Tag: description in writing

THE DEVIL’S IN THE DETAILS–MAIN CHARACTERS! by Cheryl Pierson

Are you the kind of reader who likes to have a detailed description of the hero or heroine in romance books? What about other secondary characters? And do you feel the same way about characters in books of genres other than western historical romance, or romance in general?

To me, there is a big difference in how much character description is needed in romance novels versus other genres, and here’s why.

When we read romance, we put ourselves in the story, empathizing with both the heroine and the hero. Of course, we need enough description to let us be familiar with them both, but this might be a case of “less” being “more.”

In our personal lives, we have preferences in how our romantic “leading men” look, speak, behave, and so on. If our preferences are toward the tall, dark, and handsome hero, it will be hard for us to be vested in a story with a hero who’s short, fair, and ugly. Or one who has habits we personally don’t find attractive.

I knew a woman who didn’t like blond heroes. If he had blond hair on the cover, she’d color it brown or black with a marker. In the book, if “blond” was mentioned, she’d mark through it and write whatever color of hair she’d decided he needed. I asked her about the heroines. “They’re all me,” she answered. “I don’t pay attention to their descriptions.”

It made me wonder how many others felt this way.

Stephen King had mentioned at one time in his book ON WRITING that “description begins in the writer’s imagination, but should finish in the reader’s.”

And in genres other than romance, character description is different and maybe more important, because the reader doesn’t have any preconceived expectations of the story, such as romance readers do.

When I taught creative writing classes, this description was one I used to illustrate how so much could be packed in to a short amount of words without being an info dump.

AMAZON LINK FOR ON WRITING BY STEPHEN KING

http://amzn.to/2EdXjVy

 

 

 

AMAZON LINK FOR ST. AGNES’ STAND BY TOM EIDSON

http://amzn.to/2T4bXZU

This is the beginning of St. Agnes’ Stand, by Thomas Eidson, who also wrote The Missing. Take a look:

He was hurt and riding cautiously. Thoughts not quite grasped made him uneasy, and he listened for an errant sound in the hot wind. His eyes were narrowed—searching for a broken leaf, a freshly turned rock, anything from which he could make some sense ofhis vague uneasiness. Nothing. The desert seemed right, but wasn’t somehow. He turned in the saddle and looked behind him. A tumbleweed was bouncing in front of the wild assaults from the wind. But the trail was empty. He turned back and sat, listening.

Over six feet and carrying two hundred pounds, Nat Swanson didn’t disturb easy, but this morning he was edgy. His hat brim was pulled low, casting his face in shadow. The intense heat and the wind were playing with the air, making it warp and shimmer over the land. He forced himself to peer through it, knowing he wouldn’t get a second chance if he missed a sheen off sweating skin or the straight line of a gun barrel among branches.

And then this, a couple of paragraphs down:

He had been running for a week, and he was light on sleep and heavy on dust and too ready for trouble. He’d killed a man in a West Texas town he’d forgotten the name of—over a woman whose name he’d never known. He hadn’t wanted the woman or the killing. Nor had he wanted the hole in his thigh. What he did want was to get to California, and that’s where he was headed. Buttoned in his shirt pocket was a deed for a Santa Barbara ranch. Perhaps a younger man would have run longer and harder before turning to fight and maybe die; but Nat Swanson was thirty-five years that summer, old for the trail, and he had run as far as he was going to run.

I absolutely love this. Can you feel that you’re right there with Nat Swanson as he’s riding? There are no wasted words, and this is just such an eloquent, masterful description of not only Nat, but the situation and the physical place he’s in as well as the dilemma he’s faced with.

Another excellent way of describing a character and setting the scene at the same time is from another character’s POV. This passage is from Jack Schaefer’s iconic classic, Shane—from the eyes of Bobby Starrett—when Shane first rides into his life.

AMAZON LINK FOR SHANE BY JACK SCHAEFER

http://amzn.to/2BWlIin

This is just the very beginning of the book—there is more physical description of Shane a few paragraphs later, but I chose this passage because it lets us know what’s going on in a few short sentences—and that is real talent.

He rode into our valley in the summer of ’89. I was a kid then, barely topping the backboard of father’s old chuck-wagon. I was on the upper rail of our small corral, soaking in the late afternoon sun, when I saw him far down the road where it swung into the valley from the open plain beyond.

In that clear Wyoming air I could see him plainly, though he was still several miles away. There seemed nothing remarkable about him, just another stray horseman riding up the road toward the cluster of frame buildings that was our town. Then I saw a pair of cowhands, loping past him, stop and stare after him with a curious intentness.

He came steadily on, straight through the town without slackening pace, until he reached the fork a half-mile below our place. One branch turned left across the river ford and on to Luke Fletcher’s big spread. The other bore ahead along the right bank where we homesteaders had pegged our claims in a row up the valley. He hesitated briefly, studying the choice, and moved again steadily on our side.

This is tough, because we’re seeing it through two “lenses”—Bobby is nine years old, and this is what he sees, but it’s filtered by the adult Bobby who’s now telling the story of what happened all those years ago.

In writing the story this way, the reader gets the full impact of experiencing the fears, the situation brings, the joy of having Shane there, and the anguish of his leaving all through the eyes of a nine-year-old boy, with the adult overview that lets us know that Shane was not a hero—but he was to Bobby and those small time settlers who needed one so desperately. Yet, leaving was the only thing he could have done and kept Bobby’s view of him untarnished and intact.

