Favorite Books — Description & Setting by Ron Rozelle

Since this month’s theme is focusing on setting, I checked out several books on the topic and found a wonderful resource in a new favorite book Description & Setting by Ron Rozelle.

In my prompt from last week, I related Mr. Rozelle’s advice about carrying a journal with you wherever you go so you can make notes on memorable people, places, and things and then draw on those notes when you need inspiration.

The book is chock full of great advice like that. It covers topics in chapters such as “Showing, Telling, and Combining the Two”, a skill difficult for me to acquire, “Sensory Description”, and “Description and Setting in Specialized Fiction”. Mr. Rozelle uses examples from fiction and nonfiction and from both literary and popular fiction.

All the chapters had useful advice and information, written in an engaging style, as if the author was sitting across from you at a coffee shop. Even more helpful were the three to four exercises at the end of each chapter so readers can practice what Mr. Rozelle preached.

With so much information to learn, it’s easy to feel overwhelmed. I summed it up for myself this way: the setting must do more than hold characters. It should do double, triple, or even quadruple duty.

Pulling double duty

For example, my WIP, A Shadow on the Snow, is a mystery novel with a nineteen-year-old girl named Rae as the protagonist. She is an amateur photographer. That interest influences how she sees her world. I write in first-person, so the entire novel unfolds through her eyes.

Let’s say Rae enters a house and describes it in unflattering terms. Then she meets the owner and doesn’t like him either. Through my description of the setting, I’ve told readers something about Rae, something about the house, and something about the owner of the house. If this dislike makes Rae act in a certain away, then my description has also influenced the plot. So the setting is working hard, not only being the background for the action but revealing characters and affecting the action.

It’s similar to laying clues in a mystery. Readers don’t know if a conversation is only imparting information or if it’s also providing a clue. Or it may be a red herring. But a conversation, action sequence, setting, or character should be more than what it initially appears to be.

This concept energizes and intimidates me. I love the challenge of making my settings work that hard but also wonder if I can meet the challenge. Some of Mr. Rozelle’s examples are so perfect that I feel I could never equal them.

How do you work your setting? Do you have a book you recommend?

Writing Tip — How to Thicken Your Plot, Part II

If your plot starts to bog down, examine your settings. Are you taking advantage of their full potential?

When I wrote my country noir short story, “Debt to Pay”, I knew I needed a remote location in Ohio. I chose Wayne National Forest. My husband and I went hiking in the Athen Unit on ATV trails. At the trailhead, a sign explained that if someone in your group is injured, you must figure out which helicopter clearing you are closest to. The dirt roads are so rutted that no ambulance can get back into the area. A medical helicopter is the only means of rescue. And all of that depends on whether your phone get reception, which isn’t certain in Wayne National Forest.

Now I had the ingredients for a story. Two friends are riding motorcycles. I’ll set the story in the late fall to cut down on the number of people using the trail. One friend wrecks. They can’t get phone reception. The uninjured friend thinks that if she can get to the top of the steep, wooded hills. she can call for help. Or maybe she should return to the parking lot and walk out to a road.

Darkness is closing in. If she climbs the hills, she’s not sure she can find her friend in the dark. Walking to the parking lot will take longer, but it will be easy to find her friend. The setting give me so many routes to develop a plot.

Questions to Ask about Settings

Work place: Where does your main character (MC) work? Alone or with people? If alone, would a stranger coming into the setting be upsetting? A welcome change? If with people, are they only fellow employees or also members of the public? I love using settings where the general public can be found because I can throw in almost any character I want.

MC’s home: Is it rural, suburban, urban? An apartment or condo? An apartment would allows me to introduce more characters, and therefore, more plots. In the complex where I had my first apartment, I thought my neighbor might be a vampire because I had not seen him during daylight hours.

Homes of family and friends: Same questions as above. How does MC feel about these houses? If MC is uncomfortable or uneasy, why? If he prefers it to his own home, why?

Locations of hobbies and volunteer work: MC hates her job but loves her volunteer work at a stable. Why? She loves horses. Why? Her grandparents had horses when she was growing up. So why doesn’t she give up the job she hates and work with horses for a living?

Vacations or business destinations: Are these places MC is excited to visit or is dreading? If it’s a vacation, why would MC dread it? Because he has to share a house on the beach with his in-laws. Why doesn’t he like his in-laws?

The more why questions I ask, the deeper I dig into plot.

What settings to you favor in your writing? How do settings thicken your plot?

Writing Tip — Maximize Your Setting

If there was one Hollywood director who knew how to maximize a setting, it was Alfred Hitchcock.

I hadn’t realized this until I came across a quote in Halliwell’s Harvest. The author Leslie Halliwell stated that Hitchcock believed “the location must be put to work”. That’s why so many of his scenes are still remembered.

