Description Described

Ah, description. I have quite a lot of thoughts on it,and generally I think I still struggle with it, but my insight was requested, so here it is.

I've always felt that I'm quite austere with description, and only occaisionally punctuate it with more poetic flourishes. Generally I don't go looking for an image if I don't have one, but if an image comes to mind as I'm writing I aim to incorporate it, and will sometimes reshape a scene with it in mind.

I try never to do a full paragraph of pure description, or if I must I try and add a bit of immaterial incidental activity or some thematic element to make it more dynamic; even something as simple as following a raindrop as it breaks over the stone parapet of a castle and trickles down the sandstone, is cast briefly back into freefall as it passes the window of the young lord's nursery, traces the contour of a gargoyle and finally joins the muddy slough of the courtyard, where it's abruptly spattered by the boot of the smith's apprentice, our POV character for the chapter. (And as an aside, I made that up on the spot as an example. I'm aware it's bollocks and contrived.)

I never ever give a full description of a character when he or she first appears in the narrative. This to me always recalls the days of primary school creative writing lessons, and a full biometric run down of leg measurements, bust size and eye colour according to the handy Dulux reference sheet bespeaks to me preteen dabbling in storytelling like nothing else. Instead, I go for just a couple of words to give the reader a sketch, then a few more hints and mentions throughout that scene when they fit to flesh things out. By the end of the first scene the reader should have a good portrait in their mind's eye of what the character looks like, but not enough to construct a Crimebusters photofit. Later, I'll generally only add further embellishment if it flows naturally, usually in the form of callouts to particular features where that feature is the focal point of a particular gesture or act.

Location setting is more needy, and usually I do open up with multiple lines of description, but I'll almost always try to go for incidental action or thematics to enliven it. For example in Red Flag, the opening description of Darken's fortress takes in its appearance, its local, and its atmosphere, but does so with a distinct emphasis on the imposing, impenetrable fortress-qualities of the place. Then the action kicks off with Hel immediately puncturing these defenses, making the description feel more like a set up for this pay off - which in turn describes to us some facet of Hel without saying anything - and less like a simple verbal painting in of the stage.

For me the hardest description is in pronouns and adverbs. The technical stuff. You know you don't want to keep doing 'He said, she said, he did, she did' but this stuff is very hard to give flow and character without being gruesomely overstated and flowery. In truth almost all dialogue does have to be a 'he said' job, but when things are clicking just right I'll spot without thinking the opportunities for a 'whispered' or a 'hissed' or maybe a 'said with a thin smile' or something. One of those will colour a lot of conversation; like a dye only a drop is needed.

Another skill I'm trying to grasp is the art of description, narrative digression and action amid dialogue. A lot of my stories are really minimal two-hander playscripts with the stage directions rewritten as narrative. I need to work better at realising the potential in prose.

Related to that is long-form sections of speechless action. I'm a speaky writer, no doubt about that, and I sometimes find myself grasping when I need to convey a couple of thousand words with negligible discussion (though I do find myself to have a knack for actual action scenes). I've had to actively study how this is done in 'real' books and again it's almost always about narrative digression. You segue into more conceptual or thematic or conversational prose for a bit as you coast along the action, drawing jumping off points from the events you detail whilst angling your theme to flow in the same direction as the story is heading. It's a good skill, the skill I'm most keen to hone. Narrative voice is where it's at. I generally pinpoint my main struggle with the actual words these days at not having a fully formed voice, and so having to actively work at each line. I can't simply start to 'talk' in narrative on the page. This is why I often favour first-person narration. I'm much better at naturalistic character dialogue and can rapidly assume an in-character narrator. I've also tried to muddy the water with characterful third person narration, but that's tricky and will often come out annoying. It's generally best suited to humour but doesn't have to be. Funnily enough when I was a writing machine back in my teens and stuff would just flow for me, I felt - and I still do feel - that my narrative voice was keenly honed. I had no plot in those days, so my writing was just meandering stylistics, and yet it flowed and had a certain attraction I still can't deny. Somehow over time I've completely lost that skill whilst picking up the (probably more needed) insight into plot mechanics. Characters I've always been good at, although I sometimes find it hard to kick the pebble down the mountain. My experiments in a shared universe have come so much more easily for me because AO'M had already set the shale scattering and all I had to do was jump on and surf down the quarry pit, pulling elaborate ollies and 360s of characterisation with my borrowed board.

...You see? That's what happens when an image hits me. Although it usually helps when it's less stupid.