What are your priorities when establishing your setting?

[HHHawkeye]

I wanted to get some perspectives from other writers here before I write an anthology of stories set in the same setting. In trying to decide which story would be the best to introduce the setting with, I started thinking a lot about what it's important for a first introduction to a setting to accomplish, and that made me want to ask around.

What are your priorities when establishing a setting? What do you most want the reader to know about, or experience in your world by the time they've finished the first thing you post in it?

 

[SamScribble]

Characters come first

 

[SimonDoom]

I'd put it this way. The essence of a story is two things: character and conflict. Not every single time, but most times. You create characters that readers care about, and you put them in a conflict -- the characters have a need, there's an obstacle to their fulfillment of that need, and the story presents how they overcome that obstacle.

Setting helps establish both, and the amount of detail you need to describe the setting varies wildly depending on the nature of the story. If you are writing a story that is set in the American West in the 1880s, then you need a lot of description to give the readers an accurate idea of what the main characters are dealing with and what obstacles they have to overcome.

Most of my stories are set in modern suburban America. Setting is not that important. So I don't do a lot to describe it. But I wrote a Sci Fi story about a woman visiting a foreign planet, and it was necessary to think about the setting to establish what she was facing in her visit. It was a tentacle sex story, so it was necessary to give some time and effort to explain a setting in which something that crazy might happen.

It all depends on the needs of the story. As a general principle, I'd say you don't need that much detail in a short story. Just enough to immerse the reader in whatever world you are writing about. The reader's imagination can fill in whatever you don't tell.

 

[KeithD]

Plot comes first with me. I look for someplace unusual that serves the plot for a setting.

 

[HankDolworth]

I’ll echo that characters are key. Then plot (conflict) and setting is secondary.

I like to start in-media-res - set up the character make that interesting and drop the plot. The setting gets discovered as the character moves through the conflict.

For me, dropping a chunk of narrative to explain the story is - like chewing nails. Whether I’m reading or writing.

Even the crawl of Star Wars feels contrived. Drop that stuff in the dialog. Have the characters explain it. Have their thoughts remember it.

But I’m weird.

 

[HHHawkeye]

For me, dropping a chunk of narrative to explain the story is - like chewing nails. Whether I’m reading or writin.

Agreed, hence the question. Sorry for the confusion. What I meant was more this:

How you start your story determines what parts of the world are organically revealed to the reader with minimal expospeak. Also, I have this feeling that my first story should do it's best to "set the tone" for what's to follow. If I have one element that rarely shows up, I probably shouldn't start with that and lead people to believe it's more of a thing than it really is.

 

[HankDolworth]

Agreed, hence the question. Sorry for the confusion. What I meant was more this:

Also, I have this feeling that my first story should do it's best to "set the tone" for what's to follow. If I have one element that rarely shows up, I probably shouldn't start with that and lead people to believe it's more of a thing than it really is.

Do you have an editor. A beta reader? They can help with things like this. I think it’s best to just write. If you’re caught up in the start and how to present then you don’t have a story yet. Write.

It might become clearer once your a few thousand words in. I’m still amazed haw my characters can steer me into a direction I never realized or thought of.

Write man. You can always edit and add. Get it out of your head and into the page.

 

[Hypoxia]

Sometimes I precisely know exactly the players and setting and how the story will proceed. That's easy.

Sometimes I visualize the end first; setting and players fall into place then.

Except in parody, or with a setting distant or distinct in place or time, I usually don't spew a data dump to establish the setting. Maybe a few words noting smoggy Los Angeles skies or foggy San Francisco days before cell phones and the Internet. But I try to avoid obvious worldbuilding. Work the hints into the storyline later.

Often the locale is itself a major player. Stories set in San Francisco, Santa Fe, or Antigua Guatemala can't really go elsewhere. Try setting Casablanca in Brooklyn, hey? But just as any other player, the locale can be introduced gradually.

 

[vanmyers86]

For me, it depends on whether the setting plays a co-starring or non-speaking role. For instance, Miko's Mountain could not be set on the coast of Virginia or the Great Plains, because its climactic scene occurs at a cave on a mountain. No cave or mountain, no story. In the story, setting is key, and I describe enough of it that the reader should be able to picture it.
In Lofty Ambitions, the chaos in a messy choir loft leads directly to a slapstick comedy scene. I was careful to set up every necessary element well in advance.
But in Brownies for Two, I describe the scene minimally. Shelley's house plays a bit part, so it doesn't get much description.

If you're setting up a series, you have the luxury of revealing details over time. Don't feel like you have to info-dump every detail and description in Chapter 1. Over time, new details will reveal themselves - let them. It's more organic for you and your readers

 

[HankDolworth]

If we’re talking locale as setting, that’s a bit different.

I’ve usually ended up having the story take place somewhere I’ve lived. It’s easier to find the landmarks, in my memory than just making shit up.

My college town.
A town I lived.

My best ranking story didn’t have a concrete setting, just someplace mid-American. But it could be anywhere Americana. I made up one city name, Riverdale - there are hundreds of Riverdales.

