First, your purpose for picking up again is in large part therapeutic. That being the case, quite frankly write what you want and how you want. You want to write detail, then wallow in the detail and get the endorphin surge that gives you.
Second, a complete lack of detail, aside, sidebarring, means a valuable tool for character development and the readers' perceptions of the setting is chucked. You might as well be writing a one paragraph anecdote for Readers Digest or some such meaningless porridge. And don't forget that such asides are an essential tool for pacing.
That last rather puts us back to the notion of a parallel subplot that brings out your details but adds them at different points in the storyline as the character's travels allow, rather than stopping all in order to core-dump the lot.
If you are writing with a goal of commercialising and publication, the rules change a bit, as would my (somewhat suspect) council. In that case, I'd be more vicious about having a clear story line (conflict to resolution clearly defined) in mind before picking up a pen, something I know you rarely do. I'd be on you about the balance of detail level; what is germane and what is not. Same with characters; who contributes to the process to resolution of the storyline and jettisoning the pointless and gratuitous.
All those things in the last paragraph are things I've hit you with over the years. I had to learn something myself; I'm not being helpful holding you to those things, applying my usual purpose as an editor (which I am). I've had to accept there are reasons a person writes beyond the traditional notion of cranking out a book, an article, or short-story suitable for publication; the reason my vocation even exists.
Once I learned that about myself, how I was limiting you by applying my perspective of the editor, and realised your purpose was really to indulge in the pure joy of painting a picture not only in water-colour but in words, a lot of that became inapplicable in your case.
BTW, introducing tiling to you really is perhaps my only positive contribution. Once I got it through my bullet-proof skull what your purpose really was, the joy derived from painting with words rather than classic structured story-telling, tiling became a natural, a form of related word-paintings that can be assembled along a storyline later even by someone else.
So, you might be at a nexus again. Are you struggling with your purpose anew? If this is primarily word-painting and the joy it gives you and the mental therapy derived is the primary purpose, then paint away.
Here is where I might get into trouble because I might be intentionally stomping on a deep personal fear, but here goes: Is it a sudden need to thrash something out in publishable form because you feel the need to do so as a legacy? If so, then understand that the traditional creative constraints and strictures now apply to what is a new purpose.
Both are involved, if I'm reading between the lines correctly. You need to decide whether the balance has shifted or not and accept that with a clear shift of priority comes a clear shift in creative direction from the freedom of "painting" to the discipline of classic story-telling.
Lastly, you might not have considered the perfectly reasonable purpose that a body of "word-paintings" (read tiles) left to someone else to place on a storyline is indeed a valuable legacy, given there is an increased personal importance attached to legacy.
I feel you need to perhaps revisit and if need be redefine your purpose, first to yourself then to those whose council you find valuable. That way, the advice offered you is reasonable and fits your current aims.
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