The Structure of a Horror: The Setting

Setting and Horror

Certain things are true for all settings. If you want a sense of claustrophobic threat then small enclosed dark spaces are the way to go: caves, basements, dungeons. I talk more about setting in How to Write a Genre Story: Setting and Character (Part 3). Here I want to concentrate on settings specific to a horror, so let's talk about isolation. 

Setting and Isolation

In a horror story, it is good if the setting isolates the protagonists. But there are different kinds of isolation. For example, isolation can be physical (a remote location) or social/psychological. 

Let’s look at a few examples.

In Cabin in the Woods (2011) the isolation is physical. College kids go off into the wild to spend a vacation together by a remote lake. 

The Others (2001). In this movie, isolation was both physical and psychological. The children and their mother were isolated because the children had an unusual medical condition that prevented the curtains from being opened, as a result the house and its occupants were kept in perpetual twilight. This established and explained the dark mood of the movie and, at least in part, was a reason (though not an excuse) for the tragedy that occurred.

The Exorcist (1973). The protagonist in The Exorcist (Chris MacNeil) was not physically isolated from the rest of the world. Here the isolation is social/psychological. Chris is isolated by her daughter, Regan's, bizarre behavior and her belief that Regan may be possessed. Chris is isolated even though she lives in a beautiful home in the midst of a busy city.

Setting and the impossibility of escape or rescue

On the topic of isolated settings, it is important to eliminate any implication that there is a possibility of escape or rescue. This is the case whether the protagonist and her allies are physically isolated or psychologically/socially isolated.

As I will discuss in the second part of this article, after the protagonist has her reality shattered and she realizes that, yes, monsters do exist, then she will either not be able to escape, or will try to escape and fail. But at some point between the midpoint and the end of the story the protagonist usually has a chance to escape. Perhaps not a very good chance, but a chance. If she doesn’t make it then she will lose everything.

I think a classic progression is that, at around the All Hope is Lost point right before Act Two closes the protagonist either tries and fails to escape, or tries and fails to kill the monster. Which brings us to the very last scene, the most intense part of the story: the Climax.

There are as many different kinds of horror movies as there are writers, but I think what their final goal is tells a lot about a character. Is it to escape (and killing the monster is an optional extra) or is it to sacrifice themselves to kill the monster so their friends and loved ones will be safe?

Of course, just because the protagonist decides to sacrifice herself doesn’t mean she will die. I know that Edge of Tomorrow isn’t a horror (it’s more action, science fiction and adventure) but in that movie the protagonist, Cage, is convinced that if he tries to take out the Big Bad that he will die regardless of whether he succeeds. But, of course (spoiler!) he lives and, to their credit, the writers make sure that ending is plausible.

Setting and Jump Scares

A jump scare is:

“...a technique often used in horror films and video games, intended to scare the audience by surprising them with an abrupt change in image or event, usually co-occurring with a loud, frightening sound.” (Wikipedia)

Jump scares are unique to the horror genre. And, although they are a bit cheesy, I think they can be done to good effect. 

It’s sometimes a good idea to throw in a ‘fake out’ scene around the time when the audience expects the first monster attack but just before that happens. This is where things are tense, we’re expecting a monster to attack but instead a black cat jumps out of the darkness, hisses at her and runs away. (Granted, it is much easier to do a jump scare on a screen than on the printed page!)

I’ve watched more than one horror movie that employed a scene like this to great effect, at least judging from my reaction. Usually it occurred right before the first violent episode of the film. It was a ‘fake out’ and then, almost before I finished laughing and feeling silly, something nasty happened to one of the characters and I wasn’t prepared. Jump scares are effective.

Have an Endearing Scene Early On

I've left the most important thing till last. In a horror story the likelihood that your protagonist is going to fail in her quest and die horribly is quite high. 

Often, the protagonist is given a mini-story in the beginning, one that reveals her true nature. This mini-story can be spread over the first 25% of the story (Act One, The Ordinary World). We, the readers, identify with and (ideally) are charmed by the protagonist as we watch how she lives her life.

In the first 10% or so of the movie the protagonist and her friends and allies often have some sort of good-natured rivalry, there is some minor conflict that lays bare the group dynamic. We find out who is crazy, who is intelligent, who has a heart of gold, who is willing to take advantage of the person with the heart of gold, and so on.

That's it for today! Thanks for reading. And, as always, good writing!

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft
Substack: Karen Woodward

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

The Structure of a Horror: The Protagonist

I’ve been thinking about horror stories, about what elements are common to the genre. I had intended to do this all in one post, but it has grown quite long so I’ve divided the material into a few parts. Today I’m going over how the protagonist in a horror story is different from, say, a protagonist in an action-adventure. In future posts I will write about the antagonist/monster, the setting, the stakes, and so on. Finally, I will discuss a general structure that many horror stories follow. 

The Structure of Horror Stories

One reason it took longer for me to write this post than I had anticipated was that, although I realized the structure of a horror story is a bit different from the general pattern of the hero’s journey, at first I couldn’t put my finger on where exactly the difference lay. 

In other kinds of stories it is common for the protagonist to start out in a less than ideal state, go through the crucible of the story world and come out changed for the better. Because of this growth, this transformation, the protagonist is able to best the antagonist and save the day. Or not. The protagonist can fail, but that’s the general pattern.

Horror stories are different. [1]

In the beginning of a horror story the protagonist, if I may put it this way, is as good as he’s going to get. He’s the happiest and best adjusted he is ever going to be. So this is not going to be a tale of improvement. At BEST, it will be a tale of survival. 

That is, horror stories are less about how to become a better person through character transformation than they are about surviving hell. In a horror story, you might be a half dead psychopath by the end but if you make it through alive, then it goes in the win column.

