Of styles. · 6:27am
I have seen... plenty of fiction, be it official, or fanfiction. I have noted a variety of way to convey a scene, and I'd like to share some of what I've seen and... I don't know, ask opinions, I guess.
First, let's start with the scene in question. A character throws a tantrum and trashes a room.
Now, the goal of the writer would be to establish this scene, and there are many ways of doing it.
There are those that set the scene and its mood mainly by means of the scenery. They describe how each object has been affects. Example. They focus on an expensive vase, be a gift or souvenir or commission piece, lying shattered on the ground. They would go to great detail to explain its origin and what had it been doing there... a gift of the husband, perhaps? She caught him red-handed, cheating on her with someone else, and could not take to look at it any more. Each hole in the wall, each broken mirror, upturned table, is slowly piecing the mood and situation we have stumbled (or been lead) upon. We are told/shown the relevance/importance of each piece of the scenery in both the moment, and the overarching story - perhaps the vase held a clue to a strange situation inside. We are told about the environment and its history, and the effect this has on the characters.
There are those that set the scene primarily through the actions of the characters, which I have seen is more common that the one before, or at least clearer in that regard. Each swing of the character's fists, each flashback... Back to the vase: This author would instead say/show that the vase reminds our character of the time it was gifted to her, and thus makes her remember the unfaithful husband; she will target it, and her expressions and vocalizations (or lack thereof) will tell us how she's feeling, including the decision of throwing it, kicking it, or shaking it with her hands before slamming it down. We will read about each action and either the motives or the aftermath, leaving us to piece the rest; may or may not include it's relation to the overall story beyond the moment (in this case, we are either shown the trigger, or are left to deduct that something bad happened, then that it involved the husband, then that she caught him, etc). As for the clue to the mystery, it might give her pause and interrupt the destruction, or the clue physically does something - a key will shine, a box will clatter, paper might slide underneath the table without notice; it will do something. We learn of the effects of the characters and objects on their environment.
Then... those that do things like I do. (Or, at least, how I think I'm doing things)
I (try to) present things for their effect, letting logic and empathy guide the reader before letting imagination bring the images and sounds. Quite different from summoning imagination first. I found that I focus a lot on the characters themselves and their state. I would note the heartbreak, the anger, the main emotion behind each action. The vase would be a painful reminder of the day she had once welcomed it, then that would give way to the sheer sting of the betrayal. She might even picture his face on it, or remember the tone he used when he said sweet nothings to her ear... and then comes the breaking. I give the motives and choices as being of greater importance, before giving the actions. If I describe scenery, it is for the effect it has on the character (or reader). The thing inside the vase might stir up a new emotion, or cause doubts. I found out that I try to affect.
Whenever or not I'm right or wrong is up to you, I guess. It's just the way I like to write. I think of what characters do, and why and how they do it, which makes me feel it in the end. Then I write.