In this posting on writing, we are going to cover another problem often seen in newbie writing: excessive description. Yes, description is needed to orient the reader, and if you leave it out, you’ll have confused and annoyed readers—in fact, one of the worst chapters I read started off with two characters talking…no description of the location, the setting, or even the characters themselves. All I had was two heads in a dark room…very irritating. So let’s go over just what Purple Prose is and how to avoid it.
What is it?
If you have content that doesn’t add to the story, that has exaggerated and irrelevant details, that goes on and on without purpose, you may have Purple Prose. Often containing long stretches of big words and run-on sentences, it can also appear in smaller chunks: Purple Patches. Even a few of these in a story can unsettle the reader and interrupt the flow. Purple Prose makes itself the focus, instead of the storyline and usually messes with the pace of the rest of the narrative.
Let’s be clear, not all ostentatious language is purple. You don’t need to eliminate all highly descriptive language, just the unrestrained depictions that don’t move the story along. Some minimalists feel that following in the footsteps of those such as Hemingway is the way to go, but unless you normally write in that style, you should try to avoid either extreme.
How to Avoid It
So why do so many writers fall into the mistake of Purple Prose? Because they think it makes them look more literary, more highbrow or scholarly, classier. Sadly all it does is show that they have a good thesaurus. Becoming overly dependent on word choice can make it worse. Stick with the words you already know…just tell the story as if you were standing around chatting with friends. That’s the kind of language your reader prefers.
Watch out if you delve into description in the middle of a scene, too…is it really necessary? If so, then put it closer to the beginning, and include only enough to orient the reader to the setting: location, time, and who is there. Make certain to include only relevant details. If the door to the kitchen has to be on the right (because of something later in the book), then put it there when we first encounter it. If it isn’t important which side it’s on, then don’t bother to tell us—the reader assumes that anything you put in is there for a reason (see Chekhov’s Gun).
Proper descriptions will make your story easier for readers to visualise and experience. Make it a good one, and they’ll talk about it to all their friends!