Or, to put it another way, while it might have taken the writer three days to shape that description of the forest, and so had time to savor each carefully crafted image, the reader is going past at 300 words a minute. Okay, maybe if you're Proust or James Joyce, readers will slow down for you, but, um, you're not. Not yet, anyway. So less is more. Out of the ten images you've come up with, pick the best one; prune the rest. This will usually make the scene—and your writing—leaner, tighter and ever so much better.
Thursday, May 30, 2019
Common Mistake #2 Less is More: Description
Another common mistake I see is beginning authors piling on the images. For example, the protagonist will ride his trusty steed into a forest, and the author will start a description of the forest with a nice image of the trees—and then another, and another and another and another until one cannot see the forest for the imagery....[sorry]. What I mean is, the first image will be striking, and the reader will think, "nice image!" and then read another couple of words and find another striking image, and think, "oh wow, another nice image—I can really see it;" and then bump into yet another image and think, "oh, that's, uh, vivid," and then another image and think, "say, this is really quite dense description". By the next image the reader is either getting impatient to get back to the story—which has likely ground to a halt—or going, "wait, what was that about the leaves again?", because one can only take in so many images piled atop one another before hitting sensory overload. The more images stacked up, the weaker each one becomes. One cannot emphasize the leaves and the trunks and the branches and the roots and the piles of dead leaves and the moss and the ants and that deer over there and the way the sun glints through the trees and the way the pattern of light dapples the forest floor and keep on to cover the entire ecology of the forest...because if everything is emphasized, nothing is.