How To Deal With WHITE ROOM SYNDROME

One quick revision note. There are still some scenes in here that could use a little bit more grounding detail so that the reader can see Emily and her friends/relatives interact with the world and setting.

So what is this again? This white room syndrome?

According to inventingrealityeditingservice.com:

Rather than fully imagine such a world, some writers instead create a quick, unformed facsimile of their own. For example, they start the story with the line, “She awoke in a white room.” The white room is the white piece of paper facing the author. This is known as white room syndrome, a term coined a few year ago at the Turkey City Workshop in Austin (a group that has included authors William Gibson, Bruce Sterling, Lewis Shiner, Rudy Rucker and Walter Jon Williams).

They officially define white room syndrome as “an authorial imagination inadequate to the situation at end, most common at the beginning of a story.” In short, because the world wasn’t fully imagined, it can’t support the story that unfolds from it.

Or as Lauren Mullen says:

The scene is coming together just as planned. Your dialogue is snappy, witty, and poignant. The action is electric, carrying your characters from one spot to the next. You can see it all unfolding to you as if it were happening on a screen…but the setting details are absent. As a result, all your character’s amazing dialogue and action happen in a blank space.

But what I really like that she says is here:

Think of when you go over to someone’s house for the first time, how they decorate and treat their home says a lot about them. Are they the type of person who cleans up when expecting guests or not? Do they keep a lot of books? Collect art? Fan memorabilia? Are there any pets? What are they? A dog owner says something different about a person than a hamster owner. You learn a lot about a person by how they decorate and treat their home, likewise this is why description and setting are so vital to good storytelling. 

When done properly, the world in which your characters inhabit can take on a life of their own. It is important to spend as much time fleshing out your setting as you would a persona. This helps the space in which your characters exist feel grounded and real. 

So, how do you keep it from happening? Or how do you fix it?

There are some good ways!

  1. First make the decision about how you want the reader to feel about the space where the scene is happening.
  2. Add details that make that happen. Is it a crowded space? A quiet café? A darkly lit jazz club? Are the tables sticky? Does the office smell like onions? Do you hear the fast clickety-clack of coworkers keyboards? Do smells come from another cubicle? From the coffee shop’s kitchen?
  3. Think about how you learn about people from the first time you walk into their homes? Give that feeling to the reader. Is it well lit? Shadowy? Are the salt and pepper shakers shaped like manatees or plastic? That sort of thing.
  4. Allow yourself to set the scene as a stage where the details you choose reflect the emotional struggle of the character and/or the plot.
  5. Use the five senses (sight, sound, touch, smell, taste) and try to use three of them in each scene. Oh! And don’t have the three you use be the same for every single scene.
  6. Don’t overdo those senses, but do use them a bit.

Why is this important again?

It’s important because:

  1. It keeps your characters from just being talking heads.
  2. Setting is a tool that you can use to create ambience, tone, reality.
  3. Readers like to know where the characters are.

LET’S HANG OUT!

HEY! DO YOU WANT TO SPEND MORE TIME TOGETHER?

MAYBE TAKE A COURSE, CHILL ON SOCIAL MEDIA, BUY ART OR A BOOK, OR LISTEN TO OUR PODCAST?

JUST CLICK ON THIS LINK AND FIND OUT HOW WE CAN INTERACT MORE.


HELP US AND DO AN AWESOME GOOD DEED

Thanks to all of you who keep listening to our weirdness on the DOGS ARE SMARTER THAN PEOPLE podcast and our new LOVING THE STRANGE podcast.

We’re sorry we laugh so much… sort of. 


Please share it and subscribe if you can. Please rate and like us if you are feeling kind, because it matters somehow. There’s a new episode every Tuesday!

Thanks so much for being one of the 261,000 downloads if you’ve given us a listen!

One of our newest LOVING THE STRANGE podcasts is about the strange and adorably weird things people say?

And one of our newest DOGS ARE SMARTER THAN PEOPLE episode is about fear setting and how being swallowed by a whale is bad ass.


And Carrie has new books out! Yay!

You can order now! It’s an adult mystery/thriller that takes place in Bar Harbor, Maine. Read an excerpt here!

best thrillers The People Who Kill
The people who kill

It’s my book! It came out June 1! Boo-yah! Another one comes out July 1.

And that one is called  THOSE WHO SURVIVED, which is the first book in the the DUDE GOODFEATHER series.  I hope you’ll read it, like it, and buy it!

The Dude Goodfeather Series - YA mystery by NYT bestseller Carrie Jones
The Dude Goodfeather Series – YA mystery by NYT bestseller Carrie Jones

TO TELL US YOUR BRAVE STORY JUST EMAIL BELOW.

  1. It allows your reader to be fully in the experience of the character of the book.
  2. It’s a tool. The setting can be a metaphor for your character’s internal struggle. If your character is having an anxiety attack and stuck in her job and life, making her hide in a bathroom stall is perfect as metaphor.
  3. It can be a character in your story. The city of Chicago or New Orleans can influence the plot and character a lot. The city can grow too as the character grows.
  4. It helps create tone and conflict. If you’re writing a novel about an apocalypse, the details you choose in your scene’s setting help show that.
  5. It shows class and divisions in society, too.