Lately, I’ve been reading a lot of writing where setting is just… Well, it’s missing.
You begin a chapter and there are just these talking heads and you’re not quite sure where they actually are.
Chapter One of Book Of Pretend
I grabbed a Coke.
“I am so upset with you,” I said.
“I’m more upset,” he said.
“No way in heck.”
“Seriously.”
And the reader is like, “Cool. They have Coke. They are upset. But where are they? Are they floating in the ether? Are they in Newark? I just don’t know.”
So the first rule of creating a kick butt setting for chapters or scenes in your book is:
Actually have a setting.
I know! I know! This seems obvious.
It is not obvious.
Chapter One of Book Of Pretend
I grabbed a Coke out of the mini fridge that John had in his dorm room.
“I am so upset with you,” I said.
“I’m more upset,” he said.
“No way in heck.”
“Seriously.”
Make the Setting Somewhere Cool if you can
A lot of stories have scenes around a dining room table.
There are places in the world that aren’t dining room tables. It’s okay to have a domestic scene in a bathroom, a bedroom, a basement. It’s okay to make the dining room cool. It’s okay to make the dining room a couch.
Chapter One of Book Of Pretend
I grabbed a Coke out of the mini fridge that John kept in the back of his MINI Cooper.
“I am so upset with you,” I said.
“I’m more upset,” he said.
“No way in heck.”
“Seriously.”
Think about Theme and Mood
If your book is about misery make your settings reflect that. If your book is about displacement, do that, too.
Chapter One of Book Of Pretend
I grabbed a Coke out of the mini fridge that John kept in the back of his MINI Cooper. It was crammed into the backseat somehow. I have no idea how he even kept it charged. Nothing made sense about it being there, but then again, nothing about John ever made sense.
“I am so upset with you,” I said.
“I’m more upset,” he said.
“No way in heck.”
“Seriously.”
Remember Detail
Depth and intricacy aren’t swear words. The Belles, a newish YA novel does such a fantastic job of having setting become part of and enhance the story. J.K. Rowling? Same thing. Give yourself a moment to really breathe and live in the place that your characters are breathing and living in.
Chapter One of Book Of Pretend
I grabbed a Coke out of the mini fridge that John kept in the back of his MINI Cooper. It was crammed into the backseat somehow. I have no idea how he even kept it charged. Nothing made sense about it being there, but then again, nothing about John ever made sense.
“I am so upset with you,” I said, shutting the door. There were stickers all over it, declaring, “MEAN PEOPLE SUCK” or “FREE TIBET,” or “HEGEMONY NOW.” Some of the stickers were peeling off at the edges, like they were trying to escape the actual refrigerator door, but they couldn’t. They were stuck.
“I’m more upset,” he said.
“No way in heck.”
“Seriously.”
Study Old Books
The Charles Dickens’ and Brontes of this world were masters at making you live inside the settings. Don’t copy them, but pull out one of those old books where time was spent creating the stage. Roots was a book that always felt real to me. Color Purple, too. The Bluest Eye.
Find a book where you feel like you live in the place and study a paragraph or two and try to determine how the authors make you see that world.
Use Your Senses and Your Symbols
Setting isn’t just visual. It’s smell. It’s the feel of the air on your skin. It’s a million things all combined. The symbols and objects that create your place also reflect the story. Think how Twilight was rainy and dark, foreboding with its trees as opposed to Bella’s original sunny south.
Chapter One of Book Of Pretend
I grabbed a Coke out of the mini fridge that John kept in the back of his MINI Cooper and shut it fast. Broccoli smelled rolled into the air, sickening and heavy.
The mini fridge was crammed into the backseat somehow. I have no idea how he even kept it charged. Nothing made sense about it being there, but then again, nothing about John ever made sense.
“I am so upset with you,” I said, shutting the door. There were stickers all over it, declaring, “MEAN PEOPLE SUCK” or “FREE TIBET,” or “HEGEMONY NOW.” Some of the stickers were peeling off at the edges, like they were trying to escape the actual refrigerator door, but they couldn’t. They were stuck.
“I’m more upset,” he said.
“No way in heck.” I popped the top of the Coke. The click and fizz of it satisfied me more than this conversation ever could.
“Seriously.” John swallowed hard.
I met his eyes.
He looked away and slammed the door of the MINI shut before leaning across the top of it, hiding his head in his arms.
The rotten broccoli smell somehow got worse. Gagging, I took a swig of the Coke, forcing it down.
Now, go back up and read the first pretend excerpt again. It’s a totally different story, isn’t it? It’s weird because I’m weird, but it’s better.
WRITING NEWS
I’ll be at Book Expo America on June 1 at the Lerner booth from 11:30-12.
There’s a free information and inspiration session from Write! Submit! Support!, a six-month intensive program through the Writing Barn.
It’s a one-day only thing just to hang out and learn about the program. I swear! No weirdness involved at all. More info is here.
TIME STOPPERS THE MIDDLE GRADE SERIES OF AWESOME
Time Stoppers’s third book comes out this summer. It’s been called a cross between Harry Potter and Percy Jackson, but with heart. It takes place in Acadia National Park in Bar Harbor, Maine. I need to think of awesome ways to promote it because this little book series is the book series of my own middle grade heart. Plus, I wrote it for the Emster. Plus, it is fun.
Dogs Are Smarter Than People
And finally, the podcast DOGS ARE SMARTER THAN PEOPLE is still chugging along. Thanks to all of you who keep listening to our weirdness. We’re sorry we laugh so much… sort of.