Trying to get a blog post jotted down early. There is zero chance of me actually sitting down to write one on Friday morning, so if I don’t do it now it ain’t getting done. Plus, I have to do my Palahniuk-hour-of-writing today…I have no real intention of actually writing or working*, so the blog post will have to do for now.
*Saying that, of course, means I will probably spend four or five hours writing furiously…
I know I said I was doing all the character shit in order to get ready to actually, you know, write but I got sidetracked yesterday by working on the setting. That’s no bad thing, by the way. Your setting has to be real to you: you have to be able to see it, to smell it, to feel it. If you can’t do that inside your own mind, what do you think is going to happen with your readers?
If your story takes place somewhere in the real world, that means you have to go there. You have to walk the streets/paths, smell the air, feel the pulse… One of those ghosts I have fluttering around is a story set in Prague. Now, I’ve spent a lot of time in Prague – I know that city very well. But if and when I start writing that story, I will have to return to Czech so I can re-immerse myself in the setting.
That is how you feel what you write, how you see and smell what your character is experiencing. If your setting isn’t real to you, it will be immediately apparent in your words: I once read a book set in medieval Samarkhand and it was very apparent the author had never been anywhere near the place. Hell, it read like his experience of the setting came from reading books and looking at pictures. That ruined the story for me.
On the flip side, I highly recommend you go read Colleen McCullough’s Masters of Rome series. The city is very, very real in her books, and it is obvious just how much time she spent in Rome getting the feeling right.
Now, in my own stuff, I am not using “real” locations, I’m making shit up*. Hell, eight of the ten(ish) stories floating in the back of my mind involve making shit up. That doesn’t mean the setting can be cheap and pro forma. I refuse to write a story with a Star Trek setting of cardboard walls and styrofoam rocks. If it’s not real to me, it won’t be to anyone else either…
*One of the best comments ever on writing sci-fi came from John Scalzi: “They say write what you know. I write what no one knows.”
One trick I use is to base my characters’ surroundings on real world locales. Admittedly, that was kinda hard for dockside – how many places do you know where 60,000 people live crammed into cargo holds? – but that setting was very much influenced by the back alleys and tight spaces of certain real cities and countries.
For Silence I need a setting that emphasizes the tone and feeling I intend to carry through the story. Finding that right feeling is harder than you’d think*, but I finally have it nailed down. Cold, stark, desolate…an altogether uncomfortable world that exists only to make a small group of people very rich.
*In practical terms, by the time the prep work is done, I will have written something on the order of 10,000-12,000 words just on the physical details of the setting, and the same amount again on the cultural and linguistic side of things.
I love where this is leading me…mostly because Connor is gonna hate it. Hey, remember, it is his own fault: he made me write this damn story!