Keeping Clothing Descriptions in Check for a Stronger Story

One common trap for writers is the urge to detail every item of clothing on every character.

I get it: fashion can reveal a lot about someone. However, if you go overboard describing exactly what each character is wearing, right down to the stitching on their boots, you might lose readers’ attention — fast.

Over-describing can stall the story and slow the pacing significantly if it doesn’t add much to the scene.

The goal isn’t to eliminate clothing descriptions; it’s to use them strategically.

Let’s look at an example.

Elaine walked into the tavern, her emerald green cloak sweeping behind her. The cloak had intricate golden embroidery along the hem and a deep hood lined with soft velvet. Beneath, she wore a fitted leather bodice dyed a rich burgundy, laced tightly up the front with black silk ribbons. Her sleeves were puffed at the shoulders, tapering down to her wrists, where she wore a set of silver bangles. Her trousers were deep brown, tucked into knee-high boots that had brass buckles and small, dark scuffs from frequent travel.

On the one hand, the author dives deep into description to give a sense of the character and their background. It’s meaningful to choose the words “leather bodice” and “rich burgundy” and sleeves that “taper” down to the wrists. Oh, the bangles, too, and the scuffs on the brass buckles of her boots. Nice!

All of these creative layers come to mind as we write physical descriptions, and they’re good stuff. But it’s kind of like Maid and Butler Talk — it’s a massive info dump that slows that story down. It’s just taxing to slog through such a weighty, descriptive paragraph to move the story along. It’s a hallmark of a new writer attempting to get everything about a character and front-load the description.

Ask yourself: does knowing that your character’s cloak is emerald with gold embroidery matter to the story now? Sometimes it does! If that cloak symbolizes status, wealth, or even a magical property, describing it makes sense. But if the details don’t serve the plot or the character, it might be better to leave them out.

When it comes to description, less is more.

Instead:

Elaine strode into the tavern, her emerald cloak swirling behind her.

Great! We see Elaine striding confidently into the tavern with a swirling cloak. Check! Perhaps later, we could introduce another facet, like:

Thymyral eyed the golden embroidery along the hem of Elaine’s cloak. “A merchant marine’s vestment,” he said, gesturing. “You’re a long way from Quisintine, stranger.”

That’s another descriptive layer moving the story along.

“You follow the ways of Maryn, the Sea God?” Father Bynard asked. He lightly touched Elaine’s silver bangles about her wrist. “Yes. I’ve heard tell of their practices, drowning elves and the like.”

Yet another descriptive layer that allows the reader to understand the context. The silver bangles are more than a fashion accessory to Elaine; they’ve got religious meaning, adding even more depth than the original paragraph. But if that’s the setup, here’s the payoff.

Thymyral looked away, disgusted. “I suppose zealotry is its own reward.”

Notice how I used the bangles to set up reaction, dialogue, and conflict. That’s a strategic move by me to help stage the emerging plot.

A few well-chosen details can say more about a character than a whole paragraph. Instead of listing every item in their wardrobe, pick one or two unique items that hint at their personality or mood.

For example, mentioning that your character has a worn leather jacket may suggest a rough past or a rebellious spirit. Readers can fill in the rest with their imagination.

So, when you’re tempted to spend three sentences on someone’s outfit, think about what truly matters. Does it matter at the moment? Can it be layered in at a later time? How does describing a particular garment relate to dialogue or action in the current scene?

Let your readers imagine the other details.

R