Writing Secrets: How to leave out the bits that readers skip
I was listening to someone quoting Elmore Leonard the other day – and then she laughed. And she’s right: he is funny. I mean, “Leave out the bits that readers tend to skip”? What does that mean?
But, in fact, it is worth considering, if you want to write well: what are the bits that readers tend to skip? (Because he is in fact making a serious point.)
Before we consider that one, though, let’s look at the two pieces of advice that precede it: “Avoid detailed descriptions of characters” and “Don’t go into great detail describing places and things.”
When you go into a long description of a character, the flow of the story stops while we readers are forced to stare at one character. So, yes, it’s dreary. But I’d go further and say that it tampers with our willing suspension of disbelief.
It draws us out of our immersion in the scene and our attachment to your character. It makes us aware of the puppet master pulling the strings, since your character isn’t “thinking” a long description in that moment.
In order to keep us in the moment, experiencing events along with your character, it’s best to show us only one or two distinguishing details of other characters, those which your character might quite naturally notice.
We don’t need much – we’ll fill in the rest. In fact, as readers, we enjoy filling in the blanks. Readers are active. You can trust us.
The same can be said for places and things. Details have a job to do. They show us more about the world of your characters – and more about the character doing the observing. Characters will notice different things, in different ways, depending who they are and how they’re feeling.
Used well, details can make a piece of writing. But pick one or two, be very specific, and all else is surplus to requirements. (This is why I prefer to speak of “detail” rather than “description”.)
They can also be drizzled through the scene, not delivered in an unappetising chunk.
All of which brings us to the piece of advice we began with. So, what does he mean beyond the advice he already conveyed in the previous two: be sparing with “descriptions”?
To me, it means leave out all explanation. Don’t explain things to the reader – neither your character’s back story, nor details of their world, and how it works. Don’t explain the logistics of their job, their hobby, or how they go about their day.
Allow details to emerge naturally through the narrative. Never stop the flow to explain.
That’s possibly one of the most important things you’ll learn about writing. In my opinion, anyway. (And probably Elmore Leonard’s.)
Read Richard’s latest blog: ‘Monday Motivation: Reading teaches writing‘
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