: Re: Sensory Information Overload I'm reading The Book of Human Emotions by Tiffany Watt Smith (good stuff if you want to inform the use of emotion in your writing), and I've just come across Overwhelmed

@Welton431

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The Rule of Three.
In another context, this has been studied scientifically by psychologists. AKA the 80/20 rule, and the law of diminishing returns.
Specifically the study of mentality suggests we humans first exhibit difficulty remembering stuff when it exceeds three items (unless we are constantly exposed to the list by our job or our culture; e.g. if you listen to "country" every single morning on the way to work, you can probably rattle off the names of several country singers: But might have to pause after rattling off three songs by just ONE of the less famous ones).
Combine that with the 80/20 rule (or similar things), based on the Pareto Principle of natural phenomena: it is a proportional distribution that basically says 80% of the work is done by 20% of the effort. It isn't always true, but in a way it says perfection should NOT be the goal, there is a point of diminishing returns.
This gives us a two-pronged reason to pick three as the default number of descriptors; psychologically it is hard for an average reader to keep track of more, and adding a fourth or fifth descriptor is not adding enough new information to be worth reading the words. If you cannot describe it with three things, you are not focusing the attention of the reader properly.
Often we are looking for sight, sound, and scent; but we could be looking at temperature, dampness, emotional reaction, etc.
And of course there are exceptions: Novel situations or settings of wonder may demand much more description than making just three points about it; the same goes true for situational novelty, an important discovery, betrayal, or consummation of a relationship.
But here, follow the 80/20 rule again: 80% of the time, stick to three or less descriptors, enough to convey the most important sensory takeaway. Remember we are trying to guide the imagination of the reader, not straight-jacket it.
To a large extent, this interacts with the rule of consequences: what we choose to describe should matter to the character or story. What they notice is character revealing, or might play into the story; e.g. the CEO of the company keeps roller blades in the corner of his office (But remember Chekov's Roller Blades, don't show them if you aren't going to use them!)

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