Succinctness vs "Atmosphere/Mood"

[5tein]

I try to write my fiction as concisely as possible, but I often wonder where one draws the line between tiresome verbosity and "atmosphere" or characterization (particularly with description and sometimes with dialog)?

I want the environment to contribute to the mood and texture of the story, and I want characters to be believable, not merely props. Yet I don't want to bore anyone. I can think of a dozen examples, but here are a few I recently used:

1. describe lighting and some antiques inside a haunted house to assist the mood
2. two minor characters banter inconsequentially to increase the believability of their friendship
3. reference a classic movie by title, even though the movie itself is unimportant to the plot (though the movie-going is)

Any published or professional writers have some tips on balancing the two? Do you give yourself additional leeway in mysteries (possible distractions or red herrings)?

[TokeBernbole]

I also struggle with this concept. We all want to create likeable and relatable characters. For me this is the hardest part. I have no trouble describing scenery and actions, but fleshing out the characters can be difficult. I find I try to think of how real people act and relate to one another. We do things that are illogical and sometimes self desctructive. So in answer, if it's irrelevant to the story, then it shouldn't be there. If it's showing your characters personalities, then it must be relevant. However, you should avoid conversations and situations that don't progress the story. If the characters are bantering in the process of looking for clues (in the case of a mystery) that's fine. But if your describing banter during a possibly irrelevant car ride to said spooky mansion, then perhaps you should reconsider. Well I'm far from professional at the moment but that's my take on it. Perhaps my opinion will change as time goes on. Keep on writing!

[Nohbody]

Show, don't tell. You can create atmosphere in the midst of action or a conversation, and the integration will prevent the reader from finding a paragraph that is easy to skip.

[Mikes]

Personally, I go for brevity above mood. Give your reader some credit and let them fill in the gaps. If you're not sure about a word of a passage, cut it. Cut, cut, cut, cut. Then ask youself of waht's left; is it really necessary? I mean, really? Really, really?

Try reading some Cormal McArthy. The guy does so much with so little. Characters are solidified and moods set with the extreme minimum number of words required.