The protagonist

In a horror the protagonist--and by ‘protagonist’ I mean the main viewpoint character--is, as in any story, the one who is most active, she is the one who changes and, because of these changes, gets through all the insanity that is thrown at her. By saying that I don’t mean to imply that she will survive, only that she usually makes it to the Climax of the story.

Imbalance of Power

Something unique to horror stories is that there is an unusually large difference in power between the antagonist and protagonist, and this imbalance is present right from the very beginning. After all, if Jane is facing down the devil, it’s not like he’s going to get MORE evil as the story progresses!

Because the antagonist is so much more powerful than the protagonist, the protagonist's motivation needs to be clear, it needs to be compelling, and it needs to be readily understandable to your audience. It doesn’t matter if the protagonist’s motivation to pit herself against the monster is selfish (she doesn’t want to die) or selfless (she doesn’t want her daughter to die), but it does have to be clear and convincing.

I think this is one reason why a mother can make a wonderfully compelling protagonist in a horror movie. A writer does not have to do much to convince his audience that a mother would give her life for her child. Conversely, though--and for the same reason--a mother can make an equally powerful antagonist. 

(Spoiler Warning)
For example, in the movie Hereditary (2018) a mother ends up hurting her child. This proved to be a good way of demonstrating the power of whatever darkness had her in its thrall.

(Before I leave the topic of the protagonist, I would like to pass on a tip I received from someone whose name I unfortunately have forgotten. Give both the antagonist and protagonist as many allies as you reasonably can because you will need characters for both the antagonist and protagonist to kill.)

Notes:

1. Noir fiction may be an exception to this rule-of-thumb.

Photo:

Photo by Max Kleinen on Unsplash (As you can see, I altered this photo.)

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft
Substack: Karen Woodward

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

The Structure of Genre: Analyzing story structure by genre

I’ve been on a journey of sorts over the past decade. I wanted to understand--intellectually, but also on a blood and bone level--the elements of a good story. Why am I unable to put one book down while another is a cure for insomnia? 

I've talked quite a lot about the structure of Story write large, but in this article I muse about the structure of genre stories.

To read more about this, here is a link to my article over on my substack: The Structure of Genre.

Lester Dent's Short Story Fiction Formula: The Plan

This post is part of a series on Lester Dent’s method for writing a short story. You might think: Why should I care? Well, all the short stories Dent wrote using this method sold! Now, I suspect that his sales might have had more to do with his skill as a writer than it had to do with any formula, but still!

In the next few posts I will use Lester Dent’s method to write a short story, or at least to outline one. I’ve decided to make it a murder mystery! Also, I will be incorporating some of my own understanding of what a short story is, how it’s structured. In other words, while I am going to try and stick as closely to Dent’s method as possible, there may be a bit of difference here and there.

Lester Dent's Method

Lester Dent tells us that, before we begin writing our murder mystery, we should try to make a few decisions. Namely we should:

1. Choose a murder method.
2. Decide what the villain wants, what his goal is.
3. Pick a setting.
4. Decide on the protagonist’s motivation. As Dent puts it, we must craft, "A menace which is to hang like a cloud over the hero." [1]

For those of you who are dyed in the wool pantsers--that is, those of you who do not find outlines helpful--if you want to skip this step, that’s fine. But I hope that a few pantsers will take this as a challenge. I’m sure that not everything Lester Dent recommends will be for you, but something might. 

1. The Murder Method

Lester Dent writes:

"A different murder method could be--different. Thinking of shooting, knifing, hydrocyanic, garroting, poison needles, scorpions, a few others, and writing them on paper gets them where they may suggest something. Scorpions and their poison bite? Maybe mosquitos or flies treated with deadly germs?

"If the victims are killed by ordinary methods, but found under strange and identical circumstances each time, it might serve, the reader of course not knowing until the end, that the method of murder is ordinary.

"Scribes who have their villain's victims found with butterflies, spiders or bats stamped on them could conceivably be flirting with this gag.

"Probably it won't do a lot of good to be too odd, fanciful or grotesque with murder methods.

"The different thing for the villain to be after might be something other than jewels, the stolen bank loot, the pearls, or some other old ones.

"Here, again one might get too bizarre."[1]

Here's the takeaway:

The murder method should be UNIQUE and, if we can do it without sacrificing verisimilitude, EXAGGERATED. Let’s brainstorm.

Weapon Used

Here are a few possibilities:

- A sword. Perhaps a katana.
- Sharpened icicle.
- A knife. Butchers knife, throwing knives, kitchen knife, rusty butter knife.
- A gun.
- A car.
- A heavy object. A brick, meat tenderizer (/club), candlestick, paperweight, and so on.
- Heavier objects. An aeroplane, elephant, train, bulldozer, Mack truck.
- Pills. 
- Hammer and stake.
- A notebook. (e.g., Death Note)
- A wand.
- Push off a (tall) building.
- Severe allergies, the more exotic the better.
- Poison. Arsenic, curare, and so on.   

Here are a few more: bomb, lynch, crucify, burn/incinerate, drown, asphyxiate, strangle, martial arts, curse, evil puppets, acid.

2. The Antagonist's Goal

Again, although there are, ultimately, relatively few general things folks murder for (love, money, power, and so on) the particular motivation is--or at least should be--unique to your villain.

Lester Dent describes what the villain is after as treasure. I don't know whether he's being literal or employing metaphor. Perhaps a bit of both. Whatever the villain's ultimate goal--for instance, let's say it's revenge--there's going to be a physical manifestation of that goal in the story.

For instance, in Star Wars IV, Darth Vader wanted to defeat the resistance and the physical manifestation of that desire was the destruction of the rebel's base on Yavin IV.

When I first saw Star Wars--a local theatre was showing the first two films back to back--I thought the Death Star was truly sinister. It destroyed planets! It was a roving, moon-destroying bully. That was a new spin on an old theme.

