POV – The Secret to Creating a Memorable Setting

by Martina Boone

Point of view is one of the things that writers frequently forget to include when developing a setting, but because setting can help you unlock so many different aspects of character, POV is critical. Based on who they are and their individual experiences, each character is going to see the setting in different ways, and the objects and aspects within the setting will raise memories from their lives. Giving thought to those connections and varying perspectives within a setting will, in turn, help you create the fine details that bring the setting to life. The connection between setting and memory is one of the most powerful and most often forgotten tools in the writer’s arsenal.

When I started creating Watson Island, for example, I began with the history of South Carolina and I wove in different events from the area and how they touched on the descendants of the three privateers who settled there. Since my main character is a Watson, I was focused particularly on her family’s history, but since she knows nothing about that history when she arrives, I had to tell that history partly from the point of view of members of the other families. Each book within the trilogy changes the historical narrative to show how the family perspective and facts that have been passed down have changed the story and the families themselves.

And that’s the fun and challenging part about any setting. Each family, each person, is going to remember history in a way that flatters them. Not every fact gets passed down from generation to generation, and many not-so-factual things do get passed down: likes, prejudices, habits, perspectives.

As we are constructing our fictional words, we have to remember the bare bones—the basic worksheet:

Place
Season/time
Role in the story
Unique features and general history
Particular things of interest
Sounds, sights, smells
Associated characters
Things it reveals about the story

But we also have to look at the setting from the perspective of each of those associated characters. Each of them will have:

Sounds, smells, objects within the setting that trigger particular memories
Attitudes toward the setting and objects within It that tell us about that character
Ways of describing the setting and the objects in it that reveal how the character’s are changing as the story develops

As a writer, the more you think about the setting from the point of view of different characters, the more you will reveal the story to yourself. Setting gives us endless opportunities to weave together all the other elements of story: character, plot, theme, and mood/atmosphere.

THIS WEEK’S GIVEAWAY

Seeker
by Arwen Elys Dayton
Hardcover
Delacorte Books for Young Readers
Released 2/10/2015

For readers of A Game of Thrones and The Hunger Games comes an epic new series.

The night Quin Kincaid takes her Oath, she will become what she has trained to be her entire life. She will become a Seeker. This is her legacy, and it is an honor. As a Seeker, Quin will fight beside her two closest companions, Shinobu and John, to protect the weak and the wronged. Together they will stand for light in a shadowy world. And she’ll be with the boy she loves–who’s also her best friend.

But the night Quin takes her Oath, everything changes. Being a Seeker is not what she thought. Her family is not what she thought. Even the boy she loves is not who she thought.

And now it’s too late to walk away.

Purchase Seeker at Amazon
Purchase Seeker at IndieBound
View Seeker on Goodreads

a Rafflecopter giveaway

Martina Boone

Martina Boone is the award-winning author of the romantic southern gothic Heirs of Watson Island series, starting with COMPULSION from Simon & Schuster, Simon Pulse and the Celtic Legends Collection of novels set in Scotland, Cornwall, and Ireland beginning with LAKE OF DESTINY. She’s passionate about improving lives through literacy and the love of books, and she runs the Compulsion For Reading program to distribute books to underserved schools and libraries.

She lives with her husband, children, Shetland Sheepdog Phinney, and Zoey the lopsided cat, and she enjoys writing contemporary romantic fiction with a hint of magic set in small towns and beautiful places. When she isn’t writing, she’s addicted to travel, horses, skiing, chocolate flavored tea, and anything with Nutella on it.

Post © Martina Boone and/or Adventures in YA Publishing. All rights reserved.

Posted: Apr 7, 2015

Category: Imported from AYAP

Tags: Craft of Writing | Martina Boone | Setting | YA Fiction Giveaways

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The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
• Relatable enough for kids to see themselves<br />
• Unique enough to stand out in the slush pile<br />
• Active enough to drive the story<br />
• Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />

The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
• Subtle enough not to trigger the dreaded "didactic" rejection<br />
• Clear enough for a four-year-old to grasp<br />
• Universal enough to speak to both kids and adults<br />
• Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />

The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
• Hook readers fast<br />
• Build tension that a child can follow<br />
• Create page turns that feel natural<br />
• Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.

The Arms of your story are the side characters.

The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
• Make your character's world feel real<br />
• Contain your story in a way that makes sense to young readers<br />
• Connect different scenes and moments organically<br />
• Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black.

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