World-building is essential for every story, but obviously genre will have a major influence on how much our story requires. Setting, though not technically world-building, can also add an entirely new level of dimension to our stories. World-building is setting, but taken to a whole new level.

This might be a personal pet peeve of mine, but I HATE books that forget to add any setting. There are few things more jarring than to make it 20 or 30 pages in only to realize the story is set in winter, or in the 19th century, or the character is in a magical forest.

Yes, I know a lot of these details I ‘should know’ from the cover/story description. But, when writing, assume we bought your book in a garage sale with no cover.

World-building can be subtle or it can be SO expansive that the world, itself, becomes a character unto itself. Think Dune, Dr. Who, any popular Marvel or DC line, Star Trek, Star Wars, LOTR, Stranger Things.

Yes, science fiction and fantasy are what most people think of when one mentions ‘world-building’ but techno thrillers like The Hunt for Red October or even crime procedurals like Rizzoli & Isles or NCIS also must create a world the audience understands.

Most people don’t automatically know how an autopsy works, or the inner workings of intelligence agencies and nuclear subs. This is where world-building is key.

World-Building Bible

Before we go any further, for the record, I have an upcoming class, World-Building 101 because this topic is way too expansive for one blog post. Today, we are taking a 50,000 foot view of the subject.

The more expansive your world-building, the more important it is to create a world-building bible (similar to a story bible). This is to help you keep track of what’s what and what isn’t. The more world-building we have, then the better records we need to keep. If we break our own rules, the readers WILL notice and they can be very unforgiving.

In your bible, you’ll detail out any magic or technology, how it works or doesn’t. This will make it simpler for you to go back and refer to as you’re writing.

Spells & Superman Syndrome

Fantasy can run the spectrum of how much detail is necessary. There are the quick ‘sword and sorcery books’ like the old Dragonlance series that really is pretty straight forward basic RPG-ish writing. Harry Potter? That is an entirely new level of detail. The more details, the bigger the bible.

Make sure magic has limitations and exacts a cost.

Characters that are too perfect are BORING. I call this “Superman Syndrome.” Superman was the first superhero as we know them in the modern age. Superman, over time, unlocked so many powers that, even the writers admit that it was incredibly difficult to tell new stories with this character.

He’s inhumanly strong, faster than a speeding bullet, could leap buildings in a single bound, and FLY and even REVERSE TIME!

Superman’s ONLY weakness was… kryptonite (an extremely rare substance, particles of his decimated home world).

ZZZZZZZ

In fact, back in the early days of DC, creators gave Superman every kind of power one could imagine and what happened? Readers (and writers) soon became bored.

Magic Needs Boundaries

The same thing can happen with magic. If a character can do everything and anything with just the wave of a wand or a quick spell, then they’re never really in peril. Neither are those around them.

Since peril is the lifeblood of story, we can unwittingly kill our story before it ever begins by making any character too powerful.

Thus, when envisioning how magic works, make certain it has limitations, requirements and that is might not be as dependable and the character would like.

As an Old School D&D Nerd (before it was cool), magic was dependent on mana, a form of raw magic one might liken to The Force in Star Wars. The more inexperienced a magic user, the less mana they had access to. This is what a) limits their spell casting b) the power/efficacy of a spell and c) duration.

A magic-user needs to level up, obviously. But, at least in D&D, they can meditate or study to learn more magic, level-up, and replenish mana. Few things are more frustrating in a battle than for your magic-user to redline on mana (since magic-users generally are not fighters).

But, say we leave D&D behind. One of my favorite examples of magic having limitations was in a series called Carnivale. Ben Hawkins finds refuge with traveling carnies during the Dust Bowl. He can heal the sick and even raise the dead…but at a price. He must ‘steal’ life from another source to ‘give’ life.

There is a powerful scene where a young child drowns in a stock tank. Ben revives the child and, moments later, all the fish in the pond float, dead, to the surface. This is why Ben must be extremely careful how, when, where and why he uses his power.

World-Building and Technology

Obviously, science-fiction is another genre that uses a lot of world-building. Again, one can keep it simple, such as is the case with Star Trek. Yes, there is a bit of world-building such as tricorders and dilithium crystals, etc. but it isn’t very in depth and largely relies on suspension of disbelief.

If, however, we get into hard science fiction, that is an ENTIRELY different group of fans (comprised of scientists, engineers, and tech people). Should we create some form of tech, we will need a certain degree of plausibility.

These are the fans who hate/make fun of Star Trek and love The Martian. Since science, math and technology are part of their day jobs, they are a tough crowd. Like doctors trying to watch House or actual detectives trying to watch Miami CSI.

Thus, when choosing what KIND of science fiction you want to write, make sure to keep the audience in mind when creating new tech. I read a lot of articles from Popular Science and Popular Mechanics to give me ideas of up-and-coming technology I can riff off of.

For instance, in the story I am working on, if someone loses a limb, the techs can simply use DNA and essentially a 3-D printer to create one that is good as new with nerves, sinew, etc. While ‘out there’ it really isn’t SO ‘out there’ one couldn’t make a good argument this could eventually exist.

World-Building: Go Easy on the Names

Whenever I read samples, in my The Write Stuff Special (going on now and only 10 slots until July 24th), I get a lot of fantasy and science fiction. One of my MAJOR bugaboos is too many names too quickly.

Remember, especially in the opening pages, we need to hook the audience. If we have to keep up with the name of five characters, a religion, a mountain range, a certain spell, a sword (that is called something other than ‘a sword’) it is a LOT of vocabulary hitting us at one time.

This will make it very easy to lose the reader. I am not saying we cannot have a zillion different names, just not on the first page, please. Also, when it comes to everyday items that are what we’d know on Earth, don’t feel the need to create new words for them.

Even on Earth, a cup has been a cup for centuries. A sword is a sword, a cape is a cape, etc. Though, obviously it is YOUR book, my recommendation is to save made up words for things that are unique. If it is a unique type of ceremonial sword, then fine, call it something else. Just remember your reader is there for a story, not to learn an entirely new language.

