TECH: The Power of Place (Moldy Oldie!)

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Original Posting Feb. 7, 2016

Writer's Digest, October 1994, pages 37 to 41, had an article by Michael Orlofsky, with the title "The Power of Place." The first three sentences read "Much recent fiction seems as if Vic could take place anywhere. But today's editors increasingly want stories and characters that are molded by a specific setting. Learn how to use symbolism, structure, theme and more to give your stories this base in place."

The article starts with a short reminiscence about a few small grains of coal buried in Michael Orlofsky's left palm, which remind him of the hard coal region of Pennsylvania and all the wonder of that area.

"The power of place can do that. In fiction, place is determined by the elements of setting -- and setting may be one of the most overlooked aspects in contemporary fiction."

Setting is the location where the plot happens, but it can be so much more. So let's take a look at the pieces...

Stage scenery. One of the innovations of fifth century theater was adding scenery. Readers enjoy knowing where something is happening too. Backdrops, but also tone. You need to know the plants, animals, buildings, and everything else about your setting.

Structure. Setting really provides the infrastructure that holds up your plot and characterizations. Raymond Carver, Ernest Hemingway, and so many other writers have used setting as a skeleton to build their narrative. Watch for the built-in connotations that go with setting, from time to season to mood.

Symbolism. An image superimposed on an idea, or maybe it's the other way around? Anyway, setting too can become symbolic.

Psychological suggestiveness. There's that mood, again. Do beware of the pathetic fallacy, but rain and sun and storms do make us think of certain moods.

Cultural backdrop. History, whether long-term or short-term, often plays a part in good stories.

Theme. Sometimes the setting is a character. Usually this means that the setting has meaning. Personification? Sometimes.

"Setting is a good place to start the invention -- it's right there in the palm of your hand."

Incidentally, there's a short two column insert about place and characterization by James W. Hall. Some quotes from that:

"I believe most successful writers view their surroundings as newcomers or professional anthropologists would, as strangers in a strange land."

"To truly capture the uniqueness of a place in a work of fiction, a writer must create characters who share his passion and ambivalence for the place. They must be both inside and outside the location, be able to stand back from it and see it with an objective enthusiasm."

"Unfortunately, most writers start out believing that setting is little more than a necessary evil; it simply one of the elements they must reluctantly deal with to tell the story they want to tell. Many writers seem to view a book's setting is little more than a static backdrop against which their narratives are set."

So, your task is to take a story you're working on and look closely at the setting. Where is it happening? Have you shown the readers where it is happening? Are the characters affected by the setting? Plants, animals, buildings, topology... Is there a volcano in the background? What about the weather?

Go ahead, write that setting!
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