If you’ve ever read Charles Dickens, you will have noticed that he often goes on and on. And on. And on. The most well-known reason for this excessive time spent on description is that Dickens was paid by the word. Therefore, like so many college students after him, he tended to expand upon each point to a nauseating extreme.
These days, articles or short works to be published in magazines may have a required word count, but short stories and longer works are more flexible. A writer is paid by the article, by the story, by the book, etc. Waxing eloquent is more or a less a thing of the past and is often frowned upon now. Breaking from your story to describe your character’s face in great detail is seen as a faux pas rather than literary.
But don’t let this stop you from waxing poetic.
Description, lyrical and flowing description, is a powerful ability of words. Every story needs it, just not quite in the way you might think. In most cases, the way you spend time describing things in your work depends on the context. Sometimes it makes sense to stop and describe a character’s eyes for an entire paragraph, the lines around the edges, the creases of the skin, the freckles that seemed to cross the bridge of the nose from one eye to the other.
Timing and relevance is all-important. Think of these moments as detailed close-ups in movies; they don’t work all the time, but sometimes they’re like pulling the audience back to the reality of the character within the flow of the story. Don’t hold back from focusing on these moments. In rewriting, some of these glorious poeticisms may be cut from the story, but some may turn out to be nicely timed gems.
Dozens of well-meaning advisories will disagree. But your drafts are your own.
Dickens it up.
You might just discover something new in your writing style.