Even J.R.R. Tolkien called it a sword, a wagon, a road, a hat.

World-Building & Readers

Obviously, the goal of any kind of world-building is to a) help suspend disbelief and b) become a place where readers want to escape. This is where reading/watching series becomes critical. What are the books/series you love? WHY? Can you list elements that captivated your attention? WHY?

What sort of feel are you going for? Are there elements you can reasonably mix together? Hunter by Mercedes Lackey is a fantastic example of mixing ‘fairy tale’ monsters with new creations in a high-tech world. They use magic as well as traditional weapons like modern guns and knives and futuristic force fields.

A Little Bit of Hatred by Joe Abercrombie (Book 1 of The Age of Madness series) is much, much darker. There are kings and castles but also factories. So there is a bit of steampunk blended in. It is very, VERY graphically violent.

While Hunter is ‘violence lite’ and involves a far higher level of technology, A Little Bit of Hatred gives Game of Thrones a run for its money with gore, and the tech is all steam-based.

Not every reader has the desire to read something as weighty as Dune or Lord of the Rings. But, many do (obviously) or they wouldn’t be so enduring.

A lot is going to depend on your personal tastes. If you have not READ a lot of fantasy or science fiction with large-scale world-building, I’d hold off until you do. It is MUCH harder than just making up a bunch of funny-sounding names and tech.

Everything has Inherent Order

Believe it or not, even though we are allegedly ‘making things up’ we really aren’t. We need to draw from what readers already know so they have some sort of psychological tether. For instance, Dune is about rival houses, but the worlds eerily reflect the age of colonization and the battle over the Middle East.

Arrakis derives much of its beliefs, traditions, and ways of life from what might logically be derived from the Bedouin or other desert nomads. Since we mere Earthlings understand nomadic cultures, we have something to ground us.

Even if one is going to construct an alien language, language has inherent order and logic. Is your made-up language like English which basically just beat up other languages and rifled through their pockets for spare vocabulary?

Or is it more like other languages that have feminine/masculine/and neutral expressions? Even RUSSIAN has masculine and feminine.

Girl is pronounced DYEH-voosh-kah, and boy is pronounced MAHL’-cheek. Notice how, like many other languages, the feminine ends in an ‘ah’ sound. Word order will need to be consistent as well.

In English we have subject —> verb —> adjective—> direct object. Latin-based languages have subject —> verb —> direct object —> adjective.

I live in a white house (English), versus Vivo en una casa blanca or ‘I live in a house white’ (Spanish).

Even totally made up languages will need inherent rules. If we use this language for any amount of time, the ear will pick up on consistency and thus make it ‘seem’ more authentic because it will ‘sound’ like an actual language (just one we don’t understand). Keep this in mind for vocabulary as well.

Yes, I ‘learned’ Klingon back in my teenage years. One more thing that made being a Trekkie just that more fun.

World-Building Reality

World-building isn’t just for science fiction or fantasy. The regular everyday person doesn’t understand how crime scenes work (NCIS), how detectives do their job (Rizzoli & Isles), the way the bridge of a submarine runs (The Hunt for Red October), how pilots learn to fly fighter jets (Top Gun).

Even genres like mystery, thriller, suspense, will need a degree of world-building. I am from a military home and also have been a competitive shooter. Even NCIS sometimes irritates me.

You just positioned your agents on top of the building like that? You WANT a crossfire? Because this is how you get a crossfire.

It really is in the details.

If we set our story in another time period, appreciate that most readers (aside from history nerds) might not know the ins and outs of that age. Just be VERY CAREFUL about anachronisms.

Anachronisms are actually a bugger in pretty much all world-building. I once read a story that was set in King Arthur times (armor, knights, kings, castles), but a small boy was playing with a toy train. Um…NO. Unless the story is one of those creative hybrids I mentioned earlier? NO.

I hope this gives y’all a good start about what you need to keep in mind when building your world. Would love to see you in class, obviously. We’ll go into SO much more detail. World-building covers WORLDS so yes, it is a lot.

BUT, when done properly, authors have the pleasure of seeing fans in costumes, conventions, adding in their own fan fiction, etc. Our books can become a far richer experience that takes on a life of its own.

What Are Your Thoughts on World-Building?

What are some of your favorite worlds? Obviously, I LOVE Dune but I am a huge fan of Stranger Things’ Upside Down. I remember inhaling Dragonlance books like candy because I was a nerd when that wasn’t exactly cool and loved the escape. That and I had a crush on Raistlin Majere, thereby proving emotionally unavailable men are weirdly attractive to many girls and women.

I LOVE hearing from you! And if y’all have topics you’d like me to cover, put them in the comments. I am over 2000 blogs in and it gets a bit tough after a while.

Remember I am running The Write Stuff Special and grab a slot because there are only ten available and they fill up QUICKLY. In depth edit of your first 20 pages for $55.

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TUESDAY, July 19th, 2022, For more information, sign up HERE and use New20 for $20 off

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THURSDAY, JULY 28th 7:00 PM E.S.T. to 10:00 P.M. EST HERE

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Practice Your Pitch: Master the Log-Line WORKSHOP

Thursday, August 4th, 7:00-9:00 P.M. NYC Time. This is a TWO-HOUR INTERACTIVE WORKSHOP!

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The post World-Building: Captivate Readers & Never Let Go appeared first on Kristen Lamb.

Hmmmm. Must be Walmart.

Today we are going to talk about setting and ways to use it to strengthen your writing and maybe even add in some dimension. Setting is more than a weather report. It can be a magnificent tool to deepen characters.

Setting Can Help Your Characterization

Setting can actually serve a dual role in that it can be not only the backdrop for your story, but it can also serve characterization through symbol.

We editors love to say, “Show. Don’t tell.” Okey dokey, here’s where setting can help you do just that.

THAT’S a desk with a story. “The menthol brings out the blueberry notes in the Yoplait…”

Say you have a character, Buffy, who is depressed. You could go on and on telling us she is blue and how she cannot believe her husband left her for the Scentsy lady, OR you can show us through setting.

