I’ve recently read a number of discussions on general blogs about the type of books people prefer to read. While the split between character-driven and plot-driven plays a part in any such discussion I noticed that, even within the preference for character-driven, there appears to be a quite significant split between those who enjoy lots of rich detail and those who do not – with a surprising number preferring the “just get on with it” option.
Assuming, for now, that I’d be writing in third person or using a narrator, let’s talk about the shallow stuff – describing how my characters look.
How much detail to provide?
I started by asking myself what were the benefits of giving the full head-to-toe description? The obvious answer being that the mental picture my readers form will be the one I’ve drawn. From there I moved to how I might provide that description? A character such as like Pride & Prejudice‘s Mr Collins could prove a useful medium, being much inclined to dull discourses filled with mundane details. But as we don’t all have the sharp wit and deft touch of Miss Austen, there’s a need to remain mindful of the reader’s potential for being turned off by too long a descriptive passage. Clearly, this can be exacerbated where there’s a need to introduce a whole raft of characters at once as, if the same level of detailed description is applied to them all, I can see it proving overwhelming to the reader. And if I accept that many a reader is frustrated by being forced to wade through a lot of descriptive detail instead of getting on with the story, there’s a worry they may decide my book isn’t for them.
Perhaps then, a brief snapshot is the way to go? Enough to give my reader an idea of who everyone is, with more meat being put on the bones later, as and when it would be useful or relevant to the story or plot line.
Even though I struggle to see a scenario when this would be the case in a story I would write – I can see that if how the main character looks is vital to the story, opting for the head-to-toe descriptive option immediately they appear in the manuscript might be a good way forward (with other characters getting the brief snapshot treatment until otherwise necessary). One additional benefit of the single big brain dump when the character first appears, is I can then forget about the subject for the rest of the manuscript 😉
Returning to the concept that there’s a line to be drawn between enough and snooze in descriptive detail…. what other questions can I ask in order to ensure I stay the right side of that line?
When, why and where do you do it?
The first when question I had was whether to go for the full works immediately characters appear in the manuscript, or via drip-feed throughout. But, as I’ve already covered that under how above, I realised that further facts had to be established in order to decide my answer. Key to this is why the descriptive information is being provided -whether purely for background, or because it is relevant to the plotline. If the former, you can slip it in wherever it feels natural and comfortable but, if the latter, then the timing is key. To add one more question to this section, the where to do it could depend on whether it’s relevant to test my reader’s skills of observation. In most genres, I’d be inclined to leave it in plain sight, whereas with a crime/mystery/thriller tale, there could be a value (or simply just an inclination) to disguise it alongside a bright red herring or a shiny McGuffin or two.
What might you leave out…. and why?
Moving on from what distractions I might add, I’m wondering if what I might choose to leave out could be as relevant. As with everything, I guess the question remains, what would be my purpose?
My final question is what happens if I write in the first person? How does my reader get a description then? Do I remain the only character undescribed, or should I use some device to get the job done?
What do you advise?
© Debra Carey, 2022