How to Write a Detailed StoryWriting a detailed story
1. You can use the best detail you can think of.
The use of powerful detail in your type makes the distinction between words that come to live and words that stay shallow and inebriating. Whenever you use detail in your novel - and especially in parts of the script - you are always trying to find a thicker, more uncommon, more captivating detail. They are all lavish falsehoods - authors know it and the reader knows it.
Inexplained transaction is that literate try to kind their message as being realistic as possibility so that scholar can at matter pretense that what they publication actually did happen. The way authors do this is primarily through the use of powerful, specific, authentic detail. Sitting down to think about the right things, the ones you like to think about are most likely everyday.
Greater lettering could focus on the character's horse's fearful response to the tempest. It' s the qualitiy that matters in the case of description and not the amount. Yes, you have to work really harder to find these unique, inventive and interesting things for your own fun. As soon as you have, you have confidence in them.... not the need to support them with a doomsday.
For example, if I imagine the most beautyful lady in the whole wide universe, it will probably be a completely different painting than the one in your mind's eyes. When I use only two or three conspicuous detail to describe the bodily aspect of a fictitious personality, you as the readership are free to draw the remainder of the work.
But, when I describe every possible bodily trait of this individual, I have done all the work for you and taken away the possibility of creating a painting to your taste. You can draw the remainder of the painting yourself. This is the fascination of destiny!
Of course, there will be more force before the story is over. Because you were reserved early on and didn't use too many detail in the early days of the novel, the force will be all the more appalling when it is there. Include a few special detail as the characters walk in and around - the spider webs that sway in the wind, the humid cold in the outdoors, the shattered stairs.
Just give a few meaningful minutiae and the reader will produce most of the image for himself. In this whole section about the descriptions I have spoken about the fact that it is like drawing a drawing. I said that literature is not a visible media, but through the clever use of speech authors can still "show off" their people.
However, drawing a drawing is not a complete analogue. Images are stable and motionless, which is good for an artist or photographer, but not so good for a storyteller. To us, drawing images is a good beginning for the reader, but the more movement they have, the more mighty these images become.
Statical descriptions in a novel can still be alive and attract the reader's attention. However, showing detail in movement can really bring a "word image" to live. You should be able to imagine all this cuisine from these five facts. Of course, our paintings will all look a little different, but they should all be similar to the one I would have drawn if I had described every detail.
This is the whole point of fictional descriptiveness - getting the reader to visualise (more or less) what you, the author, want them to visualise..... but with the least amount of words to do it. It' s the story and the people that matter, not the settings.
Though we were all supposed to imagine (and hear and smell) a similar space, the detail I was using was not powerful enough to ensure that you will see what I wanted to show you. I wanted to give the feeling of a cosy, cozy, cosy cuisine - a place to enjoy a cool night out indoors.
Also, the timepiece's tone was too blurred and contributed little to the cosy feel that I wanted to have. The stony bottom and the frying pots in the sinks gave the appearance of a filthy, chilly cuisine. As I was lucky, I had used the minimal number of detail necessary for the reader to successfully fill out the remainder of the image.
Thinking they were the best detail - unique, extraordinary, interesting - I could find in a sensible timeframe. A tiled base and oaken desk were selected to give a feeling of strength and sophistication. The detail I used allowed you to easily make the remainder of the image yourself.
You would have had small, insignificant changes in all your paintings - some would have had drapes on the window, some would have had slats. They would have been almost the same in the feelings and moods I wanted to bring to the next film. If you do this by using as few words and detail as possible, you are well on your way to becoming a champion of descriptiveness!