on Jane Friedman site:
One aspect of writing that writers have the most trouble with (and, ahem, so do I) is simply the physical presence and movement of characters—in both fiction and memoir—in imaginary spaces: indoors or out, public or private. In effect, choreography.
What do they do? Where are they and why? Which direction are they looking? Where do they move to? How big is the space?
When you start thinking about those things, it’s easy to tear your hair out about how many ways you can say “looking” or “walking.” But the words themselves are often secondary. What matters is the picture you paint in the reader’s mind so they can be in that space with your characters without distractions. They don’t have to see it exactly as you do, they just have to see it enough for it to make sense.
And a character’s movements and gestures in that space similarly must convey enough without becoming too detailed. At the same time, to create that magical sensation, your characters (or you, in memoir) have to bring their whole selves to the spaces they inhabit and occupy them realistically.
That result depends on making good decisions about what to leave out as much as what to put in. It’s a delicate balance that can be hard to achieve.
Chris The Story Reading Ape's Blog 
This: ‘They don’t have to see it exactly as you do, they just have to see it enough for it to make sense.’
I recently re-read a Hugo Award winning short story that packed a novel’s worth of imagery and ‘being there’ into a very small space by feeding the Reader’s own imagination. We humans excel at filling in the gaps. The best writer know how to provide just enough of a framework for our imaginations to do the rest. 😀
LikeLiked by 1 person