure, if I’m told that a character is “wider than she is tall”, or that the villain has “a scar splitting his face from brow to chin” then my image of that character is shaped accordingly. If I am bombarded with descriptions of the character’s clothing, however, or a detailed run-down of her facial features, I am liable to forget them the very next scene. Keep your descriptions of characters to their most distinct features. If they’re fat, say it, but I don’t care if they’re wearing a blue jacket.
3. Use your senses.
Bringing it back to the basics with the inclusion of your five senses. The sense of sight, sound, smell, taste and touch should be ever present in your work from start to finish. That isn’t to say it should be included in every single paragraph, and to do so would tie in nicely with my first point, but when you feel it most prudent. If a character character steps into a kitchen I would expect him/her to instantly take note of the noise and the smell, for instance; if he/she is eating a meal it’d be taste; standing on a hilltop, maybe I’d feel the wind on my face. Don’t see your senses as a checklist but rather something you should recall if a scene doesn’t feel as immersive as it could be.
4. Tell your story!
Your story is more important than whether the coasters at the bar were from Henderson’s Brewery, or whether the table was covered with red felt. We just want to know whether Jack has secured the money from Vinny, goddamnit! This is where it can get difficult for writers who revel in their descriptive skills. I’m sure you can describe with vivid detail the contents of a room, but do you really need to? Is that more important than the reason your character is in the room in the first place? Almost definitely not.
5. Symbolism, similes and metaphors.
The most powerful method of striking recognition in the minds of your readers is by likening something to something else. Saying the man’s hair looked as if a thousand volts had passed through it, or that she walked like she had a pin stuck in one shoe conjure, I believe, very powerful images. The use of symbolism can also add a rather poetic element to your writing but should be played carefully and subtly. Overuse can lead to poor and often confusing description.
6. Use your narrator’s voice.
Whether it be your central character or simply the omniscient narratorial voice running through your story, it should always be consistent. Thematic. If your protagonist is a light-hearted funny person it seems only right that the forms of description and the ebb and flow of your writing should fit this. Likewise, if your narrator is brutally serious and takes every scenario just as seriously, your descriptions should reflect that.
The Writer's Block 