Ok, I had one of those rare clarity moments the other day.
You know the type. You suddenly realize that eating a box of cookies doesn’t help your diet at all. You realize that Hollywood will never celebrate good writers as much as they do handsome actors or beautiful actresses (even though no matter how great an actor is, a bad script makes the movie suck). Or you realize you’ll never be really able to keep up with the derpy sus that has become the new kidspeak.
But in this case, it was making location matter more in my book and tying that into my own travel experiences. Oh, I know, duh, right? It’s almost like I have to learn a lesson a good dozen times before it sinks in. Like just because I have a good camera doesn’t mean I can take good pictures.
So, yeah, there I was, lost in my novel, working on driving the plot forward, staying true to my character, blah, blah, blah, when it suddenly occurred to me that my settings were bland. Vanilla. Boring. Oh, I think my details were ok, you know, kind of all detailie, but the settings themselves, boy could they be kicked up a notch.
It’s should be part of the fun of writing a story set in another city. Or country. Or universe. Now, while I’ve not been to Outpost Omega-Epsilon-Wanker, I have been to Holland. And Amsterdam.
So why not use those memories, those pictures, those settings? My fellow writer Helga did this brilliantly in the story she wrote set in Europe during the coldest part of the cold war. My other Fivers have used their life experiences, their travels and adventures to enrich their novels. So why had I forgotten about this?
Truth is, I am a bear with very little brain and too much stuff bothers me. For me to write, I can only keep a few things in mind. If I have to think, oh yeah, add brilliant sensory detail from my travels to this scene and don’t forget to have conflict and, wait, is there movement in the scene and is my character acting in character and… well, it all bungs up like me trying to go the bathroom after I’d eaten three plates of cheese.
I know one of my writing friends, Sheila, has this incredible ability to see it all in her head like a movie. So for her, those setting details come easy. For me, it’s going to have to be enough to know I need to add them on the 2nd draft.
However, for locations, why settle on a meeting on a street when you can set it in the rijksmuseum? Why have a fight in a bar when you could have it in the flower market? Why have a chase through the alleys, when I have a city full of canals?
Dorothy Dunnett was a master of this. She’d set a story in a great location, like Florence, then have that place become a character with a variety of clever details and sensory elements, BUT then she’d make use of the special aspects of the city, having a chase across the red tiled roofs. Not a chase on the streets, on the roofs.
Anyway, I think I’ll have to save the details for the 2nd draft, but the larger locations, boy those can change immediately. It’s not too taxing on my brain to ask myself, self, can I set this in a better location? Can I bring out a unique aspect of that location? Can I make that location active in some way.
Damn, I sound like Don Maass. But that’s not a bad thing. And it’s even kind of fun. Hmmmm… Amsterdam, 1940… I can’t use the Anne Frank house, she’s hasn’t been murdered by the Nazis, yet, so, yeah, what else can I use????
Best show last week – Game of Thrones, best show ever? For all time? Yup.
Book that I’m reading at the moment – Reading Sean Sommerville’s latest book. The Unforgiven. Man that guy can write.
Pages written on new book – 4 weeks now and I have hit my goal of 10 pages a week. I’m finding more time and, more importantly, finding my groove, again. Can I increase this for next week?
Social media update – Derpy sus, people. Derpy sus.
Best thing last week – epic trip to Science World. Oh, I’m sure I’m going to blog about that!
Worst thing – I’d like to buy more time, please, Alex. Honestly, there just doesn’t seem to be enough time in the day to get everything done. Luckily, I’m pretty sure I’m the only one that happens to.