I love how you describe it as a character, and I think I agree. Books where it’s well-developed I read descriptions while sometimes when I feel it’s more stuffing than anything else, I admit I will skim through it.

Keira: Thanks! I’m still working on mastering the setting as character thing, but I’m sure having a lot more fun with description now that I have a better understanding of when it works. Always something new to learn! =)

Jane: I’m not sure I’ve read her. Any favorites to recommend?

One author that I read her books word for word is Linda Lael Miller. She is excellent at setting the pace, gripping the reader in a choke hold from page one to the very end.

Very interesting topic!

My chaptermate Rocki St. Claire does an awesome Pacing workshop, which I unfortunately had to miss this month b/c I was at the Maven retreat.

P.S.
I just read C.L. Wilson’s books this past week, too. (I’m in love with Bel. le swoon!)

Mary: Having started out the dry, bare bones way–one thing that helped me was to make sure everything I describe is not only relevant to the characters, but filtered through their eyes. That way, you’re only describing what you need to, and you’re sure to describe it in such a way as to enhance the story. Since you’ve mastered both extremes, I’m sure you’ll find the happy medium!

As a writer, I try to weave in setting, but I do it more as an afterthought when I’m writing plot. Sometimes I just write a few beautiful paragraphs to give the reader a breather from the tension and show them what the character sees. Most of my setting, though, ends up being added in during subsequent edits.

Excellent post, Erica. It gives me something to think about (which is especially good for me right now since I’m editing again).

This is an interesting and, for me, relevant post. Because I tend to be long-winded, a bad writing habit I am anxious to get rid of, I have labored hard to trim down my narrative to a basic plot. In doing this, I now realize, I have gone to the other extreme, producing text that can come off as dry and bare bones. Whereas I used to write long, prosy accounts of what things looked like, smelled like, and felt like, now I get little notes in the margin asking me to supply these. Back to the writing board, I suppose…

Even though I don’t necessarily always read every word that describes the setting, I am aware that it is there. Setting makes a piece richer and more enjoyable, as long as it doesn’t get overdone. I think I’m still in the process of learning just how much to put in. Sigh.

Ok, seriously, there have been a few that I’ve read word for word, because like you said, EVERY word mattered.

I also stick with books, even if I don’t like them (there have been a few). What’s bad is when the sexual tension is so boring I skim that too.

I firmly think that if the author does it right, the reader will be unable to skim at all. That ever word will hold some type of key to the plot and those are the books I love!

As for writing a gothic story with gothicky stuff in it. I agree, you have to include the surroundings. The bleakness of it is a must. It’d be like Sleepy Hollow in full technicolor. It’d ruin the story.

Great post Erica!