Don't. Neither solution is effective showing, it's tellingwith props - and such a common blunder among beginners that thetechniques themselves are considered cliches: "Sarah looked inthe mirror and saw a pretty red-haired girl with green eyes and afreckled nose staring back at her." Do you look in the mirror andsee that?
Or rooms cleaned or decorated, or journeys made? Too darn often. Writers get a high out of conjuring a tableau from thin air, and in the white heat of creation forget that tableaux of mundane details are not exciting. Why would a sexy woman be called abombshell? What's attractive about a bombshell? When you usecliches in your writing instead of creating original descriptionsthat actually engage the reader's senses and emotions, you'rewriting words that the reader will find very easy to forget. But agents andpublishers think about it - in fact, it's the quickest way forthem to tell if a manuscript is worth anything beyond a cursorylook. If, in that first glance, they see too many mechanicalerrors, they're not likely to give the story itself a chance. What is passive voice? While active voice describes an actiona character is doing, passive voice describes what is being done- it conveys no action: "she put the books on the shelf" asopposed to the passive "the books were put on the shelf." Thevery structure of passive verbs suggests that an action tookplace in the past, not the present.
Read the Entire "Fundamentals of Fiction" Series! Part I: \"I've Got an Idea!\ you've got an idea - but how do you turn it into a story? Part II: Read, Read, Read!
We have no water - we'll have to find some soon, or we'll die." To which your other character responds, "Indeed. You know I'm the world's foremost expert on skin cancer, andthese sunburns can't be doing us any good at all." Are youlaughing yet?