Specificity is something my creative writing professors pounded into my skull from the moment I walked into their suspiciously bare, humorless classes (there should seriously be a law requiring CW classes to have some form of decoration, what writer can function in a such a sterile environment!).
Specificity is a way of grounding your work. That does not always mean adding adjectives & adverbs, or even writing super long descriptions. It means taking something potentially abstract in nature, and making it concrete by adding relevant information. For example: Think in the context of someone walking into a room. There’s been a murder, and the person discovering the body has never seen something so heinous. They are attempting to describe their initial thoughts.
“It was a horrific sight. There was blood everywhere.”
“The blood was pooling in tiny puddles around the corpse, on the walls, and on the cabinets. I’d never seen so much blood outside of a body before.”
Yes, the second example is longer. But it tells us a lot more about the scene, the person encountering it, and the victim. We know they’re obviously dead in the second example, that the person who found them isn’t used to that type of scene, and that they’re most likely in a kitchen. This example is also a little more broad, as it applies to a scene and not a sentence.
The gist of it is, if you mean shout, don’t say said. If you mean balked, don’t say frowned. Use a thesaurus or dictionary and find what you need in the moment. Distillation, using as few words as possible, is an art. There is a time and place for long, poetic prose. But screenplays, and even novels depending on your genre, aren’t the place. Build your brand around the hard and fast rules, and then adjust as you go.