.
. . most of the characters and places were vaguely described. If they decided
to make Chop,
Chop into a movie--please
don’t, Hollywood!--it would be pretty much up to the producers as to the
ethnicity, eye color, hair color, height, style of dress, etc., of the
characters, because they get little mention. From what I hear, Victor Hugo’s writings--which
I haven’t read! I know; what kind of avid reader am I?--are notorious for their
long, detailed descriptions; well, this is the polar opposite of that.”
The above is an excerpt
from a negative review on Chop, Chop.
Shortly after I wrote Chop, Chop, a friend told me that I
needed to include more descriptions—for example how did the lasagna smell when
David entered the White’s house? And just this morning, my dear friend Heather
Blanton (an author who is so excellent at describing people, places and things
that I insisted she help me by adding her genius to my upcoming historical fiction novel, The Pirate’s Revenge) challenged me to
do more in the way of imagery in my contemporary works. In part, she said, “You have five senses. Use them, especially when you’re
setting a scene. I KNOW you are capable of this. Little things like wrinkles
around the eyes, a middle-age paunch hanging over the belt, a song playing in
the background, you know what I mean.”
I do know what she means, and I do know that I’m capable.
But despite many suggestions, challenges, and outright
criticisms, I have no intention of changing the way I write because my lack of
descriptions is very, very
intentional.
Sometimes in my books—if looks are
important in a character’s mind—that character will describe a person. For example,
David describes what Samantha looks like quite a bit—because it’s important to
him. But how Laci looks isn’t important to him at all. We know that she’s
pretty and that she has brown hair, but that’s about it. What is important to David, is Laci’s heart, which (I hope) is described in vivid detail. (Incidentally, I recently talked to two
people who both imagine Laci as a blonde—so obviously describing things doesn’t
really change how readers choose to envision them anyway!!)
Interestingly, when David goes to the prison, he
describes in great detail every aspect of the process of passing through security upon entering the
correctional unit . . . what the lobby looked like . . . even going so far as to tell us the number on one of the
prisoner’s uniforms. Why? Because that’s all David could manage. He couldn’t think about
what he was getting ready to do.
There are, of course, times when I have had my characters describe other characters. In Not Quickly Broken, for example, Jordan
not only tells us what Charlotte looks like, but what he and Tanner look like
as well. (On a
side note, one of my favorite lines in that book is when Jordan tells us that
he looks “just like Tanner, (which – after watching women
throw themselves at him for years – I’d learned wasn’t exactly a bad thing).” :)
And
Marco, in What I Want, lets us know what Josette
looks like as follows:
Just as I still
believed that there was someone out there for me, I also still believed that
that “someone” would belong on the Island of Misfit Toys like I did. I was
certain that there was going to be something majorly wrong with whoever I wound
up with . . .
And to put it
bluntly, there was nothing wrong with Josette.
Josette was way
out of my league. She belonged on the antipode of the Island of Misfit Toys . . .
clear on the other side of the world. You can’t live with a woman for almost a
year and not notice something like that . . . whether or not
they’re attractive.
And Josette most
definitely was.
Her eyes, for
example. I had actually noticed them the moment I met her in the student union
that first day, so long ago. They were a dark, charcoal gray and they were
framed by incredibly thick, black lashes and they were beautiful . . .
and I had immediately felt guilty for even noticing them.
It wasn’t just
her eyes, though.
Everything about Josette
was attractive: the soft curve of her lips, the gentle arch of her perfectly
sculpted eyebrows, her high cheekbones and long, straight dark hair, the
flawless tone of her bronzed skin, her delicate fingers, her . . .
No. There was
absolutely nothing wrong with Josette.
But despite all this, Marco—who is Latino—never does address her ethnicity. Is she Caucasian?
Latino? African American? The description Marco gives leaves room for any of
these possibilities and more. But one of the things I hoped to convey in What I Want is the fact that it doesn’t
matter what we look like—even though Marco was so sure it did. And so I purposefully decided to let the reader imagine
Josette’s skin color however they want.
I know what I picture Josette’s skin color to be, but I’m curious about what you envision . . . so will you leave me a comment below to let me know? I promise I’ll tell
you my thoughts on the matter after you tell me yours!