Setting

[sweetnpetite]

I was reading some 'discussion suggestions' on a local library brocure which said, in part: "All stories have [the following elements]...setting..."

It was then that I realized that I am extremely guilty of neglacting setting in my stories. My main focus much of the time is *who* and *how*- as in who will fuck and how will I get them to fuck (and what will they do)

Even in my non-sex stories, setting is something that I just don't spend a lot of time considering. Therefor, as a writer, I have decided to make it a goal to focus on setting for a while. (So my stuff may well end up being 'setting heavy' as I learn through trial and error.)

I'm wondering- what are your oppinions about setting? How do you use, not use or ignore setting? How important do you consider it? How big of a part of a piece do you consider it to be? And naturally, what resourses do you know of that focus primarily on setting from/for a writer's perspective?

 

[BlackShanglan]

I read a good piece of advice once, which was that short stories do and should more often focus on a few key elements - setting, or character, or voice, or what have you, rather than trying to do everything full to the hilt. I think it's wise advice, and advice to consider given that most of us are writing short fiction here. Setting can be useful when it's integral to the plot, but waste too much time on setting description and you're padding the story length without moving it anywhere useful. More, you're confusing the reader. One of the subtle cues that writers give readers is the amount of depth and time given to any one element, idea, or description. If you give the reader reams of description about the setting, s/he will think that it's important. If it's not, then the reader will be confused.

Just two cents.

Shanglan

 

[cloudy]

I tend to focus on the way a setting feels, instead of what it looks like. That may not make much sense, I admit, but when I was writing Possession, I was very preoccupied with getting across the whole atmosphere thing of New Orleans, which feels very different from any other place I've been.

I do write some physical description, but not a whole lot.

One thing I've run into in editing and reading is that many writers seem to focus on the sight aspect almost to the exclusion of anything else. I think our other senses are just as, if not more, important than sight, so I try to include the others as well....smells, the feel of a breeze, what can be heard, etc.

 

[rgraham666]

I try to use settings to help tell the story.

For example, in my latest, I didn't describe the law office where the main female character worked. I said it was a law office and moved on.

I described the main male character's home as it described his character as well.

And I decribed the 'playroom' where the final scene took place as it was very important to the action.

So, for me, it depends. On how important it is to the entire story.

 

[sweetnpetite]

I tend to focus on the way a setting feels, instead of what it looks like. That may not make much sense, I admit, but when I was writing Possession, I was very preoccupied with getting across the whole atmosphere thing of New Orleans, which feels very different from any other place I've been.

I do write some physical description, but not a whole lot.

One thing I've run into in editing and reading is that many writers seem to focus on the sight aspect almost to the exclusion of anything else. I think our other senses are just as, if not more, important than sight, so I try to include the others as well....smells, the feel of a breeze, what can be heard, etc.

Coincidentally, the story I'm trying to work on now is quite 'setting strong' but I'm realizing that it is *not* my strong suit. It's good for me now that my idea also matches well with my goal and that setting is the right focus for this particular story (as Shang mentioned). But unfortuanate for me as it's giving me that 'stuck' feeling of knowing what i want to do, but not quite how to do it.Your comments may help me to to look at it a new way, especially considering that the 'feel' of the setting *is* what's inportant to this story. Perhaps when I'm though, this will be a good candidate for a story to have workshoped. Meanwhile- anyone know of any good websites?

 

[BlackShanglan]

Cloudy's point on "feel" and what evokes an emotional reaction is a great one, and I think the comments on using all of the senses spot-on as well. Careful selection of the most characteristic and evocative elements of the surroundings is the real heart and soul of the sense of presence. As an example, I once was chatting with someone about Conrad's "Heart of Darkness," and he said that he'd actually been up the Congo and that Conrad got it exactly right. That was interesting to me because Conrad is very non-specific. There's darkness, intense growth and vegetation, and some gritty details of the settlement, but you've no real idea what kinds of trees there are, how wide the river is, flowers, plants, even animals for the most part. He got the "feel" of it, if my friend was right, not by meticulously describing physical reality, but by capturing the atomosphere. On the other hand, I once read Lit story in which the author had two characters having sex against a low wall. It was otherwise a very entertaining story, but at that stage the author decided, for some reason, to tell me not only precisely (in feet and inches) how high the wall was, but also the dimensions (in inches) of the bricks it was built from. I was baffled and entirely distracted, and spent half the sex scene puzzling over how those dimensions were somehow going to become vital to the story (they never did). The author probably gave a more accurate physical description of reality than Conrad, but the effect was not at all good.