My favorite story I used where I grew up and went to college. Then a road trip I made a few times and could find landmarks.

Another story set in my favorite town. I haven’t lived there for years, but visited a few times. There are some landmarks that never change, so those are safe.

The more “random/generic” the better. I got more than a few comments on some assumptions I made about a certain setting that was not at all like I described. I didn’t do any research, it was a convenient city on a map. That broke disbelief for one reader pretty hard, and they rightfully took me to the woodshed for it.

I’ve read lots of books about NYC, I’ve hardly visited, but know landmarks from movies. I wouldn’t know if they are accurate or not. Frankly if I’m worried about that, as a reader, the story has already lost its footing.

 

[Sextified]

I wanted to get some perspectives from other writers here before I write an anthology of stories set in the same setting.

If you can, please explain a bit more about your project. Trying to read in-between your lines, I get the idea that your setting will be a constant, and it's the characters and events that will be changing? Like a bed and breakfast, or a hotel room, or a small cabin, etc.

If the Anthology you are envisioning is linear, then start at the beginning, and lavish a little bit more description, emotion and mood enhancers on the first installment.

For me, I have multiple commonly used settings. I always vary what each Character notices and feels about them. A special table at a restaurant, a nearly ruined room in a house were better memories had been made in it's glory days, a favorite spot in a park. Every character SHOULD notice something different about even a mundane place. I have a creepy old house that comes up at least seven or eight times, and one of my best scenes is when the main character flashes back to a horrific experience he had there. A once beloved safe haven had turned on him, and as an adult, now, he will no longer step foot inside. Until something in the plot makes him do so to help a beloved friend.

So to get the best help out of the group, your question may need to contain a bit more detail.

In trying to decide which story would be the best to introduce the setting with, I started thinking a lot about what it's important for a first introduction to a setting to accomplish, and that made me want to ask around.

What would your first character in your first story notice? Start there. Is it the walls, the smells, the furniture, how spacious it is, how claustrophobic it makes them feel. How they feel nervous just standing waiting there. Or are they worried about what the fussy person they are suppose to meeting will think of the shabby room?

Let your character drive your description of the setting, and as you revisit the location, use those opportunities to add the extra detail that would either be too cumbersome or distracting for your first story. You have the time to add things in later, as your story warrants it.

What are your priorities when establishing a setting? What do you most want the reader to know about, or experience in your world by the time they've finished the first thing you post in it?

For me, that is always plot driven. Where is the space? Why are they there? Is the location important now, but will be incidental later? That sturdy oak desk in the corner might be easily overlooked and beneath their notice, unless bullets are whizzing by, and they need to hide behind it.

Settings are an Extra Character in everything I write, and an opportunity I love to exploit.

So think about the real reason for your question, try to describe your project in a little more detail, then ask for what seems to be the most important thing to you.

Hope this helps.

 

[KeithD]

Plaza Suite

 

[MColton84]

Characters come first

I will agree with this. I tend to focus on the Characters and dialog before anything else. As for setting, I pick real places set in a time that I was there. It is good for accuracy especially if the reader is familiar with it. But who, why, and what before where and when. That usually works best for me.

 

[Zeb_Carter]

I will agree with this. I tend to focus on the Characters and dialog before anything else. As for setting, I pick real places set in a time that I was there. It is good for accuracy especially if the reader is familiar with it. But who, why, and what before where and when. That usually works best for me.

This ^^^^

Unless it's a period piece, I just mention the location and let the reader imagine where within that the story takes place.

Now for a period piece you might have to do a little describing of where you are.

And then there is the world building of SF/Fantasy stories.

 

[MColton84]

Unless it's a period piece, I just mention the location and let the reader imagine where within that the story takes place.

Now for a period piece you might have to do a little describing of where you are.

And then there is the world building of SF/Fantasy stories.[/QUOTE]

I will say that setting does play a pivotal role in a period piece or sci-fi/fantasy work. The world building often plays a role in the conflict. I have tried to do both and usually struggle. I lack the patience to do the research for a period piece, and find it difficult to create a world only for a short story. I salute those who can.

 

[SisterJezabel]

I will agree with this. I tend to focus on the Characters and dialog before anything else. As for setting, I pick real places set in a time that I was there. It is good for accuracy especially if the reader is familiar with it. But who, why, and what before where and when. That usually works best for me.

I try and be fairly vague. Being in Australia where there are fewer authors and, I suspect, a lot of readers have not visited, I sometimes give a state, but rarely a city. Some people work it out from the descriptions, but it doesn't need naming.

 

[AlexBailey]

From part three of my story:


"Smell has a way of activating memory. Even in sleep, my nose can ground me to a place - where I am in the world. Though I've traveled so much and slept in so many beds, my first waking glimmer of a thought is that it's good to be home."


It sets it up so bed is already comfy and cozy, who can't relate to that? Any more detail can be slowly unwrapped and considered but I feel that the imagination is already asking questions and filling in blanks -- at least that was my intention.

