The "yes and no" is not at the level of description, but rather worldbuilding: in Rook and Rose, the trilogy I'm writing with teleidoplex, there's a pervasive setting motif of textiles: threads, knots, embroidery, weaving, things being tied together, etc. Both in the sense that the region is known for good lace and embroidery and in the sense that when things get named, the images often come from that direction -- we got some impetus in that direction from the fact that "knot" is an old slang term for a gang. So it's a common refrain there, but not quite on the level of descriptive imagery like we were discussing.
But then the "yes again" is that I just wrote a short story in that setting, and partway through I realized it's a very good candidate for trying to take that setting-level motif and work it into the prose more directly. (Not least because the short story is 3300 words long instead of 226,000.) I figured that out about halfway through writing the story, so it goes on the list of things I need to fix when I revise, but yeah -- I may use this as a direct experiment in what happens when I list out all the verbs and nouns and adjectives that evoke textiles, and see how often I can work them into my -- wait for it -- text. :-P
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The "yes and no" is not at the level of description, but rather worldbuilding: in Rook and Rose, the trilogy I'm writing with
But then the "yes again" is that I just wrote a short story in that setting, and partway through I realized it's a very good candidate for trying to take that setting-level motif and work it into the prose more directly. (Not least because the short story is 3300 words long instead of 226,000.) I figured that out about halfway through writing the story, so it goes on the list of things I need to fix when I revise, but yeah -- I may use this as a direct experiment in what happens when I list out all the verbs and nouns and adjectives that evoke textiles, and see how often I can work them into my -- wait for it -- text. :-P