We have a lot on our mind (the single, shared Skelley hive-mind) as we do our read-through. Among the many things we’re keeping an eye on is whether we succeed in keeping the setting and the characters vivid and lively for the reader the whole time.
How much description is too much, and how many reminders should there be about certain details, is a challenge every author has to deal with. Description is a fundamental element of prose, but it can slow down the story. What you’re really seeking is balance. That search is a place where beta readers and critique groups can provide really useful feedback, but ultimately it’s the writer’s call to make.
There are no straightforward rules for this. The right answer depends on the type of story, what part of that story you’re looking at, and what your readers really want out of the book. Sure, if you figure out the right search terms, you’d surely land on someone’s list of rules for exactly this, but they’d be of dubious value. (Whereas if you keep reading our blog, you’ll get pure gold, of course. Anyway.) Rune Skelley keeps these two guidelines in mind:
- the less ordinary the details, the more reminders are warranted
- prevalence in the text should line up with what’s significant for the characters
- (bonus guideline) remember that you’re never going to please everybody
Point number one relates to world building. It’s not just important to say, somewhere, “oh by the way the sky has polka dots.” You have to keep the place and its denizens feeling real for the reader.
Point number two is one we pay careful attention to here in the Writing Cave. Just because something is a fact doesn’t mean it needs to be brought up. Focusing on which details the characters care about helps the reader really get inside their skin. This is also a way to bring a sense of wonder into a familiar or ordinary setting, by helping the reader see it through someone else’s eyes.
Point three simply acknowledges that this is all subjective. You collect your feedback, and Reader A tells you the recurrent descriptions are like a pleasant leitmotif running through the prose, while Reader B says he started skimming whenever it felt like things were sliding toward reminder-town. Meanwhile Reader C asks why you waited until page 200 to mention the sky having polka-dots, when actually by then it’s been described seven times. However, if multiple sources agree that something’s either too heavy or too sparse, then you should probably make adjustments.
All through the writing of the first drafts of these books, we fretted about this ongoing description issue. Kent was pretty convinced that we were going to need to add tons of reminders. But at this stage, almost three-quarters of the way through our reading of the trilogy? We’re both quite happy with the overall state. Editing will most likely involve sprinkling in a few more mentions of certain things, but it’s in a good place already.
A writing partner is someone who helps you get a feel for how to help readers inhabit the story’s world.
spire composed of the twisted tails of four bronze dragons
unzip his skin suit to reveal a garbage monster