I won't list them, but google "list of treasures" for ideas.

3. A Setting

Ideally, the setting will be suggested by (a) the murder method and (b) the villain's goal. You'll want something that stands out, that captures the imagination.

Lester Dent writes:

"Unique locale? Easy. Selecting one that fits in with the murder method and the treasure--thing that villain wants--makes it simpler, and it's also nice to use a familiar one, a place where you've lived or worked. So many pulpateers don't. It sometimes saves embarrassment to know nearly as much about the locale as the editor, or enough to fool him."[1]

If Lester Dent were alive today I think he'd say: Google Maps Street View is your friend. 

On an unrelated note, love that name, "pulpateer". 

4. The Hero's Motivation

Dent doesn't write much about this point except to say that it is "a menace which is to hang like a cloud over the hero".

If you’re wondering how to picture motivation, here’s what I do. Imagine a rowboat heading toward a small desert island. Chasing the boat is a big, vicious shark. The shark is snarling (I’m not sure sharks can snarl, but let’s just say it is ;) and a bite sized chunk has been taken out of the rowboat. It’s not going to be able to stay afloat much longer. The shark is the rower’s motivation and the island--specifically, reaching the island--is the rower’s goal.

Stakes

Generally a character's motivation is linked to the stakes present in the situation.

In the above situation, what are the stakes? What will the rower gain if she achieves her goal--if she gains the island? What will the rower lose if she doesn't? 

Failure: The shark reaches the rowboat and flips it over. The rower dies.
Success: The rower gains the island and lives.

Getting Specific

Okay, so, we’ve gotten an overview, we know the rough outlines of what ideas Lester Dent advises we work out before we sit down to write. I’ve promised that I would create an outline for a story as we go along, but I don’t want to post it here because I doubt everyone would be interested. 

If you would like to see how I set up the hero’s motivation, and so on, I’ve put the document up on my Google Drive. Here’s the link if you’d like to take a look:

Outline of my cozy murder mystery.

Summary 

Whew! We're through the preliminaries. We now know what the murder method is, what the villain's goal is, we know the setting and we understand the stakes. (By the way, Dent says that you really only have to know two or three of the above points before you start writing. Even if you know one of them you're ahead of the game.)

Next time I'll talk about the actual writing. Dent broke a 6,000 word story into four equal parts. Next time we'll look at the first quarter and discuss the opening line and how we, in Dent's words, need to "swat him [the hero] with a fistful of trouble."

Notes:

1. The Lester Dent Pulp Paper Master Fiction Plot

Lester Dent's Short Story Fiction Formula: Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

Lester Dent's Short Story Fiction Formula: Introduction

In previous posts I’ve written about Lester Dent’s short story formula.

Lester Dent was perhaps the best of the pulp-fiction writers of the 1930s and 1940s. He created the hugely popular character of Doc Savage--a scientist and adventurer--and featured him in 159 novels over the span of only 16 years, averaging about 10 novels per year! Wow.

I don’t know anyone who has matched that output. It is a shame that the novels--I believe all 159 of them--weren’t published under his own name. The publishing house he worked for, Street & Smith, published them under the name Kenneth Robeson.

Given his incredible output it isn’t surprising that Dent had a certain pattern, a certain formula, he followed. 

Lester Dent: The Formula

Lester Dent writes:

"This is a formula, a master plot, for any 6000 word pulp story. It has worked on adventure, detective, western and war-air. It tells exactly where to put everything. It shows definitely just what must happen in each successive thousand words.

"No yarn of mine written to the formula has yet failed to sell."[1]

A note on writing formulas: The unreflective use of a formula tends to create unconvincing stories. But, naturally, one needn't use a formula unreflectively. After all, the challenge to write a story in, say, 280 characters or less is a kind of formula, but limitations often encourage creativity rather than squelch it. 

Personally, I'm not going to argue with a man who wrote 10 books a year for 16 years! Books that, during the depression, allowed him to not only enjoy a good standard of living but buy a yacht and sail around the world. Even if I don't agree with everything he said or did, I believe Lester Dent has something to teach us.

A Note

One thing about Michael Moorcock’s take on Lester Dent’s short story formula. I’ve been talking about the books Dent wrote but this is a short story formula. Specifically, a short story of about 6,000 words. You might wonder how this applies to you if you plan to write a 90,000 word novel.

I think the answer comes by way of Robin Yocum, who I chatted with recently. Robin mentioned that he plans a book chapter by chapter, approaching each chapter as though it were a short story. (This also helps him write in small snippets of time. It can be impossible to keep the structure of an entire book in one’s head, but quite doable for a short story.) For example, a 90,000 word story could be composed of 15 chapters or sections of 6,000 words.

Michael Moorcock on Lester Dent’s Formula

Moorcock splits the 6000 words up into 1,500 word sections.

Part 1: “...hit your hero with a heap of trouble.”
Part 2: Double the trouble.
Part 3: The hero is in so much trouble that all hope is lost.
Part 4: Get your hero out of trouble in a clever way your reader could have foreseen but doesn’t. 

Two Rules of Thumb

Rule One: Character introduction. Make sure all your main characters have been introduced by the end of Part 1.

Rule Two: All the storylines (A, B, C, etc.) should be introduced by the end of Part 1.

Quarters and Thirds

Michael Moorcock talks about a 6,000 word story both in terms of quarters and in terms of thirds. Both work. What follows is my take on what Michael Moorcoch said. 

Part 1 (1500 words) -- Ordinary World
Part 2a (1500 words) -- The Special World of the Adventure
Part 2b (1500 words) -- The Special World of the Adventure
Part 3 (1500 words) -- Return to the Ordinary World 

I will post a brief overview of all the parts of the series, and then launch into the series. I thought it would be fun to try and write a story--or at least a story outline!--as we go along. So, please! Think of what kind of murder we should have. We will need clues, a mentor, a sidekick and an interesting, quirky, protagonist. Leave a comment or contact me over at Twitter (@woodwardkaren). In the meantime, good writing!