Buffy’s once beautiful garden is overgrown with weeds and piles of unopened mail are tossed carelessly on the floor. Her house smells of almost-empty tubs of chocolate ice cream left to sour. Piles of dirty clothes litter the rooms, and her cat is eating out of the bag of Meow Mix tipped on its side.

Now you have shown us that Buffy is not herself. We know this because the garden was “once beautiful.” This cues me (the reader) that something has changed. And you managed to tell me she was depressed without dragging me through narrative in Buffy’s head.

She couldn’t believe Biff was gone. Grief surged over her like a surging tidal surge that surged.

Writing is therapeutic, not therapy. Some of that introspection is great, but after a while you will wear out your readers. Setting can help alleviate this problem and keep the momentum of your story moving forward. We will get that Buffy is depressed by getting this glimpse of her house. You have shown that Buffy is having a rough time instead of being lazy and telling us.

Buffy needs to get a grip.

We judge people by their environment. Characters are no different.

If you want to portray a cold, unfeeling schmuck, then when we go to his apartment it might be minimalist design. No color. No plants or signs of life. Someone who is scatter-brained? Their house is full of half-finished projects. An egomaniac? Walls of plaques and pictures of this character posing with important people. Trophies, awards, and heads of dead animals. You can show the reader a lot about your character just by showing us surroundings.

Trust me, if a character gets out of her car and five empty Diet Coke bottles fall out from under her feet into her yard that is littered with toys, we will have an impression.

Probably the single largest mistake I see in the work of new writers is that they spend far too much time in the sequel.

What is the Sequel?

Plots can be broken into to main anatomical parts–scene and sequel. The scene is where the action occurs. A goal is declared and some disastrous setback occurs that leaves our protagonist worse off than when he began. Generally, right after this disaster there is what is called the sequel. 

The sequel is the emotional thread that ties all this action together.

Yet, too often new writers will go on and on and on in a character’s head, exploring and probing deep emotions and nothing has yet happened. The sequel can only be an effect/direct result of a scene. Ah, but here comes the pickle. How can a writer give us a psychological picture of the character if he cannot employ the sequel?

Setting.

An example? In Silence of the Lambs how are we introduced to Hannibal Lecter? There is of course the dialogue that tells Agent Starling that Dr. Lecter is different, but talk is cheap, right? Clarice goes down into the bowels of a psychiatric prison to the basement (um, symbol?). She walks past cell after cell of the baddest and the maddest. All of them are in brick cells with bars…until Clarice makes it to the end.

Hannibal’s cell is not like the others. He is behind Plexi-Glass with airholes. This glass cage evokes a primal fear. Hannibal affects us less like a prisoner and more like a venomous spider. Setting has shown us that Hannibal the Cannibal is a different breed of evil. This is far more powerful than the storyteller poring on and on and on about Hannibal’s “evil.”

Setting Can Set or Amplify Mood

Either you can use setting to mirror outwardly what is happening with a character, or you can use it as a stark contrast. For instance, I once edited a medieval fantasy. In the beginning the bad guys were burning villagers alive. Originally the writer used a rainy, dreary day, which was fine. Nothing wrong with that.

I, however, suggested she push the envelope and go for something more unsettling. I recommended that she change the setting to sunny and perfect weather. In the heart of the village the ribbons and trappings of the spring festival blew in the gentle breeze, the same breeze that now carried the smell of her family’s burning flesh.

Sometimes it is this odd juxtaposition in setting that can evoke tremendous emotion.

Think about how you felt watching the scene in Terminator 2 where the nuke goes off and obliterates a playground.

This tactic is especially useful in horror. Dead bodies are upsetting. Dead bodies at a church picnic are an entirely new level of disturbing.

Setting is a Matter of Style and Preference

Different writers use setting in different ways and a lot of it goes to your own unique voice. Some writers use a lot of description, which is good in that there are readers who like a lot of description. But there are readers who want you to get to the point, and that’s why they generally like to read works by writers who also like to get to the point. Everyone wins.

Whether you use a lot or a little setting will ultimately be up to you. I would recommend some pointers.

Can your setting symbolize something deeper?

I challenge you to challenge yourself. Don’t just pick stormy weather because it is the first image that pops in your mind. Can you employ setting to add greater dimension to your work? Using setting merely to forecast the weather is lazy writing. Try harder.

In Shutter Island, Dennis Lehane’s story is set on an island at a prison for the criminally insane. What the reader finds out is the prison is far more than the literal setting; it is a representation for a state of mind. The protagonist, U.S. Marshal Teddy Daniels is imprisoned by his own guilt and need for justice.

Like the island, he too is cut off from the outside world emotionally and psychologically. Now an island is more than an island, a prison is more than a prison, bars are more than bars, cliffs are more than cliffs, storms are more than storms, etc. Shutter Island is an amazing book to read, but I recommend studying the movie for use of setting as symbol.

So dig deeper. Can you get more out of your setting than just a backdrop?

Blend setting into your story.

When I teach, I liken setting to garlic in garlic mashed potatoes. Blend. Garlic is awesome and enhances many dishes, but few people want a whole mouthful of it. Make sure you are keeping momentum in your story. Yes, we generally like to be grounded in where we are and the weather and the time of year, but not at the expense of why we picked up your book in the first place…someone has a problem that needs solving.

Unless you are writing a non-fiction travel book, we didn’t buy your book for lovely description of the Rocky Mountains. We bought it to discover if Ella May will ever make it to California to meet her new husband before winter comes and traps her wagon train in a frozen world of death.

Keep perspective and blend. Keep conflict and character center stage and the backdrop in its place…behind the characters. Two fantastic resources to help you with setting are The Urban Setting Thesaurus and The Rural Setting Thesaurus by Angela Ackerman and Becca Puglisi. Do yourself a favor and just buy both of those today.

In the end, setting will be a huge reflection of your style and voice, but I hope this blog has given some insight that might make you see more to your use of setting and help you grow to be a stronger writer. What are some books or movies that really took setting to the next level? How was setting used? How did it affect you?

I love hearing from you!

To prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Check out classes below! 

