Texture encompasses both crispness of prose and efficiency of delivering images to the reader. At one level, it is word choice: at another, image choice. (E.g. when dealing with aliens in whom smell is the dominant sense, most things should be described by their aroma, and the characters should respond to aroma rather than to other attributes.) Texture often completes the circle by building a whole-book, macro-level vision of the premise by sustained, consistent micro-level evidence. Examples: Burgess, A Clockwork Orange, where the Russopunk vocabulary is laced throughout the book; and Brunner, Stand on Zanzibar, which intercuts storylines with news broadcasts, ads, and other vignettes of existence.