#writing immersion

As we all know, there are a bunch of different narrator types to pick from when starting a new story, and each of them is good for a different thing- reaching from the typical first-person narrator (The Hunger Games, Percy Jackson) over personal third-person (Warrior Cats, Harry Potter) to omniscient third-person (Anne of Green Gables) and biased third-person (A Hitchhiker's Guide to the Galaxy). If you are writing an unbiased third-person narrator in your WIP, you can just skip this step. However, if you have any indication at all in your story as to who the narrator is, you might want to think about this more closely. The narrator is the bridge that connects the reader to the fictional world. To immerse the reader in a book, it's usually easiest to use the first-person narrator or the personal third-person narrator, because that way the reader will either imagine themself as the narrator or as a friend of the main character, which keeps them interested. If your narrator is an actual character in the story, it is necessary to keep their speech and description patterns consistent with themselves and the events of the story. For example, a character narrating that has never visited a school or similar should not use highly scientific words to describe what's going on, etc, because it will interrupt the reader's reading flow and disturb the immersion just as much as time skips do.

Step 3: Writing visually

After making sure you have the narrator and the world they're in all set, it's time to choose a writing style, more specifically, to decide the visuality of it. What I mean by that is that having a fictional world so flat it's boring is just as bad as not describing it in a way that delivers it in the way it deserves to be delivered. Picture it like this: Every scene starts in a white room, with neither windows nor doors. If you as the writer don't describe what is going on in that room and what it looks like, at best while keeping the narrator's character in mind while doing so (to make it "3D"), the reader will never know what is actually happening. This also includes adapting the length and complexity of sentences to the scene: In a combat scene, you will usually find short and cut-throat sentences to represent the intensity and living-in-the-moment mindset of a fight, however, in a meaningful conversation between two characters about a heavy subject, it's more likely that longer and more complex sentences are of use to mirror the narrator's deep thinking of the subject and their concentration on the conversation.

Step 4: Setting the scene

By setting the scene, you fill in this white room in the reader's mind, adding characters, sounds, furniture, windows, and scenery in general, while still leaving space for the reader to fill in the blanks. To find a middle between these two extremes is up to every individual writer and depends on the writing style. If you over-describe the room, the reader will know every detail about it, but it will take away their focus from what is actually happening in the scene. However, if you don't set the scene at all, the reader automatically makes up what the room might look like based on what they imagine, and then breaks out of the immersion as soon as you mention something, later on, to be in the room that they did not picture. For example, if you just say that A enters B's bedroom, the reader might quite as well imagine there to be small windows, some bookshelves, a standard bed, etc. If you don't set that up right in the beginning and later on mention that B has small windows, the books stacked on the floor, a bunch of plants, an aquarium, and a bunk bed, the reader will get confused because it doesn't fit what they had pictured before. So ask yourself: What is so important that the reader should know it before the scene actually starts? Context also matters in that case.

5. Example

In the following, I will write the same scene multiple times in different styles to illustrate what makes a difference in writing immersion. The scene goes as following: Jae falls into a dark room underground with a hooded, mysterious person waiting for him. The hooded person greets him and lights a candle, and in the emitting light, Jae realizes who he is talking to. Remember: These are more caricatures of the different writing styles than actual representation and are very overexaggerated, but you get the idea.

1. first-person narrator (Jae), scene not set properly, no visual writing, no consistency in speech pattern

After three seconds, I landed on something soft and realized I had landed in a chamber underground, slightly lit by the moonlight above me. I walked through the only doorway and found myself in a second room. A hooded figure in the middle of the dark lifted their arm. From the table beside them, they picked up a candle and lit it using a lighter. "Hello, Jae", they said, and in the newly emitting light, I recognized them in front of the fireplace.