Upcoming Classes

All W.A.N.A. classes are on-line and all you need is an internet connection. Recordings are included in the class price.

Again, I am trying something new and offering an open and interactive workshop. Is your first page strong enough to withstand the fire?

So You Want to Write a Novel 

June 24th, 7-9 EST. Cost is $35

Just because we made As in high school or college English does not instantly qualify us to be great novelists. Writing a work that can span anywhere from 60,000 to 120,000+ words requires training. This class is for the person who is either considering writing a novel or who has written a novel(s) and is struggling.

We will cover the essentials of genre, plot, character, dialogue and prose. This class will provide you with the tools necessary to write lean and clean and keep revisions to a minimum.

Character & Plotting (NEW CLASS!)

July 7th, 2015 7:00-9:00 P.M. EST. Cost is $35

All great plots are birthed from character. The core plot problem should be the crucible that eventually reveals a hero in Act III. This means that characterization and plot are inextricably linked. Weak plot, weak character. Blasé character, blasé plot.

This class will teach you how to create dimensional characters and then how to plot from inner demons and flaws. Get inside the heads and hearts of your characters in a way that drives and tightens dramatic tension.

This is an excellent class for anyone who wants to learn how to plot faster and to add layers to their characters.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook. 

The post Setting—Why a Picture is Worth a Thousand Words appeared first on Kristen Lamb.

Image courtesy of Melinda VanLone WANA Commons

Social media is an amazing tool, and it is a wonderful time to be a writer, but, I am going to point out the pink elephant in the room. We still have to write a darn good book. If we don’t write a darn good book, then no amount of promotion can help us. Sorry. That’s like putting lipstick on a pig.

Not only am I here to help you guys ROCK building an author platform, but I’m also here to train you to be stronger writers…and make you eat your veggies and sit up straight. You, in the back. Did you take your vitamins this morning? Posture! Did you floss? They don’t call me the WANA Mama for nothing, you know ;).

Many times I am asked to expound on the difference between showing and telling. Setting is a great tool to do exactly that.

Debbie Johannson WANA Commons

Today we are going to talk about setting and ways to use it to strengthen your writing and maybe even add in some dimension. Some of the information I will present to you today isn’t new, but, hey, all of us can use a refresher, right?

Setting is a magnificent tool when used properly.

Setting can help your characterization.

Setting can actually serve a dual role in that it can be not only the backdrop for your story, but it can also serve characterization through symbol. We editors love to say, “Show. Don’t tell.” Well, here is where setting can help you do just that.

Say you have a character, Buffy, who is depressed. You could go on and on telling us she is blue and how she cannot believe her husband left her for the Mary Kay lady, or you can show us through setting. Buffy’s once beautiful garden is overgrown with weeds and piles of unopened mail are tossed carelessly on the floor. Her house smells of almost-empty tubs of chocolate ice cream left to sour. Piles of dirty clothes litter the rooms, and her cat is eating out of the bag of Meow Mix tipped on its side.

Now you have shown me that Buffy is not herself. I know this because the garden was “once beautiful.” This cues me that something has changed. And you managed to tell me she was depressed without dragging me through narrative in Buffy’s head.

She couldn’t believe Biff was gone. Grief surged over her like a surging tidal surge that surged.

Laurie Sanders WANA Commons

Writing is therapeutic, not therapy. Some of that introspection is great, but after a while you will wear out your readers. Setting can help alleviate this problem and keep the momentum of your story moving forward. We will get that Buffy is depressed by getting this glimpse of her house. You have shown that Buffy is having a rough time instead of being lazy and telling us.

Buffy needs to get a grip.

We judge people by their environment. Characters are no different. If you want to portray a cold, unfeeling schmuck, then when we go to his apartment it might be minimalist design. No color. No plants or signs of life. Someone who is scatter-brained? Their house is full of half-finished projects. An egomaniac? Walls of plaques and pictures of this character posing with important people. Trophies, awards, and heads of dead animals. You can show the reader a lot about your character just by showing us surroundings.

Trust me, if a character gets out of her car and two empty Diet Coke bottles fall out from under her feet into her yard that is littered with toys, we will have an impression.

Probably the single largest mistake I see in the work of new writers is that they spend far too much time in the sequel. What is the sequel? Plots can be broken into to main anatomical parts–scene and sequel. The scene is where the action occurs. A goal is declared and some disastrous setback occurs that leaves our protagonist worse off than when he began. Generally, right after this disaster there is what is called the sequel. 

The sequel is the emotional thread that ties all this action together. Yet, too often new writers will go on and on and on in a character’s head, exploring and probing deep emotions and nothing has yet happened. The sequel can only be an effect/direct result of a scene. Ah, but here comes the pickle. How can a writer give us a psychological picture of the character if he cannot employ the sequel?

Setting.

An example? In Silence of the Lambs how are we introduced to Hannibal Lecter? There is of course the dialogue that tells Agent Starling that Dr. Lecter is different, but talk is cheap, right? Clarice goes down into the bowels of a psychiatric prison to the basement (um, symbol?). She walks past cell after cell of the baddest and the maddest. All of them are in brick cells with bars…until Clarice makes it to the end.

Hannibal’s cell is not like the others. He is behind Plexi-Glass with airholes. This glass cage evokes a primal fear. Hannibal affects us less like a prisoner and more like a venomous spider. Setting has shown us that Hannibal the Cannibal is a different breed of evil. This is far more powerful than the storyteller poring on and on and on about Hannibal’s “evil.”

Setting can set or amplify the mood.

Either you can use setting to mirror outwardly what is happening with a character, or you can use it as a stark contrast. For instance, I once edited a medieval fantasy. In the beginning the bad guys were burning villagers alive. Originally the writer used a rainy, dreary day, which was fine. Nothing wrong with that.

I, however, suggested she push the envelope and go for something more unsettling. I recommended that she change the setting to sunny and perfect weather. In the heart of the village the ribbons and trappings of the spring festival blew in the gentle breeze, the same breeze that now carried the smell of her family’s burning flesh.

