Senses & Setting, a writers' brief how-to

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There are probably as many approaches to novel writing as there are writers. Some have a tendency to see things as a screenplay—action and dialogue. Others see characters and relationships first, and find that dialogue and action grow from that. Some plot carefully and make a comprehensive outline. Others just begin when a voice begins to speak irresistibly in their mind and their novel grows organically.

Others begin with the world in which the characters will move. Science Fiction and fantasy writers often begin this way. Historical novelists may become intrigued by a particular era, and this fascination leads to the creation of characters who will exist in a “period” world.

Such writers probably have the easiest time with “world building,” because setting/or period, or that “Other Land” they are creating has already played a large part in their inner life. , supplying the kick that took them from simply imagining to actually writing.

In most writing courses you’ll find discussion of using the five senses of sight, hearing, touch, taste and smell, and all of them need to be engaged—not all the time, of course, or nothing else would ever happen—but if your couple are seated side by side at a Regency dining table—even if they are thinking only of each other—either loving each other or hating, as the case may be—they will be surrounded by other people talking, servants coming and going, and a great deal of food. There will be ambiance a-plenty and the sensations will be coming from all combined senses.

In the last 30 years, people have become more than a little distracted from reality—not only by television, but by hand held games, cell phones, not to mention the artificial A/C world we inhabit during hot summers. As a result, we don’t really spend a lot of time paying much attention to where we actually are—and what signals are coming from our environment.

If you are walking down a street in a Third World Country—or on some far off planet, or London in Shakespeare’s day--there will be unfamiliar smells as well as unfamiliar sights. For instance, I went to school in the West Indies back in the 60’s, and rode the bus to the central market daily, and then walked up to the school through the narrow city streets. There was gray wash water running in slimy green gutters, the occasional furtive rat; there were fruit rinds and big greasy mango seeds scattered around as well as bottles.

 As well as sight, I experienced unfamiliar smells too. In the long ago West Indies, there was the smell of people who didn’t have facilities for washing other than the a central pump in whatever village they’d come from, of starch filled school uniforms and office clothes and the beginning of the day’s sweat. There was market refuse, discarded fruit and animal manure ripening in the sun, the smell of a hard-worked donkey as he clopped by, the heavy odor of the goats that rode the bus with you. Have you ever imagined what a werewolf or a vampire would actually smell like?  I’m not a fan of these fantasy creatures, so in my imagination—they’d smell pretty bad!

Is your character a temp, facing a vacated desk in a modern office? What’s the desk and keyboard like—are they sticky with coke, covered with ashes? Are they dusty, or spotlessly clean? How does your character deal with this temporary work-space? Does she first head for the washroom and paper towels to clean desk, keyboard and phone? Does she bring a can of Lysol with her to work on the first day at someone else's desk?

As you can see, this is not only “setting,” it also tells the reader about the characters. How do these particular people react to the environment in which you’ve placed them? Details like this breathe life into what might otherwise be wooden.

As for sound/hearing, we moderns are drowning in it. The environment has never been so distracting or noisy—thanks especially to the internal combustion engine—which roars away on every street and in every yard. Leaf blowers, lawn mowers, trucks, cars and a parade of loud pipe HD’s coming through our town are sonic assaults we endure daily. (My husband calls it “turning gasoline into noise”.) We live in a theme park town, and know what it’s like to put up with amplified concerts all summer, and an enormous volume of traffic. On top of all that, there are televisions blaring in every place we go, from restaurants to doctor’s waiting rooms. 

Conversely, if you are writing about the past, none of that existed. Cities used to be noisy with people and animals, and later, with trains and trolleys, but the countryside remained relatively quiet until fifty years ago. When night came down on the farm, people went to sleep. Two hundred years ago, a candle was an expensive item, and only the rich could afford to illuminate their world after dark. Likewise, music—an orchestra was for the rich, music provided by gifted individuals who were barely an inch more important than the rest of the servants. That used to be the draw of a parade—the fact that there was music. Even when I was a kid, people still made music at home. At our house we had a piano and a song book, and for fun our family sometimes sang and played together in the evenings instead of turning on the t.v.

