Grounding the Reader - Scene Setting

Grounding the Reader – Scene Setting
Linda Clare


Any time you have a reader that can see what you see as an author you’ve done good.
Catch – How can I translate what’s on page to this?

Try to integrate setting into almost every line you write -> the total picture
If you set scene at the beginning and say no more reader will forget

Setting does not equal landscape or description
Take beyond
It is much more important than place and time
Leave hint – We are in a partial place at a partial time with partial
People

Maintaining setting through scenes – setting details crucial – sensory details come up again
Draw everything from your own experiences; rely on what you know
(Setting changes when character moves)

CSD – Concrete Sensory Details

1) Setting
2) Time
3) Character
4) Point of View
5) Light – like how you use lighting in a play
6) Sight
7) Sound
8) Taste
9) Touch
10) Smell
11) Problem – reason for scene

Try to get as many of these elements as possible in a scene. Mix up too.

Location, location, location.- everything in novel must be set in this area
Everything we write flavored by location – place

Dialect

Do want characters to use words that show where they came from; same with customs



POV

3rd person limited (what we normally think of as third person where we are looking out of POV characters eyes)

Camera follows character on inside and outside

1st person – camera in heart looking out on world; can only experience what your character experiences


Proven and True Techniques

Camera – 1st Scene

1 way to start novel:

Panoramic – start from vista mode – far away; like coming in on an airplane; come closer; Using sensory details


Start with high action
Use Close-up or tighter frame on camera
After action described camera will pan back out

The closer the start-up the higher the tension –like Alfred Hitchcock

Use camera to negotiate each and every scene
- Think of sequels (reflection, internal thinking) -> still have setting helping
Reader understand and get total experience

Lots of characters (more than 3): Where should camera be?
With POV char – will then lose part of scene
Solution: Mid-range framing technique
Have POV char in frame but also have him move around
Shift and recompose scene like a director

Keep frame interacting with POV character; lead character – would do what character
Would do naturally


Fast Cuts

Fast paced dialog framed:
1) See two characters talking back and forth
High tension – focus on both faces
Use SNT sensory techniques
If possible get two characters talking face to face

Phone calls
(Use phone calls as latch ditch effort – want both chars under camera – really
Limits ability for reader to view the story)((if you are trying to show what a character says and what he thinks this might be okay for that))
Less room for conflict in a letter, e-mail or phone call

Any technique is a tool:
Two kinds:
1) Writing that works
2) Writing that needs work

Slow motion:

Slowing motion down: want reader to linger at that moment: more descriptors, softer words, polysyllabic moods; longer sentences


-----Trying to get total picture: camera is a good tool

Flashbacks

Problem matter for reader; reader has to be inside writer’s head;
Technique – try to focus on one element of present scene to go to to FB
Backstory: (everything beforehand) Might want to use a sensory thing to go in and out with

Rule of 3 – Look to keep from having 3 lines/paragraphs of anything
- if you have more than 3 paragraphs of flashback reader will forget where you
You started

Flashback from present – 1st 1 or 2 sentences of flashback past perfect -> then go to present perfect for rest of flashback ->past perfect when coming out of flashback to present (simple past)
“had” slows everything down; everything’s already slowed down by flashbacks


Weave in backstory – same as content of flashback but not limited by technique of flashback – other ways to do it; keep flashback or backstory brief enough reader is still in
It; Don’t give reader an excuse to be distracted

Obvious clues -> don’t use for flashbacks; use a sense stimulated by an object


Setting – tendency to overmodify:
For example – in a room
Don’t describe everything; just what matters
Simple impressions – So reader can make decisions with very few details
Focus on jus a couple of things
What would your character notice?

Just hit most important parts; speak to characters and story to give readers what they need
To fill in the picture.

We may try to control our reader:
Eg. 1) He lifted his right leg
- we don’t need left or right -> He lifted his leg.

To make reader think things are important:
1) Put things in series
Or
2) Repeat words

Repetition on Purpose: can do to emphasize shortness; only if you intend to: pattern

Cliches:

Even in dialog – Don’t use ones everyone uses – get as original as you can
1) try to find or make up ones similar to known cliches that nobody’s heard of
2) Just make up your own phrases

Similes and metaphors

Use sparingly; save them for times when it really matters or reader will tune you
Out. If you use one wait awhile before you use another.
Use for time of high emotion first; high action second
Need to figure out which metaphor is the overriding one and use it judiciously so reader sees what we want them to see

Once you’ve established greater setting – don’t have to pound over reader’s head; just use things relevant to established greater setting.