Sometimes it is this odd juxtaposition in setting that can evoke tremendous emotion. This is especially useful in horror. Dead bodies are upsetting. Dead bodies on a children’s playground are an entirely new level of disturbing.

Setting is a matter of style and preference.  Different writers use setting in different ways and a lot of it goes to your own unique voice. Some writers use a lot of description, which is good in that there are readers who like a lot of description. But there are readers who want you to get to the point, and that’s why they generally like to read works by writers who also like to get to the point. Everyone wins.

Whether you use a lot or a little setting will ultimately be up to you. I would recommend some pointers.

Can your setting symbolize something deeper?

I challenge you to challenge yourself. Don’t just pick stormy weather because it is the first image that pops in your mind. Can you employ setting to add greater dimension to your work? Using setting merely to forecast the weather is lazy writing. Try harder.

In Shutter Island, Dennis Lehane’s story is set on an island at a prison for the criminally insane. What the reader finds out is the prison is far more than the literal setting; it is a representation for a state of mind. The protagonist, U.S. Marshal Teddy Daniels is imprisoned by his own guilt and need for justice. Like the island, he too is cut off from the outside world emotionally and psychologically. Now an island is more than an island, a prison is more than a prison, bars are more than bars, cliffs are more than cliffs, storms are more than storms, etc. Shutter Island is an amazing book to read, but I recommend studying the movie for use of setting as symbol.

So dig deeper. Can you get more out of your setting than just a backdrop?

Blend setting into your story.

When I teach, I liken setting to garlic in garlic mashed potatoes. Blend. Garlic is awesome and enhances many dishes, but few people want a whole mouthful of it. Make sure you are keeping momentum in your story. Yes, we generally like to be grounded in where we are and the weather and the time of year, but not at the expense of why we picked up your book in the first place…someone has a problem that needs solving.

Unless you are writing a non-fiction travel book, we didn’t buy your book for lovely description of the Rocky Mountains. We bought it to discover if Ella May will ever make it to California to meet her new husband before winter comes and traps her wagon train in a frozen world of death.

Keep perspective and blend. Keep conflict and character center stage and the backdrop in its place…behind the characters. Can you break this rule? Sure all rules can be broken. But we must understand the rules before we can break them. Breaking rules in ignorance is just, well, ignorant.

In the end, setting will be a huge reflection of your style and voice, but I hope this blog has given some insight that might make you see more to your use of setting and help you grow to be a stronger writer. What are some books or movies that really took setting to the next level? How was setting used? How did it affect you? Share with us.

I love hearing from you!

The post Setting–Adding Dimension to Your Fiction appeared first on Kristen Lamb.

Social media is an amazing tool and it is a wonderful time to be a writer, but, I am going to point out the pink elephant in the room. We still have to write a darn good book. If we don’t write a darn good book, then no amount of promotion can help us. Sorry. That’s like putting lipstick on a pig. This is why Mondays are dedicated to craft. I am here to train stronger writers. In the comments last Monday, one of our writer pals asked me to expound on the difference between showing and telling. Setting is a great tool to do exactly that.

Today we are going to talk about setting and ways to use it to strengthen your writing and maybe even add in some dimension. Some of the information I will present to you today isn’t new, but, hey, all of us can use a refresher, right?

Setting is a magnificent tool when used properly.

Setting can help your characterization.

Setting can actually serve a dual role in that it can be not only the backdrop for your story, but it can also serve characterization through symbol. We editors love to say, “Show. Don’t tell.” Well, here is where setting can help you do just that.

Say you have a character, Mitzy, who is depressed. You could go on and on telling us she is blue and how she cannot believe her husband left her for the Avon lady, or you can show us through setting. Mitzy’s once beautiful garden is overgrown with weeds and piles of unopened mail are tossed carelessly on the floor. Her house smells of almost-empty tubs of chocolate ice cream left to sour. Piles of dirty clothes litter the rooms, and her cat is eating out of the bag of Meow Mix tipped on its side.

Now you have shown me that Mitzy is not herself. I know this because the garden was “once beautiful.” This cues me that something has changed. And you managed to tell me she was depressed without dragging me through narrative in Mitzy’s head.

She couldn’t believe Biff was gone. Grief surged over her like a surging tidal surge that surged.

Writing is therapeutic, not therapy. Some of that introspection is great, but after a while you will wear out your readers. Setting can help alleviate this problem and keep the momentum of your story moving forward. We will get that Mitzy is depressed by getting this glimpse of her house. You have shown that Mitzy is having a rough time instead of being lazy and telling us.

We judge people by their environment. Characters are no different. If you want to portray a cold, unfeeling schmuck, then when we go to his apartment it might be minimalist design. No color. No plants or signs of life. Someone who is scatter-brained? Their house is full of half-finished projects. An egomaniac? Walls of plaques and pictures of this character posing with important people. Trophies, awards, and heads of dead animals. You can show the reader a lot about your character just by showing us surroundings.

Trust me, if a character gets out of her car and two empty Diet Coke bottles fall out from under her feet into her yard that is littered with toys, we will have an impression.

Probably the single largest mistake I see in the work of new writers is that they spend far too much time in the sequel. What is the sequel? Plots can be broken into to main anatomical parts–scene and sequel. The scene is where the action occurs. A goal is declared and some disastrous setback occurs that leaves our protagonist worse off than when he began. Generally, right after this disaster there is what is called the sequel. 

The sequel is the emotional thread that ties all this action together. Yet, too often new writers will go on and on and on in a character’s head, exploring and probing deep emotions and nothing has yet happened. The sequel can only be an effect/direct result of a scene. Ah, but here comes the pickle. How can a writer give us a psychological picture of the character if he cannot employ the sequel?

Setting.

An example? In Silence of the Lambs how are we introduced to Hannibal Lecter? There is of course the dialogue that tells Agent Starling that Dr. Lecter is different, but talk is cheap, right? Clarice goes down into the bowels of a psychiatric prison to the basement (um, symbol?). She walks past cell after cell of the baddest and the maddest. All of them are in brick cells with bars…until Clarice makes it to the end.