 In the countryside, you’d hear wind in the trees, or blowing across wheat fields or rustling through a cornfield. You’d hear songbirds—and there were more of them 100 years — crickets. cicadas and wild geese. The first Europeans to arrive here remarked upon all our wildlife—and especially upon hearing it at night. In their world, they’d eaten just about everything that moved and cut down most of the trees and put the land under cultivation, and so their original home was already picked clean of wildlife. Here, before Europeans got a foothold, nature was thriving. If your characters are in undeveloped setting, for instance a 1600’s American forest, you might hear a panther scream or wolves howl.

Another sense to consider is taste. Taste and smell are strongly related, as we all have experienced losing some of both when we have a bad head cold.  This sense, which we take for granted, is key to our well-being. One of my aunts, now deceased, lost her sense of taste during her eighties. I remember when she was younger, she’d had to be careful about what she ate, for like so many of us, her thirties and forties were spent fighting the battle of the bulge. Now, with this vital sense gone, she was less and less interested in eating, and ended her life weighing a mere 75 pounds.

So, if we return to that Regency banquet, what do we taste—or are we so excited and overwhelmed by the presence of handsome young and very eligible Lord Brimstone-Fire seated to our right that we can barely swallow? If we’re on Planet X, how would you describe the taste of Silonian Sea Slug in Gaxican sauce? Was the dish carefully prepared, succulent and fragrant, or is it tough and indigestible, reheated too many times in the kitchen of some grungy space port diner?

Romance writers imagine the sense of touch frequently; it’s their stock in trade. If you are shopping for clothes, you will certainly run your fingers over the fabric, see if you like the feel of what you are about to put next to your skin. If you are handling a gun, besides the weight, you will be in contact with the material of handle or stock, the cool touch of metal, the slight oily feeling of bullets as you drop them into the chamber of a .38, or push small metal cylinders into a recalcitrant .22 clip. If you are kissing His Lordship, well, are his lips smooth or rough? What's his shirt (or his bare, muscular chest) feel like?

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Fantasy or s/f writers— you know you’ve got setting work to do which is far beyond the average. If you are on a distant planet, your special world will need an almost total re-imagining, because nothing would be familiar. This leaves a lot of scope for exercising your imagination, but you’ve got to be careful to construct an environment that’s inwardly consistent.  If there are many distinct and unusual plants and animals, and/or geological anomalies, magical spells, etc. you might want to write a crib sheet for yourself, so that you don’t become lost in the richness of your own creation.

Another way of attacking the business of creating a setting is what I call the “day in a life” exercise. That is, from the moment you get up in the morning until your head hits the pillow at night, spend one day really examining all the little routines you and/or others have, no matter how mundane — from brushing teeth to shining shoes, ironing, running errands, shopping, cooking, taking care of pets or organizing children, commuting to work etc. At work, we all develop routines which fill out the day in every office, hospital, factory or wherever. It’s easy to see that these slices of daily life are fodder for a writer of contemporary stories, but they can also provide a taking-off place for any novelist.

 What does your character do? Do they work for a living?  Or are they lords or ladies? If they are 16th century people, do they brush their teeth—and if so, with what? If a character is a servant in a great house, or an American Indian, or if they are the very eligible Lord Brimstone-Fire—how exactly do these folk spend their days?

It should be obvious that the aspiring historical novelist be well-grounded in manners of the period chosen. If you aren’t—pause and start researching. Afterward, you will instantly appreciate how much easier your story-telling flows. All kinds of questions will be answered. Is a maid permitted to look up from scrubbing the floor when her mistress passes by? Where do meals come from?  Who serves/prepares it? What food is available in that particular time period? If your character goes to the kitchen, what’s the room look like? What utensils and equipment are present? Where does the water come from? How often do your characters bathe and what is required in order to obtain hot water?

You really should do that research—or you won’t have a leg to stand on. Nowadays even casual readers are also watching the History Channel. For an example of how this has changed, I read a romance back in the early 80’s in which a hero and heroine make love on top of an upright at Stonehenge. This took more suspension of belief than I could muster—although it was okay with some long ago editor. If there had been magic involved and they'd levitated up there, it might have worked despite the acrobatic comedy factor of the narrow space, still, I don’t think this would pass with today's more sophisticated readers.



~~Juliet Waldron

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“Grandmother, What Long Arms You Have.” Or “Excuse Me? But, Who Are You, Really?” by Tia Dani

This month we'd like to talk about characterization.

In 1916, author Charles Perrault may have inadvertently given a writing lesson when he penned his fairy tale, Little Red Riding-Hood. Listen as we hear the wolf’s answer to Little Red Riding-Hood’s statement of having long arms. “All the better to hug you with, my little girl.”




