So much to learn from here! I'm particularly struck by the idea of tying place to the conflict or stakes in the character's story. That has opened up a new way of thinking for me. When I was a teenager, I lived in places of big, smack-you-in-the-face beauty -- the southern coast of Brazil, and St. Croix, USVI. Such places are hard to look at an inch at a time, and I haven't come up with a way to describe palm trees and masses of blue and green without using very worn phrases. But I could contrast those places with what was going on in me. Thank you so much, @Mary Tabor and @Eleanor Anstruth for your wisdom and generosity!
Oh, Elizabeth, we are so grateful for your question and a chance to research and answer it in full. The key for your book is going to be what is, as you say, "going on in you."-- I could go on and will in another post. So glad we could help and looking forward to part 2 of your question that deals exactly with the problem you pose here: coming soon!
I love the idea of place as the third character. As an essayist, I find place is the first thing to go, that is, it's the aspect that I don't focus on as much. I know many do, and do it well, but I think I forget or minimalize it because I've been turned off by overly descriptive writing. But this is my reminder to get it back into the pot. Thanks, Mary.
Great post and thank you Mary for introducing Pam Houston's story to me years ago. I wonder if using particular "place-orientated" or "time-orientated" terms that can't be used elsewhere, deters readers. I'm thinking of dialects, for example. I don't mean the over-use of them, just added to set the flavour of place and time.
First, thank you, Isabelle, You were a marvelous student for me to work with. Second, You query sounds like a question Eleanor and I would love to answer. May we add it and deal with it in full?
Great use of examples, Mary! I really enjoyed this and found it very perceptive. Thank you! I especially valued this: "We need to tie the “setting” detail to the character and the conflict that’s always the strong stake in a short story, novel or memoir."
I don't think there's any finer prose than the first chapter of Ulysses. Mary, you make such a great point about how quickly and deeply Joyce places us in Dublin. Not only in Dublin's present but in its past also. And Joyce also sends us to a dictionary to look up some words and phrases, both Irish and a little Greek too.
Yes, David, I so so agree! I think it is Anthony Burgess in _ReJoyce_ who said he would have on his bedside two books: the Bible and Joyce's Ulysses. If I'm right--don't have time to search the Burgess book right now--one helluva line ... Love your words here!
So much to learn from here! I'm particularly struck by the idea of tying place to the conflict or stakes in the character's story. That has opened up a new way of thinking for me. When I was a teenager, I lived in places of big, smack-you-in-the-face beauty -- the southern coast of Brazil, and St. Croix, USVI. Such places are hard to look at an inch at a time, and I haven't come up with a way to describe palm trees and masses of blue and green without using very worn phrases. But I could contrast those places with what was going on in me. Thank you so much, @Mary Tabor and @Eleanor Anstruth for your wisdom and generosity!
Oh, Elizabeth, we are so grateful for your question and a chance to research and answer it in full. The key for your book is going to be what is, as you say, "going on in you."-- I could go on and will in another post. So glad we could help and looking forward to part 2 of your question that deals exactly with the problem you pose here: coming soon!
I love the idea of place as the third character. As an essayist, I find place is the first thing to go, that is, it's the aspect that I don't focus on as much. I know many do, and do it well, but I think I forget or minimalize it because I've been turned off by overly descriptive writing. But this is my reminder to get it back into the pot. Thanks, Mary.
Oh, I'm so glad, Lani. Thank you for reading and commenting.
Great post and thank you Mary for introducing Pam Houston's story to me years ago. I wonder if using particular "place-orientated" or "time-orientated" terms that can't be used elsewhere, deters readers. I'm thinking of dialects, for example. I don't mean the over-use of them, just added to set the flavour of place and time.
First, thank you, Isabelle, You were a marvelous student for me to work with. Second, You query sounds like a question Eleanor and I would love to answer. May we add it and deal with it in full?
Sure. Thanks, Mary.
Great use of examples, Mary! I really enjoyed this and found it very perceptive. Thank you! I especially valued this: "We need to tie the “setting” detail to the character and the conflict that’s always the strong stake in a short story, novel or memoir."
You, Jeffrey, give me the courage to go out on twiggy lim to answer these complex questions. Thank you so!
Thank you for another writer's treat.
Good advice all around.
I don't think there's any finer prose than the first chapter of Ulysses. Mary, you make such a great point about how quickly and deeply Joyce places us in Dublin. Not only in Dublin's present but in its past also. And Joyce also sends us to a dictionary to look up some words and phrases, both Irish and a little Greek too.
Yes, David, I so so agree! I think it is Anthony Burgess in _ReJoyce_ who said he would have on his bedside two books: the Bible and Joyce's Ulysses. If I'm right--don't have time to search the Burgess book right now--one helluva line ... Love your words here!
Yes! Too many go short on the locale. Where a character lives is another character.
Indeed and well-said, Richard. Thank you so for reading and commenting! xo