I love that idea—narrative as a painting, each scene a brushstroke that must settle just right. I’ve tried it in a story about a shy baker who falls for the town’s florist, letting the market’s rhythm and the shop’s layout mirror the rhythm of their growing affection. It felt like the words and the image were breathing together. But I still worry that if you force too much symmetry, the characters can feel like mannequins. Balance is sweet, but hearts sometimes want a little chaos. Still, it’s worth the experiment if it makes the ending feel like a well‑finished canvas.