Links

1. Lester Dent’s Short Story Formula

Lester Dent's Short Story Fiction Formula: Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: Character Introduction: Verisimilitude

This post continues my mini-series about how to introduce a character. I’ve already written about Exaggeration, Unusual Position and introducing characters in Action. 

Today I’m covering Verisimilitude and later this week--I’m aiming for Thursday--I’ll close the series off by writing about Empathy. Here are links to my previous posts in this mini-series:

How to Write a Genre Story: Character Introduction: Exaggeration
How to Write a Genre Story: Character Introduction: Unusual Position
How to Write a Genre Story: Character Introduction: Characteristic Entry Action

(Here is an index to all the blog posts in my soon-to-be written book: How to Write a Genre Story)

Verisimilitude

Verisimilitude. No, that’s not an exotic disease.

If a character has verisimilitude then they act believably which means that they act in a way that is consistent with who they are, with their core attributes. By the way, I’m getting much this information from Jim Butcher and his wonderful article, Characters. Jim Butcher calls verisimilitude the “V-factor.” 

He writes:

“The most exotic character in the world becomes nothing more than an annoying cartoon figure if he doesn’t behave in a consistent and believable manner.”

As an example, Butcher mentions Jar Jar Binks. As you likely know, Jar Jar was first introduced in the first of the Star Wars prequels, The Phantom Menace. 

It seems as though the character of Jar Jar checked most of the right boxes. He definitely had exaggerated and unusual traits and he was introduced in a way that helped make him memorable. But then WHY were Star Wars fans' reactions to him so mixed? Jim Butcher thinks that it is because, at least in part, Jar Jar didn’t have a consistent and believable manner. To paraphrase Butcher, the V-force was not with him. (Sorry, couldn’t resist!)

How to give a character verisimilitude

I think there are two things that make a character feel real.

First, as we have seen throughout this mini-series, you give the character tags and traits that illustrate who they are. Further you make at least one or two of these traits exaggerated, unusual. 

Second, a character’s V-factor has to do with HOW you communicate a character’s emotional reactions. That’s what Jim Butcher focuses on and that’s what I’ll talk about, below. Here I just want to note that if this sounds similar to the pattern of a sequel, I would agree. This is the very same pattern. And it is enormously important.

Think of when you’ve encountered a sudden setback. What happens? Well, myself, I’m hit with a wall of pure, raw emotion. There’s no thought, not yet. It’s sort of like when I touch a hot stove (and, yes, I have been that idiotic, ‘Gee, I wonder if it’s hot yet.’) My hand started to move away from the burner before I felt the pain. Then I had a reaction which was, “Wow, touching a hot burner was a really bad idea.” Finally I made the decision to not do that again.

That’s perhaps a silly example but think of any sudden, negative, shock you’ve had. A significant other suddenly breaking up with you, hearing that you’ve been betrayed, and so on. Human beings have a reaction to those sort of things and it happens in a particular order. If that order isn’t right your readers probably won’t notice it but, still, it won’t FEEL right to them.

So. Jim Butcher lays out the three stages:

1. Emotions
2. Reactions
3. Decisions

In one of Jack Bickham's books he gives an example of a person coming home from work and, as they usually do, he calls out, “Honey I’m home!” But he is met with the silence of an empty house. Puzzled he looks around and spots a piece of paper on the hall table. He walks over and looks at it.

It’s a note from his wife. She tells him that she has been having an affair with the grocer for the past year and that she has left him.

What is his first reaction? EMOTION. A wave of emotion, of pain and regret. He’s not thinking about anything. There’s a chair nearby and he slumps into it because he doesn’t want to fall down. 

Then he REACTS. Then he’s angry. How could she? How could she lie to him like that? How could she betray him, deceive him? She had told him she loved him, and all that time…

But what should he do? He could try to get her back, try to track them down. He could hire a private detective to find them. Perhaps the grocer had pressured her, perhaps he had blackmailed her. Even if not, perhaps he could win her back. But does he really want to do that? Perhaps he should let her go her own way. 

The man presses bloodless lips together and makes a DECISION. To hell with her. He will scrub her from his life, from his memory, from his heart.

You see the pattern. If we had the decision before the emotion, it wouldn’t be credible or if the man had the reaction after the decision that wouldn’t make sense. You might be thinking, “Well, yeah… Did you really have to tell anyone that? Isn’t it obvious?” And, sure. On one level it is, but it is something that writers can get wrong and then the character doesn’t feel real.

Summary

When an event important to your character occurs, have your character react to it in a way that makes sense (see above) AND in a way that makes sense for them, that is true to their core characteristics. Those two considerations are equally important.

Well! That’s it for today. I’m trying to keep to a schedule of putting out a blog post on Monday and publishing my interview with a marvelously interesting writer on my YouTube channel on Tuesday. Tomorrow I will upload my chat with a singularly fascinating individual, Lydia Moore.

I hope you have a wonderful week, I'll talk to you again on Thursday. Good writing!

-- --

Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: A Character's Dominant Attitude

I’ve already gone over Swain’s idea of a character’s dominant impression, now let’s talk about their dominant attitude.

A character’s attitude

“Attitude is a matter of behavior patterns—a character’s habitual way of reacting to a particular kind of situation. Mary Poppins’s eternal cheeriness reflects an attitude, and so does Rambo’s macho stance.” (Creating Characters: How to Build Story People, Dwight V. Swain) 

Other examples of attitudes: sanctimony, ingrained suspicion, anxiety, discontent, and so on.

