(FYI, this post is part of my How to Write a Genre Story series. By rights I should have titled it How to Write a Genre Story: Setting and Mood (Part 2), but I couldn't resist the more evocative title: "How to scare the pants off someone!" There are links, below, to other articles in this series, but you don't need to have read any of them to understand what follows.)
Setting does many things in a story.
First, it helps establish the mood. Do you want your reader to be horrified (horror/thriller)? Do you want your reader to be curious (mystery)? Do you want your reader to be excited to explore a society dramatically different from their own (fantasy)? And so on.
Second, the setting brings the story world to life through the senses: smell, taste, sight, touch and hearing.
Finally, the setting of a story is used to introduce, and increase, conflict.
Today I'm going to chat about the first of these, setting and mood. I'll address the second and third points in the very near future.
1. Setting And Mood
Mood draws the reader into a story. Since one of the reasons to tell a story would be to produce a particular emotion in the reader, creating the right sort of mood is crucial.
An Example
How can setting affect mood?
I think the best way to illustrate this is by talking about horror, both the mood and the genre. So let's say that you’re writing a horror story. Naturally, you want to horrify your readers.
It is so obvious I hate to say it (well, type it), but a person isn't going to be horrified if they aren't afraid. What has to happen for a person to be afraid? They need to perceive a threat and feel vulnerable to that threat.
For example, imagine that you're walking down your front path to get your mail from the cute letterbox your kids got you for Christmas. You hear a noise, perhaps a footstep, to your right. Out of the corner of your eye you see something pink and frilly. "Oh that's Mrs. Jones," you think. Mrs. Jones is your relentlessly friendly nextdoor neighbour who walks around in a poofy pink dressing gown. You turn to wave but then you see that Mrs. Jones has turned into a shambling, half decayed zombie. And she's heading right for you!
Perhaps you're made of sterner stuff than me, but I would be horrified! I would promptly forget all about getting the mail and, fearing for my life, run inside. Why? Because (of course!) I would be afraid of being turned into the thing my grey haired, slipper-wearing, absent-minded next door neighbour had become.
I think that fear is, fundamentally, an acknowledgement of, or recognition of, my vulnerability in the face of imminent danger.
Here is a partial list of what I think evokes a feeling of horror:
- Recognition of the imminence of my death or the deaths of family/friends.
- Recognition of the imminence of my pain or the pain of family/friends.
- Recognition of the imminence of the unknown (or unknown unknowns).
- Recognition of the imminence of my disfigurement or the disfigurement of my family/friends. (Think of slasher films like Saw.)
- Recognition of the imminence of disillusionment or the imminence of destructive revelation.
Now ask yourself: What sort of setting would help communicate these sort of feelings/thoughts to the reader? What would its characteristics be?
I had intended this post to be about how to evoke more moods than just horror, but here are a few things that I think would contribute to evoking that particular mood.
4 Things that Evoke Horror
The Dark
The dark hides things, it makes the familiar alien, it contains unknown unknowns. Chaotic things lurk out there beyond the light of the bonfire.
I know that observation isn’t original, but the dark is used in (I’m rifling through my memories) every single horror story for a reason.
Isolation
When the hero confronts the Big Bad they can’t receive any help, they have to confront the antagonist all by their lonesome. If the hero is to win and escape the horror, they will have to do it relying on their own wits and strength. This is especially true in the case of a horror story.
The hero, or the hero and his allies, usually travel to someplace remote and unusual. Someplace they haven't been to before. (And then of course there's a story a local tells them that scares the pants off them but which they discount, and so on.) At the end, the hero's allies have met an unpleasant death but she is still there and now she's really ticked off and has a plan. But all of this is facilitated by the isolated nature of the setting. Otherwise she'd just use her cell phone to call someone for help!
Monsters
The monsters that scare me the most are normal things that have been twisted. I haven't been the same since I read Stephen King's book, Pet Sematary!
Here's an example of how twisting a familiar setting can create horror. The story is called Bad Dreams and was published anonymously on Dramatica.com but, before you head off there, know that the site is NOT work safe. That's putting it mildly. But this story is fine, it is one hundred percent PG.
‘Daddy, I had a bad dream.’
You blink your eyes and pull up on your elbows. Your clock glows red in the darkness--it’s 3:23. ‘Do you want to climb into bed and tell me about it?’
‘No, Daddy.’
The oddness of the situation wakes you up more fully. You can barely make out your daughter’s pale form in the darkness of your room. ‘Why not, sweetie?’
‘Because in my dream, when I told you about the dream, the thing wearing Mommy’s skin sat up.’
For a moment, you feel paralysed; you can’t take your eyes off of your daughter. The covers behind you begin to shift.
Great story, right?!
The setting used here is familiar. Intimate. Isolated. The protagonist is in his bedroom with his wife and child. Would the story have the same impact if it was morning, rather than the witching hour? Would the story have the same impact if the exchange took place while the protagonist was preparing to drive to work? I don't think so.
I think that the closeness, the intimacy, of the threat contributes to the isolation. If the wife was in the kitchen or even just out in the hall the situation wouldn't feel so intense and creepy. It's the intimacy of the threat (your wife is lying right behind you) that adds to the feeling of isolation. For example, I'm in a crowd then someone sticks the muzzle of a gun in my back and tells me, "Don't scream, don't talk, just walk." I'm instantly isolated because I can't call for help.
Surprise, Disorientation & Isolation
I've already talked about some of these things, but I need an excuse to trot out one of my favorite horror scenes. This scene--well, I suppose it is more like a series of scenes--occurs toward the end of one of the best horror movies ever made, Alien. (Yes, okay, that's my personal opinion. If you disagree, let me know in the comments.)
Toward the end of Alien, when Ripley (played by Sigourney Weaver) makes her way to the shuttle, she runs down twisting hallways expecting danger at every turn. For me, that was the most suspenseful part of the movie.
The dark--both of the spaceship and the surrounding, suffocating, emptiness of space--isolates the hero from any possible aid and disorients her, magnifying her fear--which, mysteriously, has become your fear even though you're perfectly safe and sitting snugly on your couch chowing down on buttered popcorn. Or, no, wait! that was me. ;)
Well, that's it for today. If you'd like to chat or ask a question or tell me I'm wrong, leave a comment. Until then, good writing and I'll talk to you again soon.
Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index
