I thought I was only going to spend five days on writing with the senses, but there’s more to sense-rich writing than just focusing on each sense. In fact, focusing on each sense can actually make it harder for your readers to get that deep, in-character experience.

Why? Because instead of having a scene where something happens, we get distracted repeatedly by these perceptions. The setting keeps interrupting the action. (And you wondered what would happen if these walls could hear!)

In writing the senses, we have to carefully balance the sensory data with the action of the scene—and always focus on only the most important details.

• First time’s the charm. The first time we see a set or meet a new character is usually our best opportunity to describe.
• Wait as long as you can. Describing at the first opportunity doesn’t mean stopping the story to give every detail. Start with the most noticeable aspects, and then weave in other pertinent details when they matter. For example: you know that halfway through the scene the precise arrangement of the furniture will be important. Can you wait until then to describe it, so that it will be fresh in the reader’s mind? Will they remember how the settee and the arm chair are positioned after three pages anyway?
• Focus on the character. I said something along these lines for most of the senses, but remember who the POV character is—what s/he would notice and how s/he would interpret it.
• Focus on action. Long, static descriptions are boring. Remember the action of the scene and put most of the focus there, with enough setting to enhance that action.
• Focus on emotion. Senses can be most useful in enhancing the character’s emotional experience (and thus the reader’s). If a sense brings out an important emotional reaction, don’t neglect that stimulus/response.
• The rule of three. What are the three most important, powerful sensory inputs that the character experiences? Start with those. As above, weave in other sensory data as it makes sense.
• Variety is the spice . . . . Make sure you don’t use the same senses too much. Smells may create the biggest emotional response, but unless your character is a bloodhound, a smell in every scene might be overdoing it a little.

What do you think? How do you decide which senses to use and when?

Photo by the Lichfield District Council