Because we don’t know how the story will end, and we don’t know what to expect, we are learning about Shane’s character right along with Bobby so we are actively looking for details and descriptors the author might give us along the way—it will affect our opinion of Shane and let us know if Bobby is a reliable narrator, and it affects the outcome of the story.

I bring this up because in romance, seldom does the description have such a direct effect on the story itself, unless our main characters have scars, afflictions, or disabilities that might have some direct bearing on the story and its outcome. 

So what do you think? Do you like a lot of description and detail about the WHR heroes you read about, or would you rather “fill in the blanks” for yourself?

As far as heroines go, most people I’ve talked to are not as concerned with her physical description (maybe because each person sees herself in the heroine?) but are more concerned with her personality traits—is she likable? Is she determined?

If she is not a fierce match for the hero, the story line is doomed.

And what about our hero? Though he can get away with more “questionable” traits, he has to be endowed with almost superhuman strength to overcome everything that’s thrown his way, and that is description that must be thoroughly detailed—not left to the reader’s interpretation.

THE DEVIL’S IN THE DETAILS–by Cheryl Pierson

 

There’s an old saying that “the devil’s in the details” that’s true in many circumstances in life, but I think it’s especially true in all forms of art.

Of course, it’s obvious to us in visual art—paintings, drawings, photography—and tactile art such as a beautiful quilt or piece of pottery, or a woven basket.Hexagon Quilt–selling for over $6000! But look at the work and the detail that went into this “work of art”!

But what about books? Are you a reader who loves lots of descriptive details? Or do those bog you down and leave you frustrated and impatient?

I have to admit, as I’ve gotten older, there are many kinds of stories that I feel could do with less detail in some areas. A lot of my “changes” come from looking at the way details and descriptions are presented more closely when I read. I’ve evolved into this kind of reader.

As a younger reader, I needed those details to help me create images in my mind. The descriptions were beautiful to me because I knew less of the world, and everything I read was a learning experience! Have you ever thought about it like that?

When I was a YA reader, whether reading sci-fi books (during the flying saucer craze) or historical fiction, I needed those descriptions and details to feed my hunger for learning about—well, everything!I loved this series by John Christopher–read it when I was about 12 or 13, and it stayed with me all through the years so that when my own kids were young, I went searching and found it for them! The descriptions of the aliens that were determined to take over earth, the bravery of the young people that fought against them, and wondering what in the world was going to happen kept me reading far into the night!

“Back in the day” I think authors engaged readers with a different type of writing style, too. Ours had not yet become a world of technology such as it is now. Life “took longer”—and happened at a much more unhurried pace. It was important for writers to create pictures in the readers’ minds—because there was no way to already have a pre-conceived idea of the things the author was trying to describe.

Here’s what I mean: In today’s world, we are inundated with images of all kinds, from instant pictures on our phones that we take ourselves, to movies, to ads on television, to video on Youtube. And so much more—this is just the tip of the iceberg.

One of my very favorite paintings by the very fabulous Jack Sorenson. This one is called “Horse With Christmas Spirit”–love the “details” in this one!

Can you see how this de-values art? When a beautiful picture can be photoshopped together in minutes and seen by millions, or even mass produced in ways that hadn’t been thought of fifty years ago, the artist who painstakingly delivers every brush stroke “the old-fashioned way” can be under-appreciated in a hurry!

Some writers suffer this same twist of fate in a different way. Because our lives are so rushed, and our society has been geared toward “quick reads” we’ve lost the pleasure of savoring those descriptions of the setting, the characters, even the emotions of the “players” in the books we read. It seems that finishing a book is more important than, as we once did, lingering over certain passages and re-reading them for the sheer joy of the way the words came together, the image they created for our hungry minds—and souls.

My confession—and you may all think this is weird—I do not ever skim. Even when I don’t feel the need for the minutiae that may be included, I read every word. What if I miss something? Deep down, I believe the author must have thought it important or he/she wouldn’t have included it!

What’s your pet peeve? Too much description? Not enough? More description needed of the characters? Or do you want some things left to your own imagination?

One does a whole painting for one peach and people think just the opposite – that particular peach is but a detail.

–Pablo Picasso

I learned no detail was too small. It was all about the details.

–Brad Grey

Sometimes when you start losing detail, whether it’s in music or in life, something as small as failing to be polite, you start to lose substance.

–Benny Goodman

Do you remember a book you’ve read that you thought was too detailed? IS there such a thing? I think many of the authors from the earlier days wrote in that style—it was just how it was done—and there was no mass media to show instant pictures, so there was even so much more to learn through reading.

As one who wrote very descriptive passages, James Fenimore Cooper comes to mind, but Diana Gabaldon’s books are full of wonderful descriptions of the landscape, the characters, and so on, and that skill she displays for description makes her stories and characters come to life!

For modern-day books that show a complete mastery of adding wonderful detail and pulling you into the story, there is no better author than Kathleen Eagle. I’ve never read a story by her that I didn’t love and one of the main reasons is the adept talent she has for adding the smallest details as the story moves along and drawing the reader right into each and every scene, as if you are truly there with her characters, experiencing their pain, loss, worry, and love.

Do you have a favorite author who gives just the right amount of description? More about this next time on CHARACTER descriptions–I’ve been doing a lot of thinking on this subject!