Writing Active Setting Book 1: Characterization and Sensory Detail by Mary Buckham
Authors: Mary Buckham
Ads: Link
Part 1
INTRODUCTION
Setting is probably one of the most underu sed tools in a writer’s toolbox, but it doesn’t have to be.
Settings involve so much more than stringing together a list of adjectives or dumping a chunk of visual clues to orient the reader. Setting can create the world of your story, show characterization, add conflict, slow or speed up your pacing, add or decrease tension, relate a character’s back story, thread in emotion , and more. Some authors are known for creating Settings that are so deeply integrated into the scene that when reader s step away from reading they still find themselves in the place described on the page.
Think of Setting as the stage which contains your story, and it should be as important as any character whether you choose to write sparse ly or in great detail. The setting orients the readers to the geography, climate, social context, time of the story ’s events, foreshadowing of unfolding events , architecture , and much more. When handled well the Setting can also impact the thoughts of your readers and actions of your characters and thus move the story forward .
I f not handled well, poor Setting description can thwart or frustrate the reader to the point where they want to throw away the story or actually do put your book down and walk away .
Setting can add so much to your story wor ld or it can add nothing. When creating Active Setting we’re looking to add subtext in your writing, a deeper way for your reader to experience your story. Instead of simply describing a place or thing for the sake of description, we’ll look closely at how to maximize what you are showing the reader . You’ll learn how to verbally illustrate a place and where to insert this information so the reader will understand the intention of your scenes and be pulled deeper into the story. Specifically in Book 1 , we’ll be looking at using Setting to reveal your characters and to add sensory details .
We’ll make sure you do not focus your reader on something that isn’t pertinent to your story.
Note : The details of your Setting must matter to your story.
Example — you’re showing the reader a room in a house. That room and the details in that room should show characterization or conflict or emotion or foreshadowing or be there for a reason instead of simply describing placement of objects in space.
In Book 1 , let’s examine Setting in two vital ways: to show Characterization and to add Sensory details . But first an overview of what Setting is and what it can be .
OVERVIEW
In this book we’ll focus on keeping in mind three key elements in crafting Setting :
(1) You need to create the world of your story .
(2) Each character in your story experiences the story world differently .
(3) Your story world involves more than one sense.
What this means is that your role as a writer is to create the world of your story so that the reader not only sees it but experiences every detail . Regardless if you’re writing about a famous place that millions have lived in or experienced, your Character’s perceptions of that world are what matters in your story. You’re not writing about any living room, any small town, any large city; you are writing about a specific living room, a specific small town , a specific large city a nd why those things matter to your character.
Pull the reader deeper into your story by allowing them to experience the Setting on a deeper level. It can be the difference between standing on a beach facing the Pacific Ocean , feeling the sand beneath your bare toes, inhaling the s c ent of tangy salt spray, hearing the roar and slam of the waves versus looking at a postcard.
Learning to write Active Setting is as easy as knowing when and where you want to ramp up your Setting details and why.
I’ve had the privilege to work with thousands of writers in all genres over the years and to see them take the blah or
INTRODUCTION
Setting is probably one of the most underu sed tools in a writer’s toolbox, but it doesn’t have to be.
Settings involve so much more than stringing together a list of adjectives or dumping a chunk of visual clues to orient the reader. Setting can create the world of your story, show characterization, add conflict, slow or speed up your pacing, add or decrease tension, relate a character’s back story, thread in emotion , and more. Some authors are known for creating Settings that are so deeply integrated into the scene that when reader s step away from reading they still find themselves in the place described on the page.
Think of Setting as the stage which contains your story, and it should be as important as any character whether you choose to write sparse ly or in great detail. The setting orients the readers to the geography, climate, social context, time of the story ’s events, foreshadowing of unfolding events , architecture , and much more. When handled well the Setting can also impact the thoughts of your readers and actions of your characters and thus move the story forward .
I f not handled well, poor Setting description can thwart or frustrate the reader to the point where they want to throw away the story or actually do put your book down and walk away .
Setting can add so much to your story wor ld or it can add nothing. When creating Active Setting we’re looking to add subtext in your writing, a deeper way for your reader to experience your story. Instead of simply describing a place or thing for the sake of description, we’ll look closely at how to maximize what you are showing the reader . You’ll learn how to verbally illustrate a place and where to insert this information so the reader will understand the intention of your scenes and be pulled deeper into the story. Specifically in Book 1 , we’ll be looking at using Setting to reveal your characters and to add sensory details .
We’ll make sure you do not focus your reader on something that isn’t pertinent to your story.
Note : The details of your Setting must matter to your story.
Example — you’re showing the reader a room in a house. That room and the details in that room should show characterization or conflict or emotion or foreshadowing or be there for a reason instead of simply describing placement of objects in space.
In Book 1 , let’s examine Setting in two vital ways: to show Characterization and to add Sensory details . But first an overview of what Setting is and what it can be .
OVERVIEW
In this book we’ll focus on keeping in mind three key elements in crafting Setting :
(1) You need to create the world of your story .
(2) Each character in your story experiences the story world differently .
(3) Your story world involves more than one sense.
What this means is that your role as a writer is to create the world of your story so that the reader not only sees it but experiences every detail . Regardless if you’re writing about a famous place that millions have lived in or experienced, your Character’s perceptions of that world are what matters in your story. You’re not writing about any living room, any small town, any large city; you are writing about a specific living room, a specific small town , a specific large city a nd why those things matter to your character.
Pull the reader deeper into your story by allowing them to experience the Setting on a deeper level. It can be the difference between standing on a beach facing the Pacific Ocean , feeling the sand beneath your bare toes, inhaling the s c ent of tangy salt spray, hearing the roar and slam of the waves versus looking at a postcard.
Learning to write Active Setting is as easy as knowing when and where you want to ramp up your Setting details and why.
I’ve had the privilege to work with thousands of writers in all genres over the years and to see them take the blah or
Similar Books
