One thing worth mentioning is WRS is one of the most subjective issues in writing. There's no right answer for how much description is "enough." Everyone desires different amounts. Some folks can't imagine a scene without lengthy paragraphs of emotive prose. Others prefer no description at all, they don't experience WRS and skip past descriptive text as a reader (I'm in this camp). Know what your story needs, and try not to go further. Be okay with people wanting less/more. Set yourself a purposeful standard and hold yourself accountable to it.
However, when a reader does not imagine where the characters are and what they are doing, It is essential to add some brief descriptions. I believe that immersing the reader into the book is crucial, and accurately describing their background paints a picture, which even movies would be jealous of.
I favor writing in deep point of view. Doing so resolves white room syndrome. If a character is in a setting he/she is familiar with in DOP, you won't be providing much setting. Once the character is in a new setting, then describing setting in bits in pieces as the story unfolds, as in being in the moment, works well for me. Overall good video for non deep point of viewers.
Having Aphantasia myself, I do not consider "white room syndrome" to be an issue at all. Dialogue and plot is all I recall anyway, none of the descriptions. However, these are good tips to fix it, so normal readers can enjoy my stories more.
@@rylanprime6176 The power of location can be more …space will conjure imagination- (you are in a white box…why, is it smooth, is it hot, does it sound. ?) Lol….endless permutations…(:-)
It's usually an issue if one is onto writing a descriptive novel. A quick fix to it is; image cues on a paste board in front of the desk, mood music---capable of enhancing one's imagination, and video cues on one or multiple screens, again, placed before the writers desk; ---apply the settings in the photo images or videos to the story one is writing, or let the spirit of the mood music guide ones emotions, and their you have it, ---better settings the novel's readers would see in their mindseyes, is achieved.
Homogeneity of impression was the problem with fiction of my youth in the 1970s: bedsits, pubs and parks in North London were the locations. So I turned to so-called regional novelists of the industrial North and Midlands as well as Laurence Durrell's Alexandria and Patrick White's Australia. Graham Greene said he might not describe the room in which his characters are talking but he had to see it with his eyes for the scene to come alive. *A World of My Own: John Braine* Yorkshire Film Archive. He morphed Bingley (West Yorkshire) with Morpeth (Northumberland) for his first novel. Patrick
Patrick O'Brian's novel *Testimonies* (originally Three Bear Witness) has such a vivid sense of place that Wales becomes a character. Daphne du Maurier immersed herself in Cornwall. I enjoy southwest Ontario in Alice Munro, Auckland and Wellington in Maurice Gee. Randolph Stow's *Visitants* is set unforgettably in Papua New Guinea. Archie Hind immortalised Glasgow in *The Dear Green Place*.
When I read the title I thought this meant a setting full of only white people haha :DDD Question is how could you guys come up with such quality and unique advice so often?
If you live in a country where more than 90% of the population are white (like most of European countries) that is perfectly normal and there is nothing wrong about it. The same will happen with asian people if you go to Japan.
Is it an important scene in a coffee shop? What emotion or feeling does it need to support?o Long detailed descriptions are unnecessary in a transition scene.
Coffee shops were once very different whether in Canada, USA or Europe. Read online: *The Rise and Fall of Kardomah: The cafes where Manchester learned to love coffee, long before Starbucks and Costa.* Manchester Evening News. 2021. *Manchester's Lost Restaurants - Kardomah Cafe, Meng & Ecker and more.* Manchester Evening News. 2019. So invent coffee shops and restaurants from photos and scraps from the Past.
I don’t know what I would do without these videos
I'm thankful for watching this video. I hadn't put much thought into setting descriptions, now I will... Thanks
One thing worth mentioning is WRS is one of the most subjective issues in writing.
There's no right answer for how much description is "enough." Everyone desires different amounts. Some folks can't imagine a scene without lengthy paragraphs of emotive prose. Others prefer no description at all, they don't experience WRS and skip past descriptive text as a reader (I'm in this camp).
