Overcoming the Dreaded Mirror Scene

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Don't lie. I don't care if you've won eight Pulitzer prizes; you've done it. We all have.

You're typing out your first chapter/scene, and you find yourself in dire need of some subtle physical description of your main character. Enter the Mirror Scene.

Jane is getting ready to leave the house to start her day. She is deeply contemplating all of the things that make her amazing and "Jane"-like, when she passes by the hall mirror on her way out the door. She turns to the side for a better view and pays an insane amount of attention to each and every one of her features, from her brown eyes speckled with green to the wavy locks of black hair framing her china-doll face. Because, you know, every time I look in the mirror I feel a need to describe myself inside my head in case someone just so happens to be listening to my thoughts but unable to physically see me.

I can't say that I considered the mirror scene to be unproffesional or even  unoriginal until another writer mentioned that it caused her to roll her eyes every time it popped up in a narrative--especially when the writer had a solid reputation. Once I got to thinking about character descriptions, I began to detest the mirror scene as well. Character descriptions that reveal more than necessary have always been my pet peeve. The more that is left to the reader's imagination, the better. I hate the three page long descriptions of how the main character is wearing her curly brown hair and brand specific eyelet tank top that show up in books these days. Character descriptions are best left shorter than a couple of sentences. Anything other physical description that is necessary to the story will come out later as the character interacts with other characters and begins to gain a life of her own.

So what if you find yourself abusing the mirror scene? What on Earth do you do? When I began my first novel idea---a project that I didn't seriously want to finish, but only intended to use for practicing novel writing---I swear that I used a mirror scene to introduce every single character that wasn't seen through someone else's eyes. I kid you not. If it wasn't a mirror hanging on the wall, it was a pool of reflective water. I was only about eleven or twelve, so I didn't really know much about, well...anything. I'm surprised at myself for not noticing that this was way, way too much mirror.

I overcame the overuse of mirrors in character description by asking myself what the reader needed to know right then and there in the story about the protagonist. The readers may never know that she has a mole on her left hip, or that her skin has yellow undertones. There are all sorts of aspects of characters, some of them major backstory elements, that the writer never really reveals to the reader in their entirety. It's always better to have more character development than you're willing to reveal in the story than the other way around. Have Jane run her fingers through her hair while waiting for the bus if she's the nervous type. Let them get caught on snags in her locks if she has wild curls. Let the protagonist's personality reveal what little you must about her appearance. When it comes to writing, less is generally more, especially when it comes to character descriptions.

Of course, if I had just a dime for every existing exception, I'd be able to move out of my cardboard box and into a fancy gilded trailer.

The Inexplicable Evolution of a Character

Image by jlseagull via FlickrPeople change. So do characters. I've never been the type of writer to viciously hold onto a character design to the point that I virtually halt the story development for fear that the character will change. A lot of times that can happen without you even knowing you're doing it. In fact, if you've been struggling with writer's block for quite some time now, I'd recommend you ask yourself if  you've noticed your character trying to do things that you'd describe as particularly out of character.

Me, I just write and see what happens. It wasn't that way when I typed up my stories, but once I started handwriting them I noticed that I was a lot less willing to go back and second guess my decisions. I spent roughly four weeks getting all the imagination related crap squared away, and by the end of the first month I had developed a main character that was nothing short of your typical shy and sweet bookworm.

Yeah, I know. Not the most relatable of protagonists. I think that's probably why Muriel changed so much once I actually put her into action. What I see now as I move my pen across the page (and scowl at my consistently poor word choice as usual) is a loud, naive, and not-so-bright girl who probably never acquired the patience to sit down and read a book that didn't have pictures. She may not be as smart and, dare I say it, "perfect" as she was before, but I'll bet she's twice as fun to read about.

And write about. I'd much rather chronicle the adventures of a fun loving simpleton who asked a plant-based character if she eats sunlight than a pompous one who throws out a scientific explanation for everything that happens.

That and I'm barely making a B in Biology 101. Ladies and gentlemen, you will not find me operating on you anytime soon.

I guess the long and short of this blog post (because God help me if I actually make a clear point ever at all) is that you can't really think of your characters as people you can control. Think of them more as people who have a story to tell you so that you can write it down on paper. Or type it up on Word. Whatever floats your boat.