[shashekar]

This is more brainstorming: I have been writing bits and pieces of a (very) hard science fiction story set a few decades down the line concerning a crewed expedition to Europa, and I've spent time enough researching realistic details. But how much detail is too much? I understand what the current scientific models of Europa's environment are, I have charts of radiation dosages and how much is fatal, I can calculate kinetic yields, spaceship throw weights and how to keep X people alive for [/i]Y[/i] days, there and back. I understand that a line has to be trod and compromises made for the sake of story and the reader's entertainment. So quite simply, how much detail is too much? Where should someone stop?

[Hoodwink]

Trouble is, it's so subjective. Detail obsessives are gonna adore stories that strike a chord with their particular passion for detail, where those who prefer to see the muscle of the story without the fine adornment will enjoy more naked writing (see note a).

I think we all have some level of OCD when it comes to what we enjoy in fiction, and it's about matching up authors and readers. For example, I've known people who simply won't read a fantasy book unless it has a map in it.

Hence, I'd say write what turns you on because, whatever you do, you'll probably soon hear equal clamourings from those who say "too much detail" or "not enough".




(a) metaphorically speaking (see note b)



(b) though there's nothing wrong with writing in the nude (see note c)



(c) in fact, I'm nude as I'm writing this. Unfortunately, I'm also at work...

[kater]

I think this is one of those subjective questions where the only answer I can offer is: however much the story needs. Certain types of story - hard sf for instance - may allow you to be slightly more indulgent with what you've learned as long as it's toward an end. Beyond that it has to be contextual, if the story is about a scientific expedition then there's going to be a lot of scientists talking science. But if it's a thriller you may need to tone it down :)

[kmtolan]

It's all about the pacing. There are times when you want the story to slow, in order for the reader to catch their literary breath. Other times, as the plot picks up, the last thing you need is an over abundance of description.

You are, of course, going to need those "money shots" that set the mood and provide the atmosphere for what's coming next. So, like any color on a canvas, you have to watch your overall composition.

I tried a longer more descriptive beginning on my last work, and had to condense it in order to sharpen the hook. I ended up putting the "long version" of the beginning out on my site so folks could see the difference.

Kerry

[tdnewton]

Only include details that are relevant to the storyline. Add stuff in later if it feels "missing."

[shashekar]

It's all about the pacing. There are times when you want the story to slow, in order for the reader to catch their literary breath. Other times, as the plot picks up, the last thing you need is an over abundance of description.

You are, of course, going to need those "money shots" that set the mood and provide the atmosphere for what's coming next. So, like any color on a canvas, you have to watch your overall composition.

I tried a longer more descriptive beginning on my last work, and had to condense it in order to sharpen the hook. I ended up putting the "long version" of the beginning out on my site so folks could see the difference.

Kerry

I'm trying to achieve a literary money shot in a specific scene, but no matter how I try it comes out too dry, like a boring science lecture. Object A hits object B while travelling really fast, hijinks should ensue!

[DailyRich]

When you reach the level at which Robert Jordan describes practically every meal in Wheel of Time, that's too much.

shashekar, if you want the impact (no pun intended) to come across, you could try describing the build-up in scientific terms, then the result in more descriptive language. Like if a plane is crashing, you could go into all kinds of aeonautic details as to why it's losing altitude, but when it hits the ground, you say, "It struck the earth like the fist of an angry god." Only do it better than that, please! :)

[Holbrook]

Describe what you want too, give as much detail as you want too. Just get the first draft written.

Then you edit, again and again, tightening, adding, subtracting, till the work has the right balance for you. Then you send it out to a beta reader. Then you edit, trim, add, kill your baby again...

[kmtolan]

I'm trying to achieve a literary money shot in a specific scene, but no matter how I try it comes out too dry, like a boring science lecture. Object A hits object B while travelling really fast, hijinks should ensue!

Okay, I'm no Brainiac on these things myself, but what I usually do is sit back, close my eyes, and imagine the scene as a movie I'm watching down at the theater. I am not interested in how at this point, I am only interested in what it looks like on the screen. I am playing Director, not Science Consultant. The Science Guy is usually sent out for coffee at this point (and the door locked behind him). You are going for dramatic effect, and damn trying to explain it at this point. Explain it before, after, but never during.

Sometimes the devil is in too many details. Go for the drama!

Kerry

[NickeeCoco]

I agree with what most say. If this is a "(very) hard science fiction" bit, as you say, then detail is to be expected. Simply, I would just limit how many adjectives you use. Don't crowd action with descriptive narrative, adjectives and adverbs.

If you feel that you want to add some information in, do it in a manner that the reader won't notice. Such as, if you want to add in a certain level of radiation found in a specific local, have a character fiddle with some knobs and state it. Or have a computer beep and inform a character of what's going on. Hide the detail. Or, hell, make it a brief moment of excitement. If radiation levels go to x, then y will happen. If this happens, bad stuff happens. That sort of thing.