Like flesh and blood people, a character has more than one attitude. For example, a character can be both cheerful (like Mary Poppins) and sanctimonious, though at any one time one attitude will be stronger than the other. Overall, though, the character will have one attitude, aptly named the ‘dominant attitude’ that defines the character more than any other. I’ll go over a character's dominant attitude in a moment, but before I do let’s look at some examples.

Examples

I was at a party the other day and fell into conversation with someone I knew slightly. This wasn't the first time we'd met, but it was the first time we had a chance to exchange more than awkward pleasantries.

After a minute or so my impression of him was fixed: he was not a person who suffered fools gladly. It was an observation that didn't set me at ease since I was keenly aware that what constitutes a fool in someone's mind can be distressingly relative. Anyway, if he was a character I was writing, that would be his dominant attitude.

Keep in mind that our characters are pseudo-people and so tend to have less subtlety than their flesh-and-blood counterparts. For example, if a character's primary attitude is fearfulness, then that trait, that quality, will find a way to insinuate itself into everything that character does. 

Example 1: Mr. Midgley

If a character--Mr. Midgley--is, say, irascible then he might snap at other characters over minor slights or inconveniences. As a response to this, other characters might gossip about him. This character’s house would be the one school children are gently but firmly steered away from on Halloween. 

An irascible character can be kind or considerate, but there would have to be a reason. It would require an explanation. For example, perhaps one of the neighborhood children--Sarah--reminds him of his estranged daughter and so he has a soft spot for the child. He's sentimental. It's his daughter’s birthday so he bakes his daughter's favorite cookies--chocolate chip with extra chips. Then he sees Sarah creep hesitantly, fearfully, onto his back lawn to retrieve a baseball that has landed in his flowerbed. Something about the sight makes it hard for him to swallow and he wipes his eyes with a tissue. Rather than bawl her out for trespassing he goes out and gives the child a cookie. An unlikely friendship is forged.

Example 2: Monica Geller from Friends

Here's another example, this time from the TV show Friends. I would say that Monica Geller's primary attitude was obsessive compulsiveness when it came to cleaning. Informally, we would call her a neat freak. Everything had to be just so or she'd clean and scrub and rearrange until it was. Monica didn't need a reason to clean, no explanation was required. If she didn't clean up a mess, THAT would require an explanation.

Example 3: Mr. Monk

One last example: Mr. Monk from the TV show Monk. I would say that Mr. Monk's primary attitude was fearfulness. 

Mr. Monk was obsessive compulsive and he had an uncanny knack to remember even the most minute, irrelevant detail about his environment. He was also scared of just about everything. Even milk. Milk! One reason that show was a success was that, in practically every scene, the screenwriters demonstrated Monk's primary characteristic--fearfulness--and tied everything else to it. Then, at the end of nearly every show, the writers had Monk do something that for him was courageous. He had goals he was driven to attain--becoming a detective again, figuring out who killed his wife, protecting a friend--and was temporarily able to overcome his many fears. So, really, the most terrified man in the world was courageous.

Once you've picked a character's dominant attitude it should be reflected in some way in nearly every scene.

The Dominant Attitude

Dwight V. Swain writes, “...you’ll need to become aware of the special areas of mind and thought that your story brings into focus.

“You can do worse than to term this collective pattern your character’s dominant attitude.” (Creating Characters: How to Build Story People, Dwight V. Swain)

“Thus, in a romance, Female Lead’s dominant attitude very well may center on the way she sees—and, in action, reacts to and behaves towards—men. Are they dominating bullies, like her boss? Frail reeds, in the manner of her hopeless, helpless uncle? Eternal womanizers...? [Are they] [s]hadow images of her boastful, bragging brother?…. Stalwart partners for a lifetime of warmth and peace? (Creating Characters: How to Build Story People, Dwight V. Swain)

In a science fiction story the dominant attitude of the protagonist might be one of ingrained suspicion. In keeping with this attitude he might believe that the human race is doomed to extinction at the hands of an alien race. He feels/thinks that, because of the aliens’ technological superiority, that our only hope is to ‘acquire’ their technology before they have the opportunity to crush us.

In a suspense novel, perhaps the protagonist’s dominant attitude is one of distrust. He looks at his fellow humans either as perpetrators--those who take advantage of others--or victims--those who are taken advantage of by others. Because of this belief he becomes withdrawn, leaves society and goes to live all by himself in the hills.

In a mainstream novel, the protagonist might have the dominant attitude of cheerfulness, she believes that there is good in everyone, even the most hardened murderer. Because of this belief she becomes a psychologist and opens a rehabilitation center for hardened criminals.

So you see the pattern. A character has an attitude which, in conjunction with a belief, contributes to the character having a goal. The conjunction of the attitude with the belief might even suggest a way of achieving the goal. 

Attitudes and beliefs

Above, I’ve mentioned a belief. 

I haven’t written much about what this belief is, where it enters into things. It seems as though the belief encompasses that character's view of what the best way to live one’s life is. Perhaps the character’s attitude stems from this belief, or perhaps the belief is a result of their attitude. Who knows!

In my last example the belief (or worldview) the protagonist had was that, "Good is in everyone," and the course of action she took based on that view was to get a degree in psychology and open a rehabilitation center.

Dominant Attitude and Theme

At some point I would like to write a blog post about a story’s theme, what it is and its importance to making a story riveting. It seems to me that a character’s dominant attitude would tie them into the theme of the story, or--to put it another way--set the theme of the story. I need to think about that some more. 

That’s it! As always, I’d love to know your thoughts. 😀

Good writing. I’ll talk to you on Monday.

Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: Characters: Homo Fictus

Characters--Homo Fictus--are the raw material from which stories are created, but who are these entities who populate our stories and how do they differ from flesh-and-blood people?

Homo Fictus

Characters can be viewed as a pseudo-species of humans that differ from their flesh-and-blood counterparts in at least three respects.