Of course, some of that laps into character or narrator voice, as well. What the reader expects to hear about setting (and descriptions of all kinds) will also be guided by who seems to be observing that setting. I recommend Neonlyte's "Justice?" as a superb example of a detailed setting description that works beautifully because it fits so perfectly with the narrator's voice, knowledge, and likely focus of attention. When done well, setting description can build character as well as a sense of place - and I think it an excellent golden rule that whenever possible, a line should do that sort of double or triple work. It gives depth and richness to the story.

Shanglan

 

[ChilledVodkaIV]

Setting without a setting.

"If I tek thee to t'bottom, there'll be just enough light drifts down so we c'n see what's what."

She began to giggle, fire, anticipation and guilt bubbling to her surface before he clapped a gritty palm across her mouth to shush her.

"Mebbe nob'dy c'n see down here." he explained "but they can hear for miles along t'gallery. Cum on."

He took her calloused hand and led her through the pitch, backs bent nearly double, towards the wider, taller welcome of the bottom. The drips and drabs of candlelight gave them clue enough to avoid the rippers and the faint echoing shouts of "SHOT" called them to halt more than once as yards long seams of black fell to the shovels and childer.

 

[lil_elvis]

Coincidentally, the story I'm trying to work on now is quite 'setting strong' but I'm realizing that it is *not* my strong suit. It's good for me now that my idea also matches well with my goal and that setting is the right focus for this particular story (as Shang mentioned). But unfortuanate for me as it's giving me that 'stuck' feeling of knowing what i want to do, but not quite how to do it.Your comments may help me to to look at it a new way, especially considering that the 'feel' of the setting *is* what's inportant to this story. Perhaps when I'm though, this will be a good candidate for a story to have workshoped. Meanwhile- anyone know of any good websites?

SnP,

Where are you setting the story? A particular place or something more general - there's the beach and then there's Venice, Ca., just for example. With a little more info, we might be able to give good sources

Also, not to be ignored as part of the setting are the weather and time of day. The same place can have a totally different feel to it depending on these factors and also greatly affect the moods of the characters under their influence.

 

[elfin_odalisque]

I'm nowhere good enough to copy them, but Hemingway and Georges Simenon had a sublime skill in using the weather, the effect it had on people's emotions and their view of the landscape.

If you begin with something like, " The dull, persistent drizzle leaking from a lead heavy sky had driven the commuters on the bus to a state of catatonic depression" you have set a scene fairly vividly. Just take me to the cinema-verité.

 

[sweetnpetite]

niagra falls

 

[neonlyte]

Of course, some of that laps into character or narrator voice, as well. What the reader expects to hear about setting (and descriptions of all kinds) will also be guided by who seems to be observing that setting. I recommend Neonlyte's "Justice?" as a superb example of a detailed setting description that works beautifully because it fits so perfectly with the narrator's voice, knowledge, and likely focus of attention. When done well, setting description can build character as well as a sense of place - and I think it an excellent golden rule that whenever possible, a line should do that sort of double or triple work. It gives depth and richness to the story.

Shanglan

Shanglan, thank you for the comment.

That particular story was almost dictated by the setting. It was written about the time I was considering going to Yorkshire to meet up with Perdita and the idea of the story came to mind, we met not very far from where the story is set and it is the kind of grim setting to dictate the style of the story.

Much of my work stems from places I've visited or seen. I find they trigger a 'what if' reaction and provide me with a platform upon which I can construct a story. This applies to longer works rather than the majority of the short stories posted here, Justice? is the exception.

 

[lil_elvis]

niagra falls

Sex, wearing yellow slickers, while aboard "Maid of the Mist?"

 

[lil_elvis]

On a more serious note, you might start here:

Niagara Falls

This gives some history and facts about the falls itself - anything in particular you looking for?