     The wolf was no fool.

He knew, in order to get close to the girl, he would have to act and talk exactly like Grandmother. If not, Little Red Riding-Hood wouldn't be tricked into undressing and climbing into bed with him.

Undressed? Climb into bed? Hmmm, do you suppose there’s the makings of a romance plot here? Granted, in Perrault’s story, the wolf’s objective was to eat Little Red Riding-Hood, but still, the possibilities are—

Wait! We digress. This article is supposed to be on characterization, not on Little Red Riding-Hood and the wolf’s hungry cravings.

Okay, let’s get back to characterization. Normally in fiction, there are male and female protagonists. And...the author’s gender is either male or female. So how can an author effectively portray a character’s gender opposite of their own?

Surprisingly the concept is not a contemporary one. Gender characterization was discussed in an 1898, New York periodical called The Munesy Magazine.

                                                                          

   In Wolf’s Clothing  

When women writers take to trousers and march through their novels as first person heroes—“I, George Wharton, a bachelor of thirty four”—it is amusing to see that every movement betrays the goddess. The more aggressively mannish the attitude, the more palpable the illusion. Their masculine valor, like that of a stage courtier, depends on the little outward signs, the swish of a stick, the crook of an elbow, or the angle of a knee. They smoke a cigarette and say “damn,” and think by that they have achieved masculinity. Yet the veriest hayseed in the top gallery grins at the masquerade.

It is the gait that betrays them. The average feminine mind trips lightly forward on pointed toes, with many little excursions and minute explorations to the right and left. The man, as a usual thing, stumps gravely along, leaving deep heel marks at wide intervals, and passing the details with blank indifference. Their respective ways of exchanging confidences show this better than anything. A woman tells what led up to an episode, just how it happened, and what he said, and what she had on, spinning a good hour of reminiscence out of a fifteen minute event. A man states the fact boldly, filling in the interstices with confidential silence and tobacco smoke. A genius can achieve this, rising superior to sex by the magic of intuition, but geniuses are rare among authors nowadays. The average woman rarely creates a man of men when she herself plays the title role. 

* * *

What is it with these 1800's men? Why is it that a woman can rarely create a man of men? What about a man creating a woman of women? Wouldn't he have the same problem?

Oh, never mind, we’re wandering again.

Characterization. We do understand Munesy’s point. If an author is female and she endeavors to write in a male character’s viewpoint, she must be absolutely certain that she doesn’t color it with her own feminine logic. The same, therefore, must go for a male author writing a female viewpoint.

One of the hardest tasks in writing is to write from a gender’s viewpoint opposite their own. And, get it right! An author would be wise to run his or her efforts by someone of the opposite gender. Ask if the character sounds like something a man (or woman) would say or do in that same situation. Also it’s best to keep some important things in mind when developing gender characters. Men tend to think in terms of hierarchies and women think in terms of groups. Men perceive a chain of command and the challenge for leadership. Women have a communal view. Everybody works together and everyone’s opinions should count.

Correct gender identification, however, isn't the only type of character development that is important. All fictional characters are normally human beings without a body, made entirely of words. You might say these characters live in a world of pure language or pure spirit. The trick is to make certain they come to life as believable, complex, living, human beings.

A successful author cam enter a character’s literary protoplasm skin and understand him. What makes realistic and memorable characters come alive, an author should define the character, master them, and, finally, create them. Though creating them is considered to be the most difficult, mastering is the most crucial. Mastering creditable personalities, sometimes means that an author has to step beyond the boundaries of what they perceive as normal, or believe what is right or wrong, especially if a character’s persona does not fit within a writer’s comfort level.

Unfortunately, an author can’t just snap his or her fingers and switch genders in order to understand what the other sex thinks, nor can they wave a magic wand over themselves and become a victim of abuse in one moment, and become a raving, psychopathic killer the next. To know either of those characters, an author might have to, as they say, walk the walk.

Granted, not everyone can, or is willing to, interact with a deranged killer, just so they can comprehend how a murderer thinks, or live daily with the life choices of an abuse victim. But what if you could? How far are you willing to go to understand your characters completely? Or, would it even be worth it?

It was for the wolf in Little Red Riding-Hood. And we all know how that story ended.

Happy writing!

                                                                   Graphics courtesy of  Ike's World

To find out more about the writing team Tia Dani and our books visit us at Books We Love: Tia Dani

Time's Enduring Love, our historical time-travel is a Books We Love Best Seller.