1. Characters are fathomable, understandable. Humans aren't.

I'm not suggesting that great characters, outstanding characters, don't have contradictory desires or goals. All the best characters do.

One of the most interesting characters I've come across is Walter White from Breaking Bad. What are his two main drives? To take care of his family and to make is mark on the world. He wants to unleash his intellect and, no matter the consequence, show the world what he can do. 

These two desires--to provide for his family and to be remembered--often come into conflict and drive the story forward. And we easily understand this clash of motivations.

Humans, though, can be truly unfathomable. We want one thing one minute and then the opposite the next. I’ve gone into an ice cream shop with a friend convinced that regardless of what my friend wanted I was not going to buy an ice cream cone...and walked out with an ice cream cone.

Humans can be flaky, their goals can and do change on a whim and they make bad decisions in silly ways that aren't interesting. 

How well do you know your friends and neighbours? If you think you know them pretty well, think about how many times you've heard the neighbors of a serial killer say, "He seemed like such a nice man."

The key point here is not that characters shouldn't have contradictory drives or desires--they should!--it is that readers must be able to understand them. As a story progresses we need to see more of a character’s layers. Although I may revise my initial judgement about a character, by the end of the story I must feel that I understand her. Not necessarily approve or condone, but understand. I must be satisfied that the kind of choices a character made were a result of the kind of person she was.

For a character to be interesting and memorable she must be fathomable. If she isn't, the reader will become bored, turn away from the story and find something more engaging to do.

2. Characters are exceptional; most humans aren't.

Granted, not all characters are exceptional, but every character I've fallen in love with, every character that has lingered with me after the page on which they were introduced, has been. 

To understand the importance of this let's look at what Dwight V. Swain calls a trait, or a tag of attitude (for more about this read Swain's book, Techniques of the Selling Writer). A tag of attitude is a behavioural quirk or disposition. He writes:

"The key thing to remember about tags is that their primary purpose is to distinguish . . . to separate one character from another in your reader’s eyes."

For example, on the show Monk, the lead--Mr. Monk, played by Tony Shalhoub--is a former police detective with an obsessive-compulsive disorder whose main goals in life are to find his wife's killer and to get back on the police force. As a character, Mr. Monk is mostly unexceptional. His wardrobe is bland, his culinary tastes are bland, and his personality is bland. 

So, why did so many people--myself included--love the show? Mr. Monk is exceptional in two ways: he is fanatical about cleanliness (as well as orderliness) and he is the best detective in the world. His core skill (or trait/tag of attitude) is that he notices absolutely everything in his environment regardless of whether it's important, something that is both (and this is Mr. Monk’s catchphrase) a gift and a curse.

3. Humans are infinitely complex, characters aren't.

Fictional human beings are simpler and more goal-oriented than ordinary flesh-and-blood people. As E.M. Forster writes in Aspects of the Novel:

"But people in a novel can be understood completely by the reader, if the novelist wishes; their inner as well as their outer life can be exposed. And this is why they often seem more definite than characters in history, or even our own friends; we have been told all about them that can be told; even if they are im­perfect or unreal they do not contain any secrets, whereas our friends do and must, mutual secrecy be­ing one of the conditions of life upon this globe."

I used to have a gal pal I went to go see movies with, I'll call her Rachel. In general, we had the same taste in movies. After awhile we got to know each other well. I could tell which parts of a movie she'd find funny, which parts she'd roll her eyes at, which parts would make her cry, and so on. 

But she continually surprised me. Occasionally, she wouldn't laugh at something I thought she'd think was hilarious or she thought the hero who sacrificed it all for his true love was an idiot, or...well, you get the idea. No matter how well I think I know someone they can surprise me. But this isn't true of a character. 

If a character surprises us--for instance when I learnt Keyser Söze's true identity at the end of the movie The Usual Suspects--I looked back through the movie and realized that I'd missed, or misunderstood, quite a few things. The ending made perfect sense. If it hadn't then it wouldn't have been a good ending. In real life, though, endings often don't make a great deal of sense but, hey, that's why we tell ourselves stories! ;)

-- --

Humans are complex. We do unexpected things with unsatisfying results in ways that make little or no sense. That's boring. Or maddening. Often both. Compared to humans, our characters are blessedly simple. They have fewer desires, fewer goals, and the needs they have are more exaggerated and more intense than yours or mine. 

Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:

Twitter: @WoodwardKaren

Pinterest: @karenjwoodward

Instagram: @KarenWoodwardWriter

YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: Setting and Character (Part 3)

This post is a continuation of yesterday's post BUT in what follows I don't talk about horror stories. Alas. Horror stories are very fun to talk about--or even to write about. Here I go on about the various wonderful ways in which your setting can affect your story.

2. Setting And Character

I've already written about the importance of the social environment of the story for character development (see the links at the end of this article), and given that we are social critters, it’s obvious that it would be significant, but I want to step back for a minute and ask what will at first seem like a silly question: Why? 

Why is it the case that the social environment is so important for character development? It is the social environment, the society, that sets the rules for what counts as acceptable conduct. The society sets up the specific expectations for your character, how they should act, who they should love, what profession they should study, and so on. The social environment sets up what the society thinks the character’s goals should be, it sets up the default value structure. 

(And this is one reason that the first five or ten percent of a story is so important, because you’re setting up these background conditions, conditions that everything else in your story will contrast against.)

Of course your character will depart in various ways from what is expected of them, and that’s good. That creates conflict. However, everything depends upon making it clear what values your hero is departing from.

Shared Customs

As Dwight V. Swain says in his excellent book, Creating Characters: How To Build Story People, shared customs (customs such as which clothes are acceptable for which occasions) and appropriate behaviors (for example, how to behave in a church as opposed to a temple as opposed to a mosque as opposed to a synagog as opposed to...) are just the sort of things that breathe life into, and that differentiate, characters.