Hannibal’s cell is not like the others. He is behind Plexi-Glass with airholes. This glass cage evokes a primal fear. Hannibal affects us less like a prisoner and more like a venomous spider. Setting has shown us that Hannibal the Cannibal is a different breed of evil. This is far more powerful than the storyteller poring on and on and on about Hannibal’s “evil.”

Setting can set or amplify the mood.

Either you can use setting to mirror outwardly what is happening with a character, or you can use it as a stark contrast. For instance, I once edited a medieval fantasy. In the beginning the bad guys were burning villagers alive. Originally the writer used a rainy, dreary day, which was fine. Nothing wrong with that. I, however, suggested she push the envelope and go for something more unsettling. I recommended that she change the setting to sunny and perfect weather. In the heart of the village the ribbons and trappings of the spring festival blew in the gentle breeze, the same breeze that now carried the smell of her family’s burning flesh.

Sometimes it is this odd juxtaposition in setting that can evoke tremendous emotion. This is especially useful in horror. Dead bodies are upsetting. Dead bodies on a children’s playground are an entirely new level of disturbing.

Setting is a matter of style and preference.  Different writers use setting in different ways and a lot of it goes to your own unique voice. Some writers use a lot of description, which is good in that there are readers who like a lot of description. But there are readers who want you to get to the point, and that’s why they generally like to read works by writers who also like to get to the point. Everyone wins.

Whether you use a lot or a little setting will ultimately be up to you. I would recommend some pointers.

Can your setting symbolize something deeper?

I challenge you to challenge yourself. Don’t just pick stormy weather because it is the first image that pops in your mind. Can you employ setting to add greater dimension to your work? Using setting merely to forecast the weather is lazy writing. Try harder.

In Shutter Island, Dennis Lehane’s story is set on an island at a prison for the criminally insane. What the reader finds out is the prison is far more than the literal setting; it is a representation for a state of mind. The protagonist, U.S. Marshal Teddy Daniels is imprisoned by his own guilt and need for justice. Like the island, he too is cut off from the outside world emotionally and psychologically. Now an island is more than an island, a prison is more than a prison, bars are more than bars, cliffs are more than cliffs, storms are more than storms, etc. Shutter Island is an amazing book to read, but I recommend studying the movie for use of setting as symbol.

So dig deeper. Can you get more out of your setting than just a backdrop?

Blend setting into your story.

When I teach, I liken setting to garlic in garlic mashed potatoes. Blend. Garlic is awesome and enhances many dishes, but few people want a whole mouthful of it. Make sure you are keeping momentum in your story. Yes, we generally like to be grounded in where we are and the weather and the time of year, but not at the expense of why we picked up your book in the first place…someone has a problem that needs solving. Unless you are writing a non-fiction travel book, we didn’t buy your book for lovely description of the Rocky Mountains. We bought it to discover if Ella May will ever make it to California to meet her new husband before winter comes and traps her wagon train in a frozen world of death.

Keep perspective and blend. Keep conflict and character center stage and the backdrop in its place…behind the characters. Can you break this rule? Sure all rules can be broken. But we must understand the rules before we can break them. Breaking rules in ignorance is just, well, ignorant.

In the end, setting will be a huge reflection of your style and voice, but I hope this blog has given some insight that might make you see more to your use of setting and help you grow to be a stronger writer. What are some books or movies that really took setting to the next level? How was setting used? How did it affect you? Share with us. I love hearing from you!

And to prove it and show my love, for the month of September, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner every week for a critique of your first five pages. At the end of September I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!

Last Week’s Winner of 5 Page Critique

Alicia McKenna Johnson Please e-mail your 1250 word Word document to my assistant Gigi at gigi.salem.ea@gmail.com. She will make sure it doesn’t get eaten by the spam folder.

Note: GRAND PRIZE WILL BE PICKED THIS MONTH. I am keeping all the names for a final GRAND, GRAND PRIZE of 30 Pages (To be announced at the end of September) OR a blog diagnostic. I look at your blog and give feedback to improve it. For now, I will draw weekly for 5 page edit, monthly for 15 page edit.

In the meantime, if you want to learn more about how to spread word-of-mouth and build your platform, sign-ups are open for my Blogging To Build Your Author Brand on-line workshop. It’s two months long–one month of lessons and one month of launch and it is ONLY $40.

I also hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in th biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left over to write more great books! I am here to change your approach, not your personality.

The post Setting–Adding Dimension to Your Fiction appeared first on Kristen Lamb.

For those who follow this blog regularly, first of all—THANKS! If you are new, Monday is the day that I blog on the craft side of things. I have worked as a freelance writer and editor for going on ten years and all the craft blogs are based off almost a decade of experience. Wednesdays’ blogs are tips and tools based off my best-selling book We Are Not Alone—The Writer’s Guide to Social Media. Social media is an amazing tool and it is a wonderful time to be a writer, but, I am going to point out the pink elephant in the room. We still have to write a darn good book. If we don’t write a darn good book, then no amount of promotion can help us. Sorry. That’s like putting lipstick on a pig. So we will talk about craft as well.

Today we are going to talk about setting and ways to use it to strengthen your writing and maybe even add in some dimension. Some of the information I will present to you today isn’t new, but, hey, all of us can use a refresher, right?

Setting is a magnificent tool when used properly.

Setting can help your characterization.

Setting can actually serve a dual role in that it can be not only the backdrop for your story, but it can also serve characterization through symbol. We editors love to say, “Show. Don’t tell.” Well, here is where setting can help you do just that.

Say you have a character, Mitzy, who is depressed. You could go on and on telling us she is blue and how she cannot believe her husband left her for the Avon lady, or you can show us through setting. Mitzy’s once beautiful garden is overgrown with weeds and piles of unopened mail are tossed carelessly on the floor. Her house smells of almost-empty tubs of chocolate ice cream left to sour. Piles of dirty clothes litter the rooms, and her cat is eating out of the bag of Meow Mix tipped on its side.

Now you have shown me that Mitzy is not herself. I know this because the garden was “once beautiful.” This cues me that something has changed. And you managed to tell me she was depressed without dragging me through narrative in Mitzy’s head.