Know what your story needs, and try not to go further. Be okay with people wanting less/more. Set yourself a purposeful standard and hold yourself accountable to it.
However, when a reader does not imagine where the characters are and what they are doing, It is essential to add some brief descriptions. I believe that immersing the reader into the book is crucial, and accurately describing their background paints a picture, which even movies would be jealous of.
These are so helpful and keep me motivated because it feels like all us writers are in the same boat or writing together.
Amazingly good timing! All my critique partners have diagnosed me with a severe case of White Room Syndrome.
I favor writing in deep point of view. Doing so resolves white room syndrome. If a character is in a setting he/she is familiar with in DOP, you won't be providing much setting. Once the character is in a new setting, then describing setting in bits in pieces as the story unfolds, as in being in the moment, works well for me.
Overall good video for non deep point of viewers.
Great advice. I have read many books with this flaw. Your videos are helping me a lot, thank you.
Pictures from Google and researching the name of props do help.
Having Aphantasia myself, I do not consider "white room syndrome" to be an issue at all. Dialogue and plot is all I recall anyway, none of the descriptions.
However, these are good tips to fix it, so normal readers can enjoy my stories more.
I think every place can be interesting - the writer creates interest, a white room can be captivating if written in an interesting manner. (:-)
Thats interesting to think about... an intentional white room..
@@rylanprime6176 The power of location can be more …space will conjure imagination- (you are in a white box…why, is it smooth, is it hot, does it sound. ?) Lol….endless permutations…(:-)
One of your videos, you mentioned have things moving in the room: a ceiling fan, fish in a tank, ect. 👍
This was so helpful. Setting is definitely my weak point.
It's usually an issue if one is onto writing a descriptive novel. A quick fix to it is; image cues on a paste board in front of the desk, mood music---capable of enhancing one's imagination, and video cues on one or multiple screens, again, placed before the writers desk; ---apply the settings in the photo images or videos to the story one is writing, or let the spirit of the mood music guide ones emotions, and their you have it, ---better settings the novel's readers would see in their mindseyes, is achieved.
Homogeneity of impression was the problem with fiction of my youth in the 1970s: bedsits, pubs and parks in North London were the locations.
So I turned to so-called regional novelists of the industrial North and Midlands as well as Laurence Durrell's Alexandria and Patrick White's Australia.
Graham Greene said he might not describe the room in which his characters are talking but he had to see it with his eyes for the scene to come alive.
*A World of My Own: John Braine* Yorkshire Film Archive. He morphed Bingley (West Yorkshire) with Morpeth (Northumberland) for his first novel.
Patrick
Patrick O'Brian's novel *Testimonies* (originally Three Bear Witness) has such a vivid sense of place that Wales becomes a character.
Daphne du Maurier immersed herself in Cornwall. I enjoy southwest Ontario in Alice Munro, Auckland and Wellington in Maurice Gee.
Randolph Stow's *Visitants* is set unforgettably in Papua New Guinea. Archie Hind immortalised Glasgow in *The Dear Green Place*.
When I read the title I thought this meant a setting full of only white people haha :DDD Question is how could you guys come up with such quality and unique advice so often?
A bit racist tho !
If you live in a country where more than 90% of the population are white (like most of European countries) that is perfectly normal and there is nothing wrong about it. The same will happen with asian people if you go to Japan.
Step five: I’M IN A GLASS CASE OF EMOTION!
Is it an important scene in a coffee shop? What emotion or feeling does it need to support?o Long detailed descriptions are unnecessary in a transition scene.
Coffee shops were once very different whether in Canada, USA or Europe. Read online:
*The Rise and Fall of Kardomah: The cafes where Manchester learned to love coffee, long before Starbucks and Costa.*
Manchester Evening News. 2021.
*Manchester's Lost Restaurants - Kardomah Cafe, Meng & Ecker and more.*
Manchester Evening News. 2019. So invent coffee shops and restaurants from photos and scraps from the Past.
these things is what people need to watch if they're taking literacy
😊😊😊