Tag Archives: setting the scene in your story

#amwriting: setting the scene: making use of maps and floorplans

cape_disappointmentOnce again I am mapping a novel. This one will most likely top out at 80,000 words in the first draft and settle back to about 75,000  by the third draft. Right now I am writing the high points of this story as a rough draft.

However, to do this right, I need to put together the background and research the most up to date maps.

This piece is a contemporary novel and is set in a place that really exists: the area of Cape Disappointment on the south coast of Washington State. It is a place I visited many times as a child, and have fond memories of. This also gives my hubby and me the opportunity to revisit the place to see how it has changed and to better set the scene in my mind.

As I am writing, I will, of course, avail myself of Google Earth. This is a great tool for anyone whose work is set in the real world. Urban fantasies, contemporary literary novels (which is what this particular book is) and any number of romance or mystery stories benefit from the author’s diligence in making the background scenery as realistic as is possible. Google Earth give you a recent real-time view of many places.

google-earth-view-of-beards-hollow

Just as if you were writing a fantasy, making the setting as real as possible is critical. When writing any tale set in a real city or place, the author needs to know the general lay of the land, even if the setting is rarely mentioned. Remember, every time the protagonist and his/her companions leave the house, they will be in an environment that should be known and recognizable to the reader. Your knowledge of place will be clear in your writing, with every casual mention.

the-house-at-barons-hollow-smallI have drawn the floor plan of the house where much of the action takes place, and also the cove, along with the beach. The weather will keep them indoors a great deal of the time, and while it’s a large house, these people are a volatile mix, with many secrets that emerge over the course of the novel.

The floor plan and map of the pool area is critical, as some overheard conversations must  take place in an area where the inadvertent listener can remain unseen. The beach itself is  a known quantity, and the places people can find privacy in the dunes are all available via the Google Earth satellites.

The towns they will be going to for entertainment are also well-known to Washington residents, and while the names of the restaurant or bar will be my own creation, the street address will have its roots in reality. I will do this, despite the fact these are the sorts of things that never get mentioned. This is to make it real to me.

The biggest research issue for me with this novel will be learning about extreme sports, such as storm surfing and rock climbing. I know about surfing, as an interested bystander, but I am reading articles and threads on extreme sports enthusiast sites, to get an idea of the mindset of people who do these kinds of sports. When I began searching these sites, I wanted to know what the people who surf the Northeastern Pacific during storms consider too hazardous to attempt, and what they are really looking for.

 

The following is a link to a YouTube video of the kind of surf my two risk-takers would love to surf, but as this story takes place during the summer, the storms will be less severe than what this little clip shows. The beach, the cliffs, and the house will be the main scenes of the action.

Storm At Long Beach, YouTube

Whether I am writing fantasy or general fiction, my goal is to have the background scenery and setting as unobtrusive as possible. I want the reader to see it in their mind, which they will if I visualize it clearly and give them just enough imagery to hang their imagination on. The reader’s ability to imagine the setting is as important as what I believe the setting to be, so I must be careful to never contradict myself, or the reader will be confused.

413px-cape_disappointment_and_cape_disappointment_light

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#amwriting: consider the scenery

 The Garden of the Author, by José Benlliure Gil via Wikimedia Commons


The Garden of the Author, by José Benlliure Gil via Wikimedia Commons

I had an intriguing email conversation with a new acquaintance, a young man I met through PNWA at the recent conference. He was struggling in his writing group, trying to get a handle on  the showing vs. telling aspect of writing. As he writes mysteries, the setting and environment of certain scenes are quite important.

I suggested he view the scene through his protagonist’s eyes.

Every memorable element in a fictional story must be necessary to the story.  In creative writing, this concept is referred to as “Chekhov’s Gun,” as it is a principal formally attributed to the great Russian playwright, Anton Chekhov. He said this with regard to the settings for his plays, but in terms of writing, what this means is that if your characters notice a gun on the wall, someone must fire that gun, or it should be removed from the scene.