TIME'S ENDURING LOVE

                                                                                  CALL DOWN THE DARKNESS                                                                 

Tia Dani is the multi-published writing team made up of good friends Christine E. Jones and Beverly Petrone. Together they create endearing and realistic characters, humorous dialogue, and unusual settings. And…best of all…they're having the time of their lives.


                                                              

CHARACTER OVERLOAD

I recently reviewed a book by an indie author who was a gifted natural story-teller. Her book centered upon a true, long-ago tragedy in a small, tight-knit backwoods town.  Unfortunately, I found the story difficult to follow, because of frequent POV shifts, sometimes as often as every few paragraphs.

 

There was usually a double drop between these shifts, but she also had a habit of changing voice. Sometimes the new POV was first person, sometimes third. Occasionally, I found myself stumbling from first person to third person subjective, followed by bursts of the venerable 18^th Century third person omnipresent. Many of her narrators were unreliable, and there were many, many characters, almost an entire town. Few were well fleshed out. However, each one, Rashomon-like, had a unique piece of information about the pivotal event.

 

As compelling as the story was, I’d have to say "thumbs down." Her tale was interesting and important—and probably remains inflammatory, even years later. People probably still remember where they were on the terrible day when a labor dispute went terribly wrong and police waded into strikers and killed someone.

 

POV shifts are tricky business, even in the hands of more more skillful writers. If I’d been her editor, I know our discussions would have been difficult, because she clearly had problems making a choice about who the main characters were. Although it might have created other difficulties in telling the story, the loss of focus that resulted from all that switching around made my job as a reader far more difficult than any author has a right to ask.  

 

My diagnosis? The story hadn’t jelled when she began to write. In her rush to get the inspiration down, to cover all the bases, she created a huge maze of information and very nearly couldn’t unravel it herself. A novel, (which is, after all, an artificial creation and not reality) needs a core character(s) and a core point of view, a place for a reader to stand among whatever whirligigs of narrative and event the author can contrive. 

 

So, if you are thinking of finally writing “that book,” definitely work out who/what/where/when before you get going. Laying the groundwork, pouring the foundation, you might say, is the place where a writer really ought to start.

 

 

 

 

 

Juliet Waldron

See all my historical novels:

 

http://www.julietwaldron.com

http://bookswelove.net/julietwaldron.php

 

CREATURE FEATURES by Juliet Waldron

Several years ago I decided to begin to write a story centered around a creature. By doing that, I knew I was entering a crowded, expert field that had been successfully creating vampires and werewolves, witches, and all the rest of the occult cousinage for many, many years.

Wiki Commons Source

 

Still, why not? I had had a notion to write a sequel to Red Magic. Unlike the other novels I’ve written which are full-on historical fiction, Red Magic  was cross-genre in at least four ways, because there are elements of fantasy, history and adventure as well as the old-fashioned romance at the core. Moreover, if you end a story with the birth of fraternal twins-- in this case, a girl and a boy--there is an obligation to write a follow-up around them. It’s an ancient story-teller's convention, probably well-established by the time the Greeks dreamed up Apollo and Diana.   

 

Okay, so all well and good, but almost immediately I was stuck again. The tall, dark hero and his red-headed sister I already knew something about—their loves, loyalties and a few of their day-to-day human problems. The question remained: into exactly what sort of creature would my hero morph?

Personally, vampires alarm me. It seems to me there are enough scary people in the real world who fit into this category without making up fictional ones who are going to (somehow) become the love interest. On the other hand, I’ve always had a soft spot for werewolves, but there sure are a lot of them howling at the moon already.

I decided to step back a pace. Why not try something less limiting? Going after the all-encompassing “shape-shifter” idea seemed a way to make an unusual hero who wasn’t boxed into a particular set of conventions, such as drinking blood or only being active after dark. If the hero/creature could become different animals, his metamorphosis could be different every time, which would definitely give my imagination a work-out. Like the boy Wart in The Sword in the Stone, my hero could sometimes be a carnivore and sometimes a herbivore, sometimes four-legged, sometimes winged, as the need and/or inclination arose.

I'm nearing the completion of Black Magic now. If I can just keep my "fanny in the chair," it should be done within the next month and ready for a stern edit. For me, it's been quite an experience, a crazy road trip out of my usual historical writer's comfort zone. 

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http://www.julietwaldron.com

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