When developing a character I ask myself what social rules and practises, what rituals and traditions, this character follows.

Another thing I try to pay attention to when creating a character is the distinction between knowing a social custom and following it. Perhaps a character knows that Custom A is mandatory, but do they follow it? Perhaps they follow it in public but not in private. Perhaps if they are given an opportunity to depart from the norm, they will. Or maybe they won’t. Either way, that says something about them.

3. Setting And The Senses

In the classic movie Die Hard, the initial setting was a Christmas Party, in Raiders of the Lost Ark one of the initial settings was a long abandoned ancient temple. The particular setting of your story is essential to bringing the world to life. How do things come to life for us? What makes us pay particular attention to something? 

In a word, vividness. 

Everything, of course, comes to us through our senses--smell, taste, sight, touch or hearing--and then is stitched together, somehow, to create our own personal version of this wonderful world in which we live. For us to pay attention to one particular thing, for it to be memorable, it must stand out from the rest.

As Dwight V. Swain writes in Creating Characters, our world is made of hot, sticky, ashvalut and looming, grey skyscrapers, barking dogs and purring cats with bottomless copper eyes; it's made of cheese so pungent it will make your eyes water, and hot bitter coffee, fresh squeezed apple juice, and hot sticky cinnamon buns. It's made of the comforting weight of linen and the harsh blare of car horns. 

Sensory impressions bring a story to life, immersing readers in the story world, wrapping it around them, drawing them ever deeper into the fantasy you're weaving. Swain writes that "the seen, the heard, the smelled, the touched, the tasted" are how we spin a world into being. So, what is the takeaway? Make your images vivid.

4. Setting and Conflict

Conflict isn’t everything, but if you don’t have conflict you don’t have a story. 

Conflit is what results when a character's efforts to attain a goal are opposed or frustrated. What sorts of things oppose a character's efforts to attain their goal? Quite a few. Another character, sure. Often it is that character themselves! But many times what opposes a character's efforts to attain their goal is the setting itself. 

For instance, perhaps your protagonist, Hank, is a teenager and his goal is to win the prestigious Sunnyside Surfing Competition but he can't win unless he trains. That’s a problem because Hank's family recently moved from the sunny, sandy beaches of Sunnyside California to the snowy confines of Montreal Canada and it's the middle of December. That means Hank can’t surf, so he can’t train for the competition. So he’s not going to win. Here just a change of setting sets up a problem, an obstacle to the protagonist reaching his goal.

Increasing Conflict

Have you ever watched the television show, Monk? The screenwriters were fabulous at using setting to introduce conflict. Here’s the description of the show from IMDB:

“The series follows Adrian Monk, a brilliant former San Francisco detective, who now consults the police as a private consultant who battles with an obsessive-compulsive disorder.”

For example, in Mr. Monk and the Psychic (season 1, episode 3) Monk is introduced to the police commissioner, someone he needs to impress since he wants to get back on the police force.

Monk wants to convince the commissioner that he has his OCD under control. But, Monk is Monk. He is unique. In one scene the commissioner has a few crumbs on his jacket. That’s the setting. Monk is compulsive about cleaning and really wants to brush the crumbs off the commissioner's jacket but he knows that would seem odd to the commissioner and if he seems odd then he won’t get his job back.

What does Monk do? Does he sacrifice his chance to get back on the police force so that he can brush the crumbs of the commissioner’s jacket? Of course he does! And what happens because of this? Conflict.

Here's another example, one you've probably seen countless times in movies and on TV. Two characters are sitting at a table. Perhaps it is a job interview or perhaps it is a first date. The general idea is that it is a situation in which one of them is trying to impress the other. Then a server walks by, stumbles, and spills scalding coffee into the character’s lap who most wants to impress the other. 

How will they react? Will they jump up and yell at the server? Will they be gracious and downplay the incident? Will they turn the incident into a joke and make the other character laugh? How that character handles this situation, this conflict, will help reveal what kind of a person they are.

These are just a few of the ways in which the setting can be used to introduce or increase conflict. The way I think of it, characters are not created to populate a world, a world is created to, as John Truby wrote in The Anatomy of Story, "express and manifest your characters, especially your hero."

And that’s it for today! Thanks for reading, 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

Where you can find me on the web:

Twitter: @WoodwardKaren

Pinterest: @karenjwoodward

Instagram: @KarenWoodwardWriter

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

Writing a Horror Story: Or, how to scare the pants off someone! (Part 2)

(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

Where you can find me on the web:

Twitter: @WoodwardKaren

Pinterest: @karenjwoodward

Instagram: @KarenWoodwardWriter

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: Setting (Part 1)

There are many stories that don't fit the hero’s journey. For example, the movies Psycho and The Princess Bride. And that's great! There are as many ways to write a story as there are writers. 

I mention this to emphasize that what I am going to talk about is only one way of doing things. If it doesn’t work for you, or you have developed your own way, great! However, if you are looking for an example of how things could be done, this is one possible way.

Narrative Setting

Narrative setting is the setting where the events of the story take place. 

The story world includes, among other things, the physical environments your characters will encounter as well as the groups they interact with. You can create these environs from your imagination or you can set the story in the actual world. 

Conjuring a story world from nothing but the materials of your imagination may save long hours of research, but keep in mind that the story world (unlike the real one!) needs to be consistent. A happy medium between these two is to set the tale in a fictional world but to use the actual world as a starting point. By changing aspects of the actual world one can often produce a setting that is both unique and plausible.

Social Setting

However you go about crafting your story world, the most time-consuming, intricate and important aspect of a character's environment is their social environment.

What are the rules of your world's societies, rules both written and unwritten? What sorts of pair bonds are sanctioned? What are their norms, their unwritten rules? Are certain practices, certain actions, sanctioned but discouraged? 