-> feels flat and jumpy, gives no significance to the change of scenery

2. biased third-person narrator, scene set properly, overly descriptive visual writing, consistency in speech pattern

After falling for what felt like an hour, even though it was probably just a few seconds, Jae finally landed on something soft. Before even attempting to get up, he shivered at the fresh memory of what slimy, earthy, suddenly appearing tunnels felt like. He stared up through the hole at the moon and the stars, and immediately recognized the constellation of Cassiopeia, high up above him. Cassiopeia is said to have angered the Gods, so they gave her the gift of divination, but made it so that nobody would ever believe her prophecies, finally banning her into the sky as this constellation. Weirdly enough, the stars' pattern doesn't look like a woman, or a human, at all. Jae slowly stood up from where he landed and realized he had fallen onto a rather big cushion with a print of primroses in yellow, pink, red, and blue. He looked around in my new location and found himself stuck in a small portico with no windows at all and only one doorway. The walls seemed just as dirty and muddy as the tunnel he had fallen through, and as he looked closer, he spotted about a dozen small, pink worms slithering through the soil. The floor on the other hand was made out of dark wooden panels- if you wanted to call it a "floor". The pieces were just loosely stuck onto the earth underneath, and mud squeezed out from the gaps in between. Jae slowly walked over them and reached the doorway after just four steps. He saw a hooded figure standing in the center of the next room. The room had two sources of lighting: One, the moonlight shining through the disgusting tunnel, and two, a crackling fireplace. It looked like it belonged in a small cottage, being made out of red bricks and looking a little old with the small black-and-white pictures put on top of it. The flickering orange glim of the fire met the silvery-white shine of the moon in the middle of the room. On the right side, Jae saw a big old round table made out of similar wood as the floorboards outside. There were obvious scratches on it, some made by smaller knives, others bigger and maybe made by swords, with splinters on their edges. Apart from two, the fours chairs around it seemed just as maltreated, but the two others were polished and reflected the two light sources, with no scratch marks at all. On top of the table rested a metal candlestick with one slightly burned-down candle stuck inside it. The candlestick had a few scratches as well, on the side and at the bottom. "Hello, Jae", the figure said snarkily, with a voice deep and rough like sandpaper. They wore a black cape, smooth on what Jae could see of the inside and rough on the outside, with a big hood covering their hair and most of their face. A few of the blue buttons with a golden pentagram engraved on them were missing from the coat, and it was slightly ripped in a few places. One strand of dark hair fell into the person's eyes as they reached out for the candlestick, lighting the candle inside with a silver zippo-lighter. The lighter had small scratches as well as a few symbols on it. Slowly, the flame grew bigger and bigger, until the shine from below reached the figure's face. Jae's eyes went big as he realized who he was talking to.

-> little place for the reader's fantasy, but details make scenery deeper and less flat. This kind of description does make sense if the narrator/the character the narrator fixates on (Jae in this case) is very observant and/or intelligent because they will notice details that others don't. The question is whether those details are important enough to keep in the story.

3. first-person narrator (Jae), scene set properly, visual writing, consistent speech pattern

After what felt like an eternity of falling and silently begging not to die from the impact, I finally landed with my eyes squeezed shut. Okay, legs, arms, and head still in place... I slowly opened my eyes again, realizing I had landed on a soft pillow with a flower print. Cautiously, I got up, gazing up at the tunnel through which I had fallen. The view of the slimy earth made me shiver involuntarily as I blinked against the bright moonlight far above me. The sky was clear enough to see stars, which could have been far more enjoyable if it hadn't been for my miserable situation. I had landed in a small chamber underground, with a single doorway leading into a bigger room. The walls were just pure earth and seemed to swallow all noise, but when I took the first step, the sounds of my shoes on the dark wooden floorboards and of the mud squishing out from beneath them was louder than I had anticipated. I could hear the crackling of fire from the next room and see the orange glow as I made my way over to the doorway and took a glimpse into it. The room was not very big, but also not as small as the one I had landed in. There wasn't much space because of a wooden round table and four chairs, which all seemed very old and maltreated, judging from the scratches on them. I could make out a few pictures on the fireplace, and in front of that- "Hello, Jae." I had to suppress a gasp as I realized that I was not alone. In the middle of the room, right where the silvery moonlight and the orange glow of the fire met, stood a hooded figure. Their coat looked as old as the few pieces of furniture, with missing buttons and rips. I couldn't make out much of their face, even though I squinted my eyes, but the flickering light made it hard to see anything, let alone recognize. But that voice... Before I could come to a conclusion, the figure reached for a metal candlestick standing on the table and lit the candle inside with a silver lighter. As the flame grew bigger, they dispelled the shadows below the hood that had disguised the person's features before. I could feel my eyes get big as I finally realized who was standing before me.

-> Gives enough information to "fill the white room" without dwelling on details too much, shows the context of the story, gives Jae a consistent personality