She couldn’t believe Biff was gone. Grief surged over her like a surging tidal surge that surged.

Writing is therapeutic, not therapy. Some of that introspection is great, but after a while you will wear out your readers. Setting can help alleviate this problem and keep the momentum of your story moving forward. We will get that Mitzy is depressed by getting this glimpse of her house. You have shown that Mitzy is having a rough time instead of being lazy and telling us.

We judge people by their environment. Characters are no different. If you want to portray a cold, unfeeling schmuck, then when we go to his apartment it might be minimalist design. No color. No plants or signs of life. Someone who is scatter-brained? Their house is full of half-finished projects. An egomaniac? Walls of plaques and pictures of this character posing with important people. Trophies, awards, and heads of dead animals. You can show the reader a lot about your character just by showing us surroundings.

Trust me, if a character gets out of her car and two empty Diet Coke bottles fall out from under her feet into her yard that is littered with toys, we will have an impression.

Probably the single largest mistake I see in the work of new writers is that they spend far too much time in the sequel. What is the sequel? We’re going to talk about that next week, but here is a short answer. Plots can be broken into to main anatomical parts–scene and sequel. The scene is where the action occurs. A goal is declared and some disastrous setback occurs that leaves our protagonist worse off than when he began. Generally, right after this disaster there is what is called the sequel. The sequel is the emotional thread that ties all this action together. Yet, too often new writers will go on and on and on in a character’s head, exploring and probing deep emotions and nothing has yet happened. The sequel can only be an effect/direct result of a scene. Ah, but here comes the pickle. How can a writer give us a psychological picture of the character if he cannot employ the sequel?

Setting.

An example? In Silence of the Lambs how are we introduced to Hannibal Lecter? There is of course the dialogue that tells Agent Starling that Dr. Lecter is different, but talk is cheap, right? Clarice goes down into the bowels of a psychiatric prison to the basement (um, symbol?). She walks past cell after cell of the baddest and the maddest. All of them are in brick cells with bars…until Clarice makes it to the end.

Hannibal’s cell is not like the others. He is behind Plexi-Glass with airholes. This glass cage evokes a primal fear. Hannibal affects us less like a prisoner and more like a venomous spider. Setting has shown us that Hannibal the Cannibal is a different breed of evil. This is far more powerful than the storyteller poring on and on and on about Hannibal’s “evil.” 

Setting can set or amplify the mood.

Either you can use setting to mirror outwardly what is happening with a character, or you can use it as a stark contrast. For instance, I once edited a medieval fantasy. In the beginning the bad guys were burning villagers alive. Originally the writer used a rainy, dreary day, which was fine. Nothing wrong with that. I, however, suggested she push the envelope and go for something more unsettling. I recommended that she change the setting to sunny and perfect weather. In the heart of the village the ribbons and trappings of the spring festival blew in the gentle breeze, the same breeze that now carried the smell of her family’s burning flesh.

Sometimes it is this odd juxtaposition in setting that can evoke tremendous emotion. This is especially useful in horror. Dead bodies are upsetting. Dead bodies on a children’s playground are an entirely new level of disturbing.

Setting is a matter of style and preference.  Different writers use setting in different ways and a lot of it goes to your own unique voice. Some writers use a lot of description, which is good in that there are readers who like a lot of description. But there are readers who want you to get to the point, and that’s why they generally like to read works by writers who also like to get to the point. Everyone wins.

Whether you use a lot or a little setting will ultimately be up to you. I would recommend some pointers.

Can your setting symbolize something deeper?

I challenge you to challenge yourself. Don’t just pick stormy weather because it is the first image that pops in your mind. Can you employ setting to add greater dimension to your work? Using setting merely to forecast the weather is lazy writing. Try harder.

In Shutter Island, Dennis Lehane’s story is set on an island at a prison for the criminally insane. What the reader finds out is the prison is far more than the literal setting; it is a representation for a state of mind. The protagonist, U.S. Marshal Teddy Daniels is imprisoned by his own guilt and need for justice. Like the island, he too is cut off from the outside world emotionally and psychologically. Now an island is more than an island, a prison is more than a prison, bars are more than bars, cliffs are more than cliffs, storms are more than storms, etc. Shutter Island is an amazing book to read, but I recommend studying the movie for use of setting as symbol.

So dig deeper. Can you get more out of your setting than just a backdrop?

Blend setting into your story.

When I teach, I liken setting to garlic in garlic mashed potatoes. Blend. Garlic is awesome and enhances many dishes, but few people want a whole mouthful of it. Make sure you are keeping momentum in your story. Yes, we generally like to be grounded in where we are and the weather and the time of year, but not at the expense of why we picked up your book in the first place…someone has a problem that needs solving. Unless you are writing a non-fiction travel book, we didn’t buy your book for lovely description of the Rocky Mountains. We bought it to discover if Ella May will ever make it to California to meet her new husband before winter comes and traps her wagon train in a frozen world of death.

Keep perspective and blend. Keep conflict and character center stage and the backdrop in its place…behind the characters. Can you break this rule? Sure all rules can be broken. But we must understand the rules before we can break them. Breaking rules in ignorance is just, well, ignorant.

In the end, setting will be a huge reflection of your style and voice, but I hope this blog has given some insight that might make you see more to your use of setting and help you grow to be a stronger writer. What are some books or movies that really took setting to the next level? Share with us.

I want to hear your comments, and to prove it…

Leave a comment and I will put your name in for a drawing, and you can win an autographed copy of my book We Are Not Alone—The Writer’s Guide to Social Media. I’m going to gather all comments until Halloween and then the winner will be announced November 1^st. Trackbacks count as an entry, so you can double your chances to win by leaving a comment and then linking to any of my blogs.

Happy writing!

The post Setting–Adding Dimension to Your Fiction appeared first on Kristen Lamb.

