IAmLiterallyAKettle

Every single dad packed into the car:

Your husband and all his coworkers:

1. Avoid weak words

Compare these:

He ate the sandwich

She walked towards the lake.

to these: 

He devoured the sandwich 

She strolled towards the lake. 

Which sentences tells you more? The latter ones. Why? Because devoured and strolled are stronger words than ate and walked. They’re more specific, so they give you more information. To get across the same information with ate and walked, you’d have to add more words: ‘she walked slowly,’ ‘he ate quickly.’

Obviously this isn’t saying you can only ever use strong words–that would likely quickly devolve into purple prose–but If your descriptions only ever include general terms: ‘it smelled good’ ‘he walked over to greet her’ etc. you’re making it harder for your reader to get an accurate picture of whatever is happening in your scene. 

So how do you spot a weak word? The biggest problem with (and easiest way to spot) a weak word is that it needs support from other words to really get its meaning across. If you find yourself adding adverbs and adjectives to a term, question whether or not there’s a more concise way to get your point across instead. 

2. Be Specific Where Details Are Important

This isn’t to say you should describe everything in every scene in perfect detail, but being specific matters. 

Which is more engaging? 

He devoured the sandwich 

The book smelled magical.

or

He devoured the sandwich, stopping only to lick up the melted cheese that seeped through his fingers and ran down his palm. 

The book smelled like a sunlit afternoon. 

Again, the latter ones. They take you into the scene. They evoke the senses. It’s the difference between telling and showing. Devoured is a strong verb, but it doesn’t give us a clear image of what is happening. Showing the character licking away the cheese gives the reader a sense of the desperation and hunger of the action. Evoking a sunlit afternoon is evoking your reader’s memories of their own sunny afternoons.These examples are statements with evidence. They provide details. 

You want to invite your reader into the scene, not give them a summary of the events.

Additionally, specifics make the world feel real. They convince readers that the world actually exists. They keep the story in your readers’ minds once they’ve finished reading. 

This being said, don’t pull a GRRM and describe every meal your characters eat. Some things just aren’t that important. There are MANY occasions when it’s okay to tell instead of show. 

3. Remember the point of view.

Who is giving the description? 

If you’re writing in 1st person or 3rd person limited, remember how your character feels about what you’re describing. If you’re describing a strawberry field, a person who was raised on a strawberry farm is going to see it differently than someone who is deathly allergic to strawberries, who is going to see it differently from a Beatles fanatic. 

Maybe the Beatles fanatic is deathly allergic to strawberries and this field brings up a whole bucketful of conflicting emotions.

Which is all to say: 

Good descriptions reveal character as well as scene. 

If this description is coming from a character’s point of view: what is that point of view? What is this scene making your character feel? Don’t let your narrator slip away from the page. 

This connects to my last point. 

4. Remember why you’re including it. 

Novel writing is persuasive writing. It’s an exercise in persuading your reader that your story is true, that your characters are real people. It’s an exercise in persuading your readers to feel what you want them to feel. 

(There’s a well-known quote about this somewhere, but I can’t remember it exactly.)

Every description must add to the story. It should be doing something: working for some larger goal, advancing the plot, revealing character. 

Maybe you’re describing a house because you want your reader to see why your character doesn’t want to move.  

Maybe you’re describing this lovely-smelling book because you want the reader to know that it’s important to the character. That her favorite memories are of reading it in the attic of her grandmother’s house. 

When you’re writing out a description, identify its purpose and make sure it fulfils it. 

It’s okay if at first you don’t know how the house makes the character feel, or if she’s running or strolling towards the lake, or why the book is so important. Sometimes you just know it’s there. That something happened. Usually things become clearer as you write further and get to know the story and characters yourself.