It was a neighborhood Dionte was unfamiliar with.  Just as he entered Tyrone’s gate, his phone dinged, a text from Ty. He’d had to leave for a minute, but Dionte should go on in and wait in the kitchen. Both men were on the board of the Community Action Council, but he didn’t know Tyrone well, and wondered where he’d been called off to.

What does Dionte see, and how does it register in his awareness?

He went up the walk, climbing the worn steps of the front porch. Feeling odd at entering the home of a casual acquaintance when he wasn’t there, Dionte reached for the knob and turned it. The door swung open, and entering the small sitting room, he was overwhelmed by the amount of clutter.

Tyrone had no TV that Dionte could see, but most of the furniture in the room was buried under stacks of newspapers and piles of laundry. His computer was partially hidden behind a stack of library books and a coffee cup, half full, sat atop them. A plate with a slice of toast sat beside the keyboard as if Ty had left in the middle of his breakfast.

Feeling claustrophobic, Dionte found the path to the kitchen, unsure now what sort of mess awaited him in there. To his surprise, the kitchen was immaculate.

The incongruity of the pristine kitchen contrasting with the clutter of Tyrone’s living room is all noted mentally. Each thing on our character’s path into and through Ty’s home is an image that registers in Dionte’s consciousness briefly, but is not mentioned again.

Tyrone had said there might be a serious problem, but wanted Dionte’s take on it before he brought it up at a meeting. Wondering what it could be, Dionte sat at the table, looking at the clock on the stove, seeing it was 11:15. He’d gotten the text only a few minutes before. Tyrone had to have been called to somewhere close by, as he’d left his house unlocked. He hadn’t passed Dionte in the front, so he must have left through the back.

The sound of someone coming up the back steps caught his attention, and his eyes were drawn to the screen door.

It’s a murder mystery, so who was approaching? What happened next? And why is the toast by the computer important?

Scenes require a certain amount of description. Let’s say we’re writing a short story about a grandfather fixing dinner for his grandson. He’s had to go out shopping, and now he carries his groceries home in a snowstorm, fearing he will slip and fall. This scene could be set several ways, and here are two, one less wordy than the other.

Snow fell softly. Holding a bag of groceries, he gazed at the stairs leading from the walk to the front door, fearing a layer of ice lurked beneath the pristine whiteness.

OR

He gazed at the icy stairs leading from the un-shoveled walk to the front door, his bag of groceries growing heavier.

Either way works, but personally, I would go with the second.

Pawn_of_Prophecy_coverIn 1982 I picked up Pawn of Prophecy by the late David Eddings. This was an amazing, eye-opening book for me, both as a reader and an author.  Eddings had the ability to convey a sense of place in a few well-chosen words. He put those words into  beautiful, poetic prose. The book opens in the kitchen of a farmhouse with Garion’s memories of playing under the table in a kitchen as a small child.

Garion’s earliest memories are of being a toddler: the sound of knives deftly dicing vegetables, his aunt keeping him corralled and happy under the table while she works, the sparkle of the gleaming pots and kettles high on the wall lulling him to nap.

“And sometimes in the late afternoon when he grew tired, he would lie in a corner and stare into one of the flickering fires that gleamed and reflected back from the hundred polished pots and knives and long-handled spoons that hung from pegs along the whitewashed walls and, all bemused, he would drift off to sleep in perfect peace and harmony with all the world around him.”

Later, when Garion has been completely uprooted, this passage becomes important, as it describes the place he thinks of as home. In that paragraph, we see the important things in the room, and we have a visual image of it. The child’s sense of contentment and safety that the kitchen represented is conveyed by the impressions of the kitchen instead of the image of it. The detail supports the story rather than impeding it.

The scenery in the narrative must be organic. It has to be purposeful and not just there to fill the space. I like books where the scenery is shown in brief impressions. We see it only when it needs to be there. Sometimes we see it through the protagonist’s eyes, and other times we see the protagonist set in the scene as described by a narrator, but everything we see must be a part of the characters’ experience.

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