For those who follow this blog regularly, first of all—THANKS! Today I will be blogging on the craft side of things. I am making it a goal to write about social media regularly, especially now that my book We Are Not Alone—The Writer’s Guide to Social Media is now available in eBook. The print version should be ready for purchase in a week or so. Social media is an amazing tool and it is a wonderful time to be a writer, but, I am going to point out the pink elephant in the room. We still have to write a darn good book. If we don’t write a darn good book, then no amount of promotion can help us. Sorry. That’s like putting lipstick on a pig. So we will talk about craft as well.

Today is an interesting topic. A Twitter pal of mine, Heather Harris (@heatheharris) actually made a request. I didn’t know I took requests, but apparently I do, and I gotta say that it made coming up with a topic MUCH easier. So if any of you wonderful readers would like to pick my editor brain, send in a request.

Anyway, Heather wanted to know if I had any blogs about setting. The funny thing is that, after over a year of blogs (56 posts) I have never addressed setting. Setting is extraordinarily complex, so I encourage your comments if you would like to add something helpful. I try to keep these blogs relatively short, and setting is worthy of volumes. But we will give it some needed attention. Thanks, Heather, for the suggestion. This blog is purely my opinion and based off my years of experience editing hundreds of stories.

Setting is a magnificent tool when used properly.

Setting can help your characterization.

Setting can actually serve a dual role in that it can be not only the backdrop for your story, but it can also serve characterization through symbol. We editors love to say, “Show. Don’t tell.” Well, here is where setting can help you do just that.

Say you have a character, Mitzy, who is depressed. You could go on and on telling us she is blue and how she cannot believe her husband left her for the Avon lady, or you can show us through setting. Mitzy’s once beautiful garden is overgrown with weeds and piles of unopened mail are tossed carelessly on the floor. Her house smells of almost-empty tubs of chocolate ice cream left to sour. Piles of dirty clothes litter the rooms, and her cat is eating out of the bag of Meow Mix tipped on its side.

Now you have shown me that Mitzy is not herself. I know this because the garden was “once beautiful.” This cues me that something has changed. And you managed to tell me she was depressed without dragging me through narrative in Mitzy’s head.

She couldn’t believe Biff was gone. Grief surged over her like a surging tidal surge that surged.

Writing is therapeutic, not therapy. Some of that introspection is great, but after a while you will wear out your readers. Setting can help alleviate this problem and keep the momentum of your story moving forward. We will get that Mitzy is depressed by getting this glimpse of her house. You have shown that Mitzy is having a rough time instead of being lazy and telling me.

We judge people by their environment. Characters are no different. If you want to portray a cold, unfeeling schmuck, then when we go to his apartment it might be minimalist design. No color. No plants or signs of life. Someone who is scatter-brained? Their house is full of half-finished projects. An egomaniac? Walls of plaques and pictures of this character posing with important people. Trophies, awards, and heads of dead animals. You can show the reader a lot about your character just by showing us surroundings.

Trust me, if a character gets out of her car and two empty Diet Coke bottles fall out from under her feet into her yard that is littered with toys, we will have an impression.

Setting can set or amplify the mood.

Either you can use setting to mirror outwardly what is happening with a character, or you can use it as a stark contrast. For instance, I once edited a medieval fantasy. In the beginning the bad guys were burning villagers alive. Originally the writer used a rainy, dreary day, which was fine. Nothing wrong with that. I, however, suggested she push the envelope and go for something more unsettling. I recommended that she change the setting to sunny and perfect weather. In the heart of the village the ribbons and trappings of the spring festival blew in the gentle breeze, the same breeze that now carried the smell of her family’s burning flesh.

Sometimes it is this odd juxtaposition in setting that can evoke tremendous emotion. This is especially useful in horror. Dead bodies are upsetting. Dead bodies on a children’s playground are an entirely new level of disturbing.

Setting is a matter of style and preference.  Different writers use setting in different ways and a lot of it goes to your own unique voice. Some writers use a lot of description, which is good in that there are readers who like a lot of description. But there are readers who want you to get to the point, and that’s why they generally like to read works by writers who also like to get to the point. Everyone wins.

Whether you use a lot or a little setting will ultimately be up to you. I would recommend some pointers.

Can your setting symbolize something deeper?

I challenge you to challenge yourself. Don’t just pick stormy weather because it is the first image that pops in your mind. Can you employ setting to add greater dimension to your work?

In Shutter Island, Dennis Lehane’s story is set on an island at a prison for the criminally insane. What the reader finds out is the prison is far more than the literal setting; it is a representation for a state of mind. The protagonist, U.S. Marshal Teddy Daniels is imprisoned by his own guilt and need for justice. Like the island, he too is cut off from the outside world emotionally and psychologically. Now an island is more than an island, a prison is more than a prison, bars are more than bars, cliffs are more than cliffs, storms are more than storms, etc. Shutter Island is an amazing book to read, but I recommend studying the movie for use of setting as symbol.

So dig deeper. Can you get more out of your setting than just a backdrop?

Blend setting into your story.

When I teach, I liken setting to garlic in garlic mashed potatoes. Blend. Garlic is awesome and enhances many dishes, but few people want a whole mouthful of it. Make sure you are keeping momentum in your story. Yes, we generally like to be grounded in where we are and the weather and the time of year, but not at the expense of why we picked up your book in the first place…someone has a problem that needs solving. Unless you are writing a non-fiction travel book, we didn’t buy your book for lovely description of the Rocky Mountains. We bought it to discover if Ella May will ever make it to California to meet her new husband before winter comes and traps her wagon train in a frozen world of death.

Keep perspective and blend. Keep conflict and character center stage and the backdrop in its place…behind the characters. Can you break this rule? Sure all rules can be broken. But we must understand the rules before we can break them. Breaking rules in ignorance is just, well, ignorant.

In the end, setting will be a huge reflection of your style and voice, but I hope this blog has given some insight that might make you see more to your use of setting and help you grow to be a stronger writer.

Happy writing!

Until next time…

For some good books on this subject, I recommend Bob Mayer’s Novel Writer’s Toolkit. Jack Bickham’s Setting (Elements of Fiction Writing) is another valuable resource.

The post Setting–More than a Backdrop appeared first on Kristen Lamb.