The pictures are colored in my mind as the actual coloring would be. Gray in the sky—dull waters; red in the west—crimson on the wave-tops—the sails reflecting the lights of each.
Don't talk to me about geometry or math—damnable things, all.
Haven't any stock pictures—the world too big and numerous. Everything keeps hopping right along.
My trade is not writing stories as yet. Therefore I've no tools for that trade (stories).
Samuel Hopkins Adams: The people, if they are well presented, I see definitely; they move and breathe and change expression. Upon considering your question, I find that I do not hear them as plainly and definitely as I see them. Although I have an unusually acute sense of smell—perhaps because I am not a smoker—I do not react particularly to odor-motifs in fiction; nor to taste. I certainly do not feel physical pain reactions, nor am I specially sensitive to imaginary contacts.
As for setting I occasionally find myself helping out my author by imparting into his story some actual scene, more or less vividly recalled. If I do undertake to create a mise en scène out of his material, I am likely to find upon examination that it is a memory-picture of some half forgotten place.
Such pictures as I see are of full form and hue; people more vividly featured than places.
Solid geometry was not worse than other forms of mathematical martyrdom.
If I understood this question, the mere concept will often give me enough to go on; but I might work out a picture totally different from the author's intent. The risk is his, if he will supply only frame-work!
No stock pictures. My gallery is more productive than that.