2019 - November - Setting the Scene -- The Props

This is Part 11 of a 12-part series dealing with Story Settings ◆ © 2019 All Rights Reserved

The setting of a scene includes getting double or triple mileage out of the setting's props that characters handle or must navigate through.


Like limiting the number of scenes in a story to certain key settings, it's a good idea to limit the number of props that are handled or used in an individual scene. 

Of course, there should be little repetition of most props. The exceptions are for the props that are unique to a character's character. For example, a ring that the heroine will constantly turn only when under stress. Another example is a weapon that a character needs for their job. 

One caution—don't draw so much attention to any prop or object that will mislead the reader. For instance, if a shotgun appears in the opening of the story and it's used in the climax, that gun will be mentioned in the middle of the book (thus effectively utilizing the technique of The Rule of Three). That second mention in the middle of the story catches the reader's attention. Usually it's the subconscious that picks up on this type of repetition, which makes the reader look forward to seeing how the shotgun will be used in or near the end of the story.

Which means, if an unimportant prop is handled or used, you must relegate it to oblivion so the reader doesn't think it's paramount to the story. For example, that glass of whiskey The Heroine poured herself while she lamented the perfidies of a certain male (the Romantic Lead). She must do something with the empty (or semi-full or full) glass. Does she put the glass in the sink, throw and break it to release her frustration-anger, etc. Such action amounts to showing, not telling, the reader her emotional state. 

Now if that glass is left in limbo, ignored, never mentioned again, the reader subconsciously picks up on that. The reader is curious and remain curious about that item and wonders if there is significance to the item. When the reader finally realizes the item was insignificant, that irks the reader, who may decide the story is a one-star read.

Speaking of show versus tell, readers do not need to be told every detail or every prop in a setting—only the succinct ones, the important ones. After all, the more time a writer spends describing an item—a weapon, a machine, furniture, or the lay of the land or room, etc.—the more the reader will assume those things have importance. Besides, overdone descriptions bore  readers so they skip sentences and paragraphs to get to the good stuff of action or dialogue exchanges.

Which brings me to— Certain props can be included and mentioned because the prop is a red herring. A red herring is a clue, one that is specifically intended to be misleading. Or the red herring can distract the reader's attention away from what is a bonafide clue that solves the story problem.

As mentioned in the October post, it's always a good idea to diagram a scene and include the props for that scene. It's also a good idea that the specific props so necessary for the story's plot to be believable be placed on the story's Master Word List. Doing so insures keeping track of such things as weapons. After all, The Villain might have a Glock 357 and The Hero has a Colt 45  — or The Heroine has a Derringer. 

Remember, the idea is never to confuse a reader. 

Keep track of the story's significant props. Everything with a one-time or short-term use should be downplayed or relegated to obscurity as quickly as possible.


*** Next month, December 2019 — Sensory Perceptions


***It's NANOWRIMO - To all who are participating, I wish you words that flow like water onto the page and that you achieve your writing goal by November 30.

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2019 - February - Setting Tropes

This is Part 2 of a 12-part series dealing with Story Settings
Catherine E. McLean ◆ © 2019 All Rights Reserved



Setting is the bedrock of your story. 
If you choose a real-world backdrop, 
be certain you get your facts straight. 
— Lynn Flewelling


Be it contemporary, historical, magical, science fiction, or fantasy, the setting details of a story must suit the world not distort the world. 

Nor should those details be unbelievable to the reader.

When a new writer decides to play God-of-Creation, what they don't realize is what they've created likely has been done before, often many times, even to the point of being a trope.

What is a trope? It's a common or overused theme or device that has become a cliche. 

Not all tropes are bad because in some genres there are standard tropes that readers like and which never seem to bore a reader or go out of style. To use an old cliche, it's better to look before you leap by doing some research, or google a search, to see if your story idea and setting premise falls into a good or not so good story or setting trope.

You could start with some TV and movie tropes at the website below. Then ask yourself— Does my story's setting or premise fall into one of the tropes? If it does, what can I do to revitalize the trope, make it different, interesting, or give it a wow factor? 

https://tvtropes.org/pmwiki/pmwiki.php/Main/Settings


When it comes to revitalizing a story or setting trope, there are two basic ways to handle it:

1) Change the trope in a new and fresh way. Of course, you first must know what components of your setting will tip readers off to it being a worthwhile trope, something they're familiar with. Then hone in on what does the NOT EXPECT? Knowing the reader's expectations, you can change that expectation and thus keep the reader's attention.

Of course, in the process, you may also find a better direction for a plot point to take. For example, the legend of King Arthur. You would think this legend would have been done to death, but no, there is currently a new twist to the tale with the movie The Kid Who Would Be King. A new setting (modern world) and an old setting (medieval) combination. 

2) Switching Fantasy for Reality or vice versa. Sometimes truth is stranger than fiction. So, what if your fantastical setting premise were not a figment of the imagination but real? That it actually exists? Can it change or complicate things? Hopefully it complicates things, adds a freshness that wows a jaded reader, editor, or agent.

Although the above methods sound simple enough, they are not easy to execute. 

There are also other aspects of setting tropes. For example when a new writer ignores their story's world or setting or treats the setting as something static, a mere backdrop done with a huge watercolor brush. The reader just gets a foggy-vague look at the setting instead of clear imagery. Which means the reader is not anchored sufficiently in the world.

A good example of ignoring a setting is in dialogue where "heads talk." That is, two characters are in conversation and nothing else is going on—no setting props are in use or being handled, no wind, weather, smells, sounds, etc. that add realism and validity to the narrative. By the way, readers consider Heads Talking as boring stuff (and it is always wise to avoid boring a reader).

Another type of "boring stuff" goes to the other extreme—The Information Dump. This is where the writer dumps in information that they found fascinating when they discovered it during their research of a geographic area, its topography, climate, soil, vegetation, and fauna. So the writer shares their zeal by expounding for paragraphs and paragraphs, describing ad infinitum.

In reality, the reader wants to skip over all that text to get to the good stuff of action and drama. [Refer to last month's post and The Story Iceberg.]

The best way to avoid a genre trope is to read 100 or more books in the genre you want to write in. Not only will you avoid plot tropes but you'll also become a wiser writer by learning how other authors handled world-building, landscapes, and props.

********** March's Topic — The Protagonist POV-Viewpoint of Their World

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