TECH: Make A Scene #5: Setting

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original posting 24 May 2008

Make a Scene by Jordan Rosenfeld

(We're making a scene, checking it twice, gonna find out who's naughty and nice . . .)

Okay. So we got the idea that a scene consists of a launch, a middle, and a bang up ending. In part two of his book, Rosenfeld looks at some of the ingredients or core elements that we use to put that together. The setting, senses, character development and motivation, plot, subtext, dramatic tension, and scene intentions (interesting, Dragon NaturallySpeaking likes to make that "and tensions" or "in tensions" rather than "intentions." And there certainly is a lot of tension :-). Quite a few ingredients in the stew, so let's start chopping.

Chapter 5: Setting starts out by pointing out that unfamiliar surroundings often make us feel unsettled and overwhelmed. The writer's job is to "act as a tour guide through each scene, expertly guiding the reader to all the important details, pointing out only what is necessary and what will help the reader understand what he sees."

So even though setting is mostly there to support and contain the scene action, and in most cases will not be the star, you need to think about it carefully and help the reader feel comfortable about where this is happening. The stage for any scene is what is seen. You're going to make a world, give the reader a framework so that they can sit down and look around. Sounds like fun!

Even though the setting is just a backdrop, you need to establish the setting to keep your characters from being floating heads. You can start out with a pretty sketchy setting and then fill in the details later, but you need to make sure it is there. Big things like the general geographic location, nature, and any homes and buildings. Locations, whether next door or across the galaxy, give the reader and the writer lots of information. A setting in Florida is not the same as a setting in California! Nature and the time of year combine to create outdoor settings that can involve weather and temperature and all kinds of wonderful background. And then there are buildings and houses and homes and rooms. All the great background of civilization, from small towns to great cities.

Next, think about the setting details. What is the time in history? Is it the wacky era of the 70s? Renaissance Italy? Or the year 9595 when it isn't any too certain that Man will still be alive? What about cultural references? Down south, up north near H'va'd, or maybe out west where the coyotes play? How about in Europe, or whatever?

And then there's props or objects. The key to this is purposeful placement, making sure that every object counts or has significance. Rosenfeld suggests thinking about it as a diorama -- all you want are the essentials that are representative in your scenes. Props that bring the scene to life! But be careful, because readers tend to think that every object you mention has significance. Especially the more loving the description and details, the more likely they are to think that it must mean something. And you really don't want too many Maltese Falcons wandering around through your scenes. Some of the possibilities for things you want to include might be mood objects, showing how the narrator feels about things. Significant objects, actually call attention to themselves. These may be plot significant -- the evidence, magic rings, dogs that don't bark, or whatever -- that actually change or influence the plot. Sometimes people are looking for it, sometimes they pop up by themselves, but in one way or another they make the plot go. There are also character significant objects -- things that have sentimental or emotional meaning, lucky pieces, and so forth. You need to make sure that the reader understands how the character feels about the object. You don't need to describe the object so much, but you do need to make sure that the relationship of the character and the object is crystal clear.

One very important point about objects is to describe them in the kind of detail that your character uses. Maybe he or she drives a jalopy, but they're more likely to drive a 1955 Camino Royale (I'm not sure if that's a real car or not, but you get the idea -- not a vehicle, but a specific one!). Avoid generics, or vagueness. Stick with specifics. "Remember that great characters and the wild plot actions they undertake need solid ground and meaningful props to support them. Always ask, what needs to be seen in this scene?"

One of the dangers of setting is that you can end up with too much narrative summary. Describing the setting is the easy and even fun, but it's there to create authenticity and ground the reader for the story. It should be a background, not upstaging the characters and plot! To help you keep the balance, think about:

• setting helps create mood or ambience as a tone for the scene
• your protagonist needs to interact with the setting
• the setting needs to support your plot
• small actions help break up setting description

The last but far from least, once you've established the place, put the props in, and you've got the characters and action going, stay consistent. Moviemakers have someone whose job is to watch continuity. Make sure that the flowers at the beginning of the scene don't turn into cactus somewhere along the way. Make little diagrams of the rooms, or even of the characters as they move around. One way or another, check to make sure that your props don't appear and disappear or strangely morph into something different.

So that's where Rosenfeld starts looking at the ingredients in the scenic mix -- with the setting. I suppose in a sense, that's the cauldron that we're going to cook in (although I'm probably pushing the metaphor a bit far with that :-) In any case, we need to know where this scene is taking place, and what kind of props are occupying the stage. Or if you like, what pieces did you put into the diorama where your story will take place?

Assignment? Take a scene, any scene -- well, one from a story you like, or one from a story you are working on. Then pull out the pieces. What is the setting for this scene? How does the writer establish the geographical location, the nature or buildings where it takes place? What about the props? How do they get worked in, and what do they tell us about the plot or characters? What is the function of the setting and props in this scene -- and how well do you think they work? Suppose you want to add one more prop or take one away -- what would it be and why? How does that change the scene? What about moving the scene from over there to yonder -- what would happen?

When we write, we let other people see a setting.

EXERCISE: A Memorable Day?

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Latest posting 30 May 2008

Here we go! I know, I know, the start of summer is kind of a lazy time, and in pasting up oldies and goodies, I saw this one. So - a goal? A process? Or just a game? Anyway you look at it, write -- soon and often, and don't forget to share whatever here, okay?

original posting: Fri, 08 Aug 2003 11:24:22 +0900

August always seems like a lazy time of year, with vacations and summer heat setting the tone.  But month eight also means two-thirds of the year have galloped past.  So it's a good time to trim the sails and lay out a goal, a process, and some games for the trip.

A goal.  This is, as always, a personal choice, but setting a quota seems to work for many.  Set one that's challenging but reachable, okay?  E.g., one piece (story, chapter, essay, poem) a month?  A week?  Or what tickles your fingers to write?

(Or, of course, you could try the challenge!  Just write one piece a week - write, revise, and mail out one piece every week - for a year.  According to legend, everyone who has tried this has been published.  It's a little like those shot glasses of beer every minute - it seems simple, but the cumulative effect is somewhat larger than the shot glasses appear.)

A process.  Here, too, your preferences may vary.  Some like to brainstorm, then outline.  Others free write, write, write.  Hack and slash - er, revise in one grand frenzy, or perhaps a little every day?

Then finish.  And send it out, even if you still don't think the golden sunset sings quite right.

Then start another.

Or play a game?

1. Pick a phrase - quotation, overheard fragment, first or last line, whatever you may find - and write from it.  How many ways can you stretch that phrase, twist that metaphor, and make your words dance?
2. Ah!  Metaphor and simile.  What is and what is like our topic?  Your love is a green tomato, drowsing in the garden?  Or merely like a snail, slipsliding down the dewy rosebush?  Take a metaphor or simile (or two or three) and expand, twist, and play with it.  Turn those tired cliches on their side and see if there's still a new wrinkle or two left in them for you to show us.
3. Last, but never least, unravel a pop story and redo it as your very own. That movie, old children's story, or whatever you might have around can be the basis for practice.  What's the plot?  Now repopulate it with characters you prefer, change the scenery, and tell us your tale.  Or, if the poetic effect catches your eye, try to imitate it?  What is it about the rhythm, the wording, the imagery, and the moan that makes that line or stanza work?  (p.s.  I'm not sure what moan is doing in there, but it seems to fit, so I'll leave it there.  :-)

So, an antidote for the August doldrums.  Set your goal, refine that process, and play some games.  And see if the winds don't fill your sails, sending you skimming over wordy depths under the blue skies of the Muse.

"Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry."  Mark Strand

The writer's job is to get out of the way of the reader.