: Describing something that doesn't exist I'm in the middle of my first draft for my novel, and I can't seem to properly convey to my audience the image I'm trying to describe. That's what

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You're still telling and not showing. Don't.

You want to say "it's a flying car"? Describe your character parking it outside work.

Curvy hoop over the top? Your character leans on it while he's talking to someone.

How the driver sits in it? "John lay back and wondered what he'd get for lunch, as the seat rose to meet him and its belts wound languidly over his chest and legs." (Of course you have multipoint belts which fasten themselves. :)

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It is neither necessary nor desirable to give people perfectly exact visualizations of the physical details in your book. It isn't a technical document designed to allow them to build or recreate what is in your head. Your descriptions are there to allow the reader to experience your narrative.

What you want to give them are the necessary physical details, together with some emotional and narrative context. Part of the joy of reading (versus seeing a movie) is the chance to put your own imagination to work, and what's more important that what something looks like is what it's going to do for you, and how it makes you feel:

It was more of a spaceship than a car, and he loved it. A silver flash, freedom on wheels, an unidentified object flying down the highways. It was a way for him to get from point A to point B with maximum possible enjoyment.

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I'd say it's a glass egg on its side, in a form-fitting metal cage, where you sit reclined and can look out the top.

But, yeah, focus on what you need, and remove what you don't.

If you really want to set the picture, use it for the cover, or actually add pictures into your story.

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No matter the descriptors you use, each reader is going to form a slightly different image in their minds, depending on their own imagination and experiences. Therefore, I think what's more important is to decide what you want to convey about this vehicle. What about it is striking to the narrator or character viewing it, necessary to its function, or important to the plot and world of the story?

Perhaps you want to communicate that it is futuristic, or otherworldly - from there I would describe its shape in comparison to what the narrator is used to: It's like a car that's been rounded off at the edges, polished over, so much that "pod" might be a more appropriate word now. I don't think this thing growls when it moves like a truck would - I bet it hums, and you don't even hear that until it's already a block away.

Maybe if this is the first time we the readers are seeing it, and there's a feature of it that will become important later on, it would be a good idea to note that feature in a non-obvious but memorable way. For example if its advanced autopilot feature will be critical to ferry your inexperienced-driver character out of a tight spot later on, that feature might be revealed as its owner turns it on on the sky-highway to relax and have a conversation.

A lot of writing, I think, gets bogged down in painting a perfect visual picture rather than a perfect overall picture. Don't worry about your readers all visualizing the same exact car - that's an impossible task. Instead point out some key details, specific is better, and try to distill it to what's important to its place in the story.

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The thing with an imaginary object is this: people aren't going to see the exact same thing as you see in your mind, no matter how many words you pour on it. Each reader is going to imagine what you describe in a slightly different way.

For example, Tolkien describes hobbits in quite some detail. Yet here, here, here and here are four very different images of the same Bilbo Baggins.

With that in mind, how important is it that your reader imagines this particular car you have in mind, and not anything that's somewhat similar, but also different? How important is it that what you describe be distinct from anything else that might spring to mind when one reads "sleek silver hover-car"?

What details are important to the story you're telling? That it's a cool vehicle? That it's futuristic? Is it a one-of-a-kind, or is it an advanced model of something pretty common in the world you're describing? Focus on what would convey enough of a feeling of what you consider important. If the vehicle is exciting to your characters, that is conveyed by giving some details about it. The exact details are less important than the overall feeling they convey.

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Only describe the important stuff that will play a role later and gloss over everything else with very broad descriptions - readers prefer their own mental image if it's not relevant for the story.

It's enough to use terms and phrases such as "futuristic", "very sleek" and "complete glass hood" to give the reader a broad sense of what it looks like. They wil have some idea of what these terms mean and will create their own mental image.

If an aspect is important for the story you need to describe it in greater detail, but again only as far as you need to. For example if the glass hood is important because information for the OP will be displayed on it while driving then you mention how the "glass hood" is equipped with some "hologram device" that projects the wanted information directly into the view of the driver. That's enough again. No need to describe those little hexagons you can see or how chassis is formed or where exactly the light is - it's just not that important and while it might enhance a readers immersion it's important to focus on the important stuff and trust that your readers will be able to develop their own mental images of what you are describing.

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In this case, think in terms of the process a draw-er would use to draw that concept.

They would start with an oval, like an egg.

"It was like an egg."

In this case, it is longer than an actual egg.

"If that egg had been smushed on the top so that it spread sleekly and smoothly at each end."

They would add lines and curves to define the wheel wells and windows.

"Of course, most eggs don't come with windows. And these were beauts. Odd angles, sloping, begging for speed."

Then add a little flair at the end.

"And most eggs aren't polished, either, to such an extent that seemed to come from another world."

First draft (I usually need four before I'm happy with something.Take it or leave it.):

It was like a silver egg, if that egg had been smushed on the top so
that it spread sleekly from each end. Of course, most eggs
don't come with windows. And these were beauts. Odd angles, sloping,
begging for speed. And most eggs aren't polished either, to such an
extent that it seemed to come from another world.

I think the key thing in this suggestion is to start with a known object that is not a car, so that the reader approaches it ignorant of 'car.'

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