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?