  • North By Northwest: The hero is pursued by enemy spies. When he finds himself on a lonely road out in the country, a crop dusting plane tries to kill him. At the end of this movie, the villain owns a house near Mount Rushmore. The hero and heroine almost fall off the famous faces, trying to escape.
  • Foreign CorrespondentThis movie from 1940 races around Europe with the hero trying to figure out what Nazi agents are up to before WWII. While sneaking up on spies in a windmill in Holland, the hero’s sleeve gets caught in the gears, and he must free himself, silently, before his arm gets crushed.
  • PyschoHitchcock used the Bates’s home (see photo) so well that it has become the symbol in America for the kind of rundown, creepy house you don’t linger in front of if you walk past it.

Hitchcock wasn’t the only director to  work a location to maximum effect. I recently saw the movie Niagara from 1953. A young couple, taking a much-delayed honeymoon at the Falls, become involved with another couple, an older man married to a much younger, adulterous wife. The director had scenes shot on the boat Maid of the Mist. Two key scenes occur during the walking tour on the Falls. The Carillon Bell Tower, overlooking the Falls, is the setting for a plot point and a murder. After viewing this movie, I felt like I had traveled back in time to 1953 and was taking a vacation with the characters.

One of the reasons I love The Bourne Identity is that the director made such effective use of driving through Europe in winter. It was a setting I hadn’t seen before in movies, and he conveyed the desperate road trip so well that I want to drive across Europe to see the sights.

So wherever you choose to place your stories, be sure to research it well enough to maximize the setting. Some idosyncracy about a particular location can inspire a character, a plot point, or simply elevate your setting from good to great.

What’s a memorable setting from a movie? Or have you written about a unique setting?

Writing Tip — Writing in Time: Valentine’s Day as Writing Inspiration

heartw-3089409_1280I don’t read romance. Can’t stand the genre. I’ve tried to read historical fiction with romance in it and romantic suspense, thinking the history or the mystery would compensate for the romance. It never works. The romance either bores me or seems so unrealistic that I can’t push through to the end.

So here are five non-traditional suggestions on how to use Valentine’s Day as writing inspiration.

Junior High Dance

In junior high, most boys are finally realizing that girls aren’t icky, but they aren’t sure what to do about this revelation. A dance on Valentine’s Day following several characters as they negotiate the unknown territory of romance presents many opportunities for both comedic and dramatic plots.

New Love/ Old Love

An elderly, married couple help an engaged or newlywed couple having troubles on Valentine’s Day. For the elderly couple to have more impact on the younger one, I think they shouldn’t be related to them. The couples can be neighbors. The two very different milestones in theses couples’ lives offer great contrast for storytelling.

Bittersweet Love

Write a story following a widower or widow experiencing his or her first Valentine’s Day since the death of the spouse.

Humorous Love

Write about a married couple trying to enjoy a romantic date night and being constantly frustrated with interruptions.

Bad Valentine’s Day

If you really want to stand Valentine’s Day on its head, have a couple break up on Valentine’s Day. That sounds so sad, I’m almost sorry I suggested it. But if the break up kicks off the story, then the uncouple have a chance to find new relationships or become reconciled.

Now it’s your turn. How would you put a new spin on Valentine’s Day as writing inspiration?

 

 

Writing Tip — Full Moon Night as Writing Inspiration

naturew-3194001_1280Some of my favorite experiences in nature occurred on clear nights with a full moon. If you haven’t been out on a night like that, with no artificial light nearby, I highly recommend finding an opportunity to do so. Artificial lights dampen or kill the wonder of a full moon night.

Since we live in the county, I’ve had chances to venture out in these nights bathed in moonlight. What catches my attention first are the shadows. The moonlight is so strong it casts shadows. The second thing I notice is how far I can see. On typical nights, the woods that line the edge of our property are just a wall of darkness. Under the full moon, I can pick out details. And then I become fascinated with the color. Silver is the best way to describe it. It illuminates but very differently from sunlight, so I can see but not quite.

“Not quite” sums up a full moon night. I can see better than a normal night, but not quite like in the daytime. My yard is recognizably familiar but not quite the same in the silver light.

I had the wonderful blessing to see the ocean under a full moon. As well as casting our shadows across the sand, the moonlight transformed the waves into rippling sheets of metal. They appeared solid as the hit the shore. That experience was so intense that God used it to lift me from a four-month depression.

So what stories are appropriate for this “not quite” setting? The strangeness of it should be a backdrop for a wonderfully positive scene or a horribly negative one. It can’t be the setting for run-of-the-mill action.

As much as I enjoy moonlight, I can see how it can be unsettling and even sinister to people because of it’s ability to be a weird imitation of day. One of my favorite picture books, The Magic Woodbegins with an illustration of a boy sitting under a full moon. He heads into the dark woods and mets a creature who at first is disturbing and then turns dreadful. For a positive approach, read Chapter 22 “The Story of the Trial of El-ahrairah” from Watership Down by Richard Adams.

How would you use a full moon night a story?

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