The Penslayer has challenged, and I'm up for it.
Description, as I said in my last post, is hard for me. Hardest of all is that elusive thing called describing your characters. Sure, it can be done easily enough. "Margot was sixteen years old. She was tallish and had long dark brown hair, dark brown eyes and a pointy kind of chin. You are now getting verrrrrry sleeeeeeepy..." (Or at least you will be quite soon if I continued on in such a fashion.)
If I wanted to read flat, flavorless here's-what-she-looked-like description, I'd go back to first grade and re-read Peter and Jane literature. It's description, yes. It serves the purpose, yes. But it's not done well. And though I'm not the one to pass judgment on what has been done well, I can read--as can all of you--and I can see for myself--as can all of you--when something has not been done well.
This is where I should stick in the disclaimer about how I don't think my description is very good and blah-de-blah, but the thing is-- I actually think the following descriptions are pretty good and I'll tell you why in a moment. (Um, I will disclaim that everything's subject to lots and lots of editing and this is only the first draft and more blah-de-blahs that you aren't interested in.) The serious ones from Sky come first and then at the end I couldn't resist sticking in a tidbit from The Butterwick Boardinghouse Detectives.
I've told you before that Fina is blind, but in that sense you have an advantage over the someday-reader of Sky. Because I haven't yet told the reader in so many words that Fina can't see. I've chosen instead to hint at it (later there will be a flashback in which Margot remembers the fever that took Fina's eyesight) and for now I only refer to her blindness sparingly. But in this case, I used it to tell the reader what color Fina's eyes are--how they used to be, and how they are now.
Mareta is, in my humble opinion, the most beautiful character in my story, yet I've been hesitant to tell the reader how she looks. (If you're curious, take a gander at the picture on the top left.) Mareta is the kind of woman who radiates beauty from the inside out, however, and it's that shining inner loveliness that I've tried to communicate through the way she moves and speaks. Even in the snippet above, where she's dealing with a desperately sick child, she keeps her composure and manages to appear calm when she does not feel so.
And then just because writing nonsense is fun (and fun is good)...