 

[dr_mabeuse]

I've been talking up the importance of setting for years now. The place, the weather, the time of day, are critical elements whenever I write. Sex on a snowy afternoon is not the same as sex on a sweltering summer night. Setting provides the emotional context for whatever happens in the story.

Setting is usually the first thing that comes to me for a story. The characters and even the plot come later. I want to see the scene of the crime first.

 

[TxRad]

When i go back and read some of my earlier work, I find that setting and set up was a large part of the story... sometimes to much and or not necessary as Shanglan pointed out.... I've tried rewriting several of the pieces and haven't liked the result. i either go to far the opposite direction or fail to get the mood right... It's a tricky business

As I've learned a little, I've gotten better at incorporating the setting into the story more so than a narrative. it sure helps the flow. details are good but there is a point of no return where they are detrimental....

Lately i've tried to use more of the senses other than sight. It's helped a lot...

 

[sweetnpetite]

On a more serious note, you might start here:

Niagara Falls

This gives some history and facts about the falls itself - anything in particular you looking for?

A Mythical feeling. the draw and pull of it, the energy about it that makes people feel like spreading out there arms and jumping, the feeling that you could fly/survive it. A feeling that doesn't seem at all 'suicidal' or dark or anything, but simply the feeling of 'freedom'- like you could honestly be free from gravity.

nothing much...

 

[Samandiriel]

American or Canadian side?

 

[sweetnpetite]

American or Canadian side?

I'm thinking Horseshoe Falls which is candian right?

Or, were were they in that Superman movie? I love that.

Someplace fairly secluded were someone might be able to slip in 'deeper' than they are supposed to be would be cool. this is a place were a person has gone to be alone, to think and to remenisce.

 

[Samandiriel]

There was a show on recently about a gentleman who slipped and fell in, went right down and lived to tell about it.

The advantage is that you can piss your pants in fear and no one notices.

 

[sweetnpetite]

what i have so far

The air was cool and misty, the sound of rushing water was both soothing and deafening. Jane stood on the sidewalk, put her hands out to her sides and twirled around, feeling only a little silly. Sure she was 43 years old- a lot older than the small children attempting to climb the guard rails behind their parents’ backs. She had never even visited Niagara Falls at their age. Her first visit has been when she was sixteen- and it was a glorious, glorious time.

It was with that in mind that she let herself twirl, heedless of the scattering of tourists who had turned out that day. Jane wondered why the Falls always seemed to have plenty of patrons, yet never seemed crowded. She supposed that the sheer size of it meant that there was room for everybody. And then of course, some where on the ferry, and others were in the shopping complex searching for souvenirs. Yet something about the Falls themselves gave her the impression that they regulated themselves with some mythical power beyond her current understanding. Perhaps her visit here today would shine some light on the mystery. Perhaps her visit would shine some light on the mysteries of her own life. She certainly hoped so.

Jane had come here to be with herself, to contemplate. She needed to get away from her busy life and find a place were she could get away from it all and collect her thoughts. Niagara Falls was that place.

Jane wasn’t afraid of being alone, like many women her age seemed to be. She had experienced both solitude and togetherness in her life and been able to embrace them both with equal fervor. The last 12 years of her life had been spent alone, more often than not and she had grown to like it that way. Most of the time anyway. She still longed to have somebody to hold who would hold her back- but she wasn’t one of those women who couldn’t bear her own company.

Jane felt that she was her own best friend, and although she had many wonderful people lending support to her in her time of need, ultimately she knew that the one person who was going to be there for the long haul- from the beginning to the end of this remarkable voyage of life- would be the one person she had to look at every night in the mirror; herself. As her own permanent traveling companion, she had decided long ago to get to know and like and accept herself. At 43, self esteem was not her problem, her struggles were a lot harder to define.

 

[Dar~]

I do tend to spend a fair bit of time on desription where it fits my stories. In My strangers stories I described the setting so you could feel the intense scuzziness of the place and in my current Holocaust story (that seems to be becoming a novel) I describe a lot of the horror of the barracks and the work place. I am very into details about where a person is as it seems to explain a lot about the person's outlook and current situation.