First and foremost, you totally get a beer from me for the self character diamond (even if it more of a character
line). Cheers. Please be aware that the only reason I am stating anything that could be perceived as negative here is because you specifically requested constructive criticism. To be honest, I’m a pretty big fan of yours. I have found both your posts and ideas to be consistently entertaining as well as inspiring. Typically, I wouldn’t breathe a critical word.
Finally, my opinion probably doesn’t count for crap anyway. Here goes.
You stated your biggest weakness as an inability to put what you’re seeing into words. That translates to me as flaws in the effectiveness of your communication. Sure, it can have something to do with vocabulary, but I doubt it is the vocabulary you know more than it is the vocabulary you actually utilize. It seems to me your strength has created your weakness. What I mean by that is direct, to the point writing
is a strength. Clarity and eloquence are children of that style. Unfortunately, so are sterility and distance.
As I am someone who is likely of those writers you would box as overly descriptive, I might not be your best resource. However, in the end we can only talk about what we know; and this is what I know and how it relates to my writing.
I abhor an abundance of words. Wait, what? KATIE? I know, right? But I’m dead serious. Look at my face. This is Katie’s Serious as Shit Face. I do not like being overburdened with useless words. I cannot stand to read a piece of literature (book, game, or otherwise) that has a good four extra paragraphs of unnecessary verbiage. It drives me insane when players in Mizahar talk about post length as if a long post somehow equates better writing than a short post.
It doesn't. Period.
Hemmingway's technique of "every word must fall like a brick" is very true. You, sir, have a talent with this. This is a talent in cutting out the excess, in leaving out anything and everything that is not absolutely necessary to the story. It is an excellent communication vehicle.
So why did I say it seems your problem is communication?
“Necessary to the story” is ambiance, voice, feeling too. These things can be achieved without excess by using tools such as evocative language and motif.
Evocative language is most easily obtained by substituting the first word that comes to mind with a different one that says the same thing, but better. “Live” words, I think of them. The wind is blowing through the branches. The wind is weeping in the trees. The wind is snapping branches like elbows and knees. And so on. Each of these sentences ultimately just means the damned wind was up in the stupid trees, but word choice changed how the reader felt about them drastically. It set a mood and still kept it short and to the point.
Motif, well, I’m sure you know what that is too. You mention how you have rarely found it necessary to describe how a wall looks or how the air smells or whatever it is. I can’t say I blame you. On the other hand, insolong as you consider such things to be boring, they will be.
You can describe the way a shadow is thrown on a wall and alter the entire ambiance of a scene. The trick is not to be descriptive for description’s sake, but to use description like the cheap whore it is to both enhance and further plot. Write the description of how a man is riding a horse instead of stating how a man feels or what he is thinking.
Make it communicate the same thing in the end. The exact same thing. Nothing extra. All pertinent.
I hope this has been somewhat helpful. Again, I am a fan of yours. I should get back to work. Take luck.
- k.