Setting Is SO FREAKING Important
Dogs are Smarter Than People
Setting is where your story happens. It’s the time period. It’s the physical place. You can have more than one setting.
There. That’s the definition. We’re all good, right?
Wrong.
Let’s really talk about setting.
WHAT SETTING DOES
Setting is the foundation of your story. It is the ModPodge that has an addictive smell (Cough. Not addicted to ModPodge. Look away.) and glues all the story together.
WHAT HAPPENS WITHOUT SETTING
Your characters float around in nothingness.
Your plot makes no sense. You can’t have hamsters taking over the world if there is no world.
You have no theme. You can’t care about the kindness of strangers if there is no reason for the strangers to need to be kind.
You have no atmosphere. Atmosphere is sexy. It’s the feeling of the story. The ambience.
LITTLE THINGS SHOW IT
Just by defining a tree you are telling the reader something about the setting.
Like if you write:
She stared up at the palm tree.
You’re giving the reader clues. A palm tree will not be in Iceland. They are somewhere comparatively warm.
If you write:
She got out of bed.
You’re giving the reader a clue that she is wealthy enough to have a bed and in a culture or world where people sleep in beds.
And the thing is that clues are needed. Specific clues. Real clues. Without a setting, without a place where the story happens and a time where the story happens, the reader floats there in the sky, ungrounded, unanchored.
You know what happens when a reader floats in the sky? The reader drifts away. Your character does an action–like a fart. So you want to fart in some specific setting to help the reader sniff out and remember where they are.
Being specific anchors the reader. It ties them to your story and its characters. You will remember a fart that smells like eggs mixed with tuna mixed with a McDonald’s french-fry in church during a funeral. So be specific in details.
More than that though? Setting anchors your characters and your plot. Place makes us (and our characters) who they are. It gives a story atmosphere. It gives the character a world to interact with.
Think of a creepy Stephen King novel. It’s creepy because he takes certain aspects of Maine and creepifies them. Think of Crazy Rich Asians or The Bridgerton novels. They are luxurious because of the places where they take place AND the places where they take place help inform the novels, the characters and the plots.
HOW DO YOU MAKE SETTING?
Go in slow. Don’t overwhelm us with details about the Hamster World of Ham-Ham-Ster and its 87 leaders of the Teddy Bear Nation and all their names that start with H. Establish it. Move on with your plot and sprinkle in important details as you go. Be sparing. Only add to overall story.
Figure out what pieces of the setting matter the most. Is it the claustrophobic trees? The swarms of tourists disembarking cruise ships. The smell of blood coming from the old, wooden floorboards? Use those details. Not the kind of coffee your heroine puts in her Keurig unless that’s really important.
Make it active. The setting matters as the characters see it, move through it, react to it. Whatever is weird about that place and how your characters interact with it? Focus on that.
Don’t be afraid to go places, to use Google maps, the internet. Do everything you can to get fully into that place so you use it later in your work. Pay attention to all the settings and use it.
DOG TIP FOR LIFE
Pay attention to where you are. That helps you know how to react, interact and be. So sniff all the fire hydrants. Don’t Google Map your life. Experience it for real.
SHOUT OUT!
The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License.
Here’s a link to that and the artist’s website. Who is this artist and what is this song? It’s “Summer Spliff” by Broke For Free.