Underwriting vs. Overwriting:

Finding the Balance & Strengthening Your Story

Ever stared at a critique that said “Add more details” or “Cut back on descriptions” and felt lost? You’re not alone. Some writers struggle to get enough detail on the page, while others find themselves drowning in unnecessary words. If you’ve ever been told to “add more” or “cut back,” you might be an underwriter or an overwriter—and knowing where you fall can be a game-changer for your writing.

This topic actually came up in one of our recent Mindful Writing Community sessions (now being held every day!), where we talked about how hard it is to find the balance between too little and too much detail. Whether you’re an underwriter or an overwriter, revision is where you find that balance.

But here’s the thing: neither approach is wrong. The key is learning how to balance your natural tendencies so your story is rich, engaging, and well-paced.

What’s the Difference?

Most writers tend to lean toward one of two extremes:

Underwriters:

They get straight to the point, often leaving out sensory details, emotions, or world-building. Their drafts might read fast and feel efficient, but they sometimes lack depth.

Example of an Underwriter: Ernest Hemingway was a master of sparse prose. His Iceberg Theory suggests that what’s on the page is only the tip, while the deeper meaning lies beneath.Underwritten Sentence:
She walked into the café.Balanced Revision:
She walked into the café, the scent of fresh coffee wrapping around her as jazz hummed softly in the background.Overwriters:

They love details, descriptions, and internal monologues. Their drafts are immersive but can feel bloated or slow down the pacing.

Example of an Overwriter: William Faulkner’s prose is famously dense, filled with long sentences, intricate descriptions, and deep introspection.Overwritten Sentence:
She strolled into the café, the scent of dark roast mingling with vanilla, cinnamon, and the faintest hint of something floral. The hum of voices layered over the jazz playing in the background, a cozy invitation to linger.Balanced Revision:
She walked into the café, the scent of fresh coffee wrapping around her as jazz hummed softly in the background.

Recognizing where you fall on this spectrum can help you revise more effectively.

Are You an Underwriter or an Overwriter?

A quick self-assessment:

You might be an underwriter if…

Your beta readers ask for more details.
Your characters’ emotions feel flat or underdeveloped.
Your story moves fast, but readers struggle to visualize scenes.
You often finish your drafts under your target word count.

You might be an overwriter if…

You love describing every detail of a room, even if it’s not important.
Your sentences have multiple adjectives and adverbs.
Your manuscript is significantly over word count.
Your writing feels beautiful, but scenes drag, and beta readers suggest trimming.

Once you identify your habit, you can adjust your revision process accordingly.

If You’re an Underwriter…

Think of your first draft as a skeleton—you’ve built the bones of the story, but now it’s time to add flesh and details. Here’s how:

Expand scene descriptions: Instead of just “She walked into the café,” describe the hum of conversation, the scent of fresh coffee, or the warmth of sunlight through the window.

Add sensory details: Engage all five senses when appropriate—what does your character see, smell, hear, or feel?

Deepen character emotions: Instead of “He was nervous,” show it: Is he gripping the edge of his chair? Tapping his foot? Avoiding eye contact?

Example:

Underwritten: She was scared to open the letter.Revised: Her hands trembled as she slid her finger under the envelope’s flap, her breath catching as she unfolded the letter.If You’re an Overwriter…

Your challenge is often the opposite—cutting excess without losing voice or impact. Try this:

Trim unnecessary adjectives and adverbs: Instead of “whispered softly,” just say “whispered.” Let strong verbs do the work.

Eliminate repetition: If you’ve already established that it’s raining, you don’t need three more mentions of wet streets and umbrellas.

Focus on what moves the story forward: Every scene, every paragraph, every sentence should serve a purpose. If it doesn’t, consider cutting it.

Example:

Overwritten: She slowly and carefully reached for the gleaming, gold-plated doorknob, her breath hitching slightly as the ancient wooden door creaked in protest.Revised: She hesitated before gripping the brass doorknob. The door creaked open.The Role of POV in Balancing Your Writing

One way to determine what details to include or remove is by considering point of view (POV).

First-person POV: The narrator might not describe a familiar setting in great detail but would notice a new place.

I pushed open the door. The café smelled the same as always—burnt espresso and honey-glazed pastries.

Third-person limited: The focus stays on what the POV character perceives.

She walked into the café, wrinkling her nose at the burnt espresso scent. She spotted an empty seat by the window and hurried over.

Third-person omniscient: More freedom to describe, but the details should still enhance the story.

The café had once been a lively meeting place, but now only a few customers lingered. The scent of burnt espresso hung in the air as she walked in, searching for a place to sit.

Being mindful of POV helps control how much detail is necessary, making revision easier.

Refining Your Draft

Whether you’re an underwriter or an overwriter, revision is where you find balance. If your draft feels thin, explore where you can add layers. If it’s bogged down, identify what can go.

Want to find your balance? Choose a scene from your latest work and experiment—add details if you tend to underwrite, or cut excess if you tend to overwrite. See how it transforms your writing.

And if you’re still unsure where you fall on the spectrum? Look at your last piece of writing – do you need to add, or do you need to cut? Chances are, you already know the answer.