 

[MColton84]

From part three of my story:


"Smell has a way of activating memory. Even in sleep, my nose can ground me to a place - where I am in the world. Though I've traveled so much and slept in so many beds, my first waking glimmer of a thought is that it's good to be home."


It sets it up so bed is already comfy and cozy, who can't relate to that? Any more detail can be slowly unwrapped and considered but I feel that the imagination is already asking questions and filling in blanks -- at least that was my intention.

You paint a vivid picture in your writing. I haven't been to any of the places in your story but I have a detailed picture for all of them. I can't wait to read what you put out next.

 

[46n2]

I wanted to get some perspectives from other writers here before I write an anthology of stories set in the same setting. In trying to decide which story would be the best to introduce the setting with, I started thinking a lot about what it's important for a first introduction to a setting to accomplish, and that made me want to ask around.

What are your priorities when establishing a setting? What do you most want the reader to know about, or experience in your world by the time they've finished the first thing you post in it?

That is a VERY good question!!

Has that kind of thing been asked here before?

I mean, I’m suddenly struck by how good a question that is cuz… I don’t think I’ve ever thought much beyond “the room”.

Like, forgive me for a moment… I get interested when a SITUATION knocks my head. It knocks around a little longer. I don’t have real good answers for it, I get more interested. Then I need to get it out (of my head). The first thing that kicks like a baby, is the situation. Maybe the colors around it (as in developing triangle characteristics to make the idea work its way to an ending, that I don’t know yet), make themselves known. But WHERE it takes place? Other than, “Okay, it’s gonna need it to be this kind of house and maybe this sort of block - if a block at all and not a farmhouse that’s completely isiolated from 500 miles around.” All of that shit serves the characters. And it’s pretty fucking lazy, I just realized. Of me. Is it?

Real good question, mate.

How necessary is “a setting”. Even the fucking house. How necessary is that for an erotic reader to know accurately?

I would venture, you want to minimize the ability for you to get in the way of your own writing (or actions). How much does the reader care that the Laundry room couldn’t be seen from the bathroom? How much does the reader really care that she got back from the tennis court 15min earlier than he did from the hospital?

How much does it matter that the autum leaves are falling, and it’s Boston? Oh, that fucking matters.

How much does it matter that she’s freezing cold cuz she’s never been snow skiing and it’s Colorado? And that’s why weird things happened in the public Hot Tub?

I go back to my initial ignorance… how much do the rest of you think about this? And if there’s room to improve on my own shit, thanks for identifying that Triple H!!

 

[SisterJezabel]

Again it's different strokes for different folks. Sometimes you just need to know Elizabeth woke to the smell of the freesias from the vase on the bedside table. Other times Elizabeth walked in and was drawn to the vase of freesias, their scent almost forgotten as she eyed the multitude of framed photos that surrounded them. She wondered who these women were and if one day there might be a photograph of her amongst them.

One of the best bits of advice I received here was to make sure every sentence adds to the story and the plot. It's often better to eke out details as the story progresses and leave some things up to the reader's imagination.

 

[sirhugs]

Again it's different strokes for different folks. Sometimes you just need to know Elizabeth woke to the smell of the freesias from the vase on the bedside table. Other times Elizabeth walked in and was drawn to the vase of freesias, their scent almost forgotten as she eyed the multitude of framed photos that surrounded them. She wondered who these women were and if one day there might be a photograph of her amongst them.

One of the best bits of advice I received here was to make sure every sentence adds to the story and the plot. It's often better to eke out details as the story progresses and leave some things up to the reader's imagination.

THIS.

 

[MsNatalie99]

Priority #1 it's not set in Ubly Michigan. Other than that I'm happy.

 

[sirhugs]

Again it's different strokes for different folks. Sometimes you just need to know Elizabeth woke to the smell of the freesias from the vase on the bedside table. Other times Elizabeth walked in and was drawn to the vase of freesias, their scent almost forgotten as she eyed the multitude of framed photos that surrounded them. She wondered who these women were and if one day there might be a photograph of her amongst them.

One of the best bits of advice I received here was to make sure every sentence adds to the story and the plot. It's often better to eke out details as the story progresses and leave some things up to the reader's imagination.

THIS.

 

[gordo12]

Plot comes first with me. I look for someplace unusual that serves the plot for a setting.

I agree. Unless a character is based on reality or a well-known trope such as a serial killer, I've never understood the character first approach. I want an unusual situation and then sketch the characters and location to fit those parameters.

And amusingly enough, I sketch out a few lines of where I think the story will go. I can assure you that the end result looks nothing like that initial sketch.

Don't overthink it; you'll paralyze yourself. Just write!

 

[SimonDoom]

I agree. Unless a character is based on reality or a well-known trope such as a serial killer, I've never understood the character first approach. I want an unusual situation and then sketch the characters and location to fit those parameters.

For me and the way I write, there's no difference: character and plot are tied inextricably together. The plot is a story arc driven in some way by a character's need. My stories usually begin with the germ of an idea: put a person in an unusual erotic situation. Developing the character is an essential part of explaining why they are in that situation and what they do in it.