Getting finer grained, what kinds of groups, or sub-groups, does the society contain? By this I mean any kind of group: political, recreational, medical, artificial, criminal, natural, sanctioned and unsanctioned. And if you see fit to give your world something like the internet, don't forget online groups!

The most important environment for social creatures such as ourselves is our social environment; our family, our friends, our coworkers, our distant relatives, our facebook friends. Of course, your protagonist need not be sociable! Let your imagination run wild. Anything is fair game as long as it's believable.

Above all, think about ways to introduce opportunities for conflict when creating a story world.

The Elements of Setting: Time

What time of year is it in the story? Spring, Summer, Fall or Winter? If this is a fictional world, does it have seasons? How much time passes in your story? Hours? Days? Months? Years?

Is there anything unusual about the flow of time in your narrative? Is your story written as a stream of consciousness? Does your novel employ time-jumps for flashbacks to convey the story? 

The Elements of Setting: Place

Where does your story take place? What is its geography? Is it an unexplored wilderness or is it well populated? Does the story take place in a town? A city? A tropical jungle? A rainforest? Is the place barren? Lush? Isolated? Densely populated?

Is there water nearby? A pond? A sea? Is the air dry or wet? Is there snow at Christmas time? What sports or hobbies could a person easily engage in given the features of the area? Snowboarding? Skiing? Swimming? Surfing? What sports couldn't your characters do? For example, could your characters swim without risking hypothermia in December?

The Elements of Setting: Circumstances

What social groups is your character involved in? Are they religious? Spiritual? Politically involved? Do they have a large family? Small family? No family? If they're a loner, do they have a network of friends online? What kind of social groups is your character a part of at work? Are they self-employed? Unemployed? Are they the first one at the water cooler in the morning, gossiping, or do they keep to themselves? Do they get along with their boss? 

What are the signs of group inclusion? Do your characters have an accent? Do they wear a uniform, or some sort of special clothing? Do they have markings that identify them as part of a particular group?

Do different groups, different societies or cultural groups, have different accents? Different ways of speaking?

How do these marks of social inclusion, these accents and languages, differ from those which existed a century ago? A millennium ago? Also, what will these groups, these societies, be like a century--or a millennium--from now?

Setting & Scenes

Let’s talk about setting as it relates to each scene.

I've touched on some of this information above, but let's get specific. Stories are made up of scenes and scenes occur at a place and a time. 

For each scene, in addition to knowing what season it is, know (if outdoors) what the weather is like, what characters are in the scene, what happened just before the scene started and what will happen just after the scene ends. Also know what time of day it is. Is it morning or high noon? Nighttime? Twilight? The witching hour? You don’t have to--you likely shouldn’t!--put all this information in the scene, but it helps to know.

What associations do the main characters have about this time? What memories might it invoke? For instance, a character might wake during the witching hour and remember a nightmare they had as a child. (This introduces conflict: the character would like to sleep but the nightmare, and now the memories invoked by it, trap them in the waking world.)

Place: Indoors? Outdoors?

If the scene takes place outdoors what's the weather like? Is the sun hidden behind clouds turning day into twilight? Is it nighttime, yet lightning flashes making the landscape bright as day? Is it snowing? Raining? Does the unbearable heat of the sun bake everything to a brittle hardness? Are the characters in the Antarctic? Are they isolated by distance and the unbearable, bitter cold? What associations might they have to snow? How about rain? 

While an adult might hate to wake up to a winter wonderland, a child would likely be overjoyed--especially if it means a snow day!

If the scene takes place indoors, what are the characters' surroundings like? Are they lavish? Poor? Shabby? Drab? Colorful? Ostentatious? Is it a human-made structure or natural, something like a cave. 

Wherever your characters are, were they invited here? Are they comfortable here? Does this place make them feel at home or are they unsure how to act? 

A room could be lavish and yet make a character uneasy because, while they have always desired it, they are unused to such luxury. Another character, one equally uncomfortable in such surroundings, might feel the urge to destroy it. Setting can be used to develop character. Before we examine that, though, let's briefly look at the importance of being able to use setting to generate conflict.

Conflict

I've mentioned this before but it bears repeating. One thing all stories must have, whatever the story world is like, is conflict. Political parties contend with each other. Countries go to war. Social groups hold diametrically opposed yet strongly held views about what constitutes appropriate conduct.

What do your characters believe? Where in this ever shifting maze of interconnectedness do they fit? What groups do they belong to? What do they believe about the world? Which social practices and which social institutions do they embrace? How do these preferences generate conflict both within and between characters?

It is one thing for a character to understand what sort of behavior a particular society expects from its members, and quite another whether, and to what extent, they will go along with it.

Writing Challenge

Select one of your favorite books and try to answer the following questions: 

- What is the setting for the story?
- Does the world have seasons? If so, during what season, or seasons, does the story take place?
- How much time elapses during the story?
- What is the geography of the story world like?
- How many distinct social groups exist and what characteristics distinguish one from another?
- Which aspects of the setting created the most conflict and how was it generated? 

A Thought Experiment

Imagine two societies are remarkably similar but one--Society A--helped defend the surrounding region against an enemy while the other--Society B--did nothing. As a result, many citizens in Society A despise Society B. It's winter, food is scarce, and a fire has ripped through Society B destroying its food reserves. Many in Society B accuse Society A of setting the fire. One thing is certain, unless Society B gets food many of its citizens will starve to death. What will Society B do? Attack the city that defended it? What will Society A do? Share it's food reserves with the city that not only didn't help defend against the enemy but that now accuses them of sabotage?

Given this setting, who would be your protagonist? I think I would choose a child from Society B who discovers evidence that their food reserves were destroyed by the enemy they thought Society A had defeated. But will he be believed?

Okay, that’s it! This was a bit of a grab bag of ideas. I hope you got something from it. I’ll talk to you again soon. In the meantime, good writing!

Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:

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