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Category Archives: Characters and plot in fiction

Revisions in Life and in Writing

Beyond Book No. 1 – the short story collection

“Half my life is an act of revision” – John Irving.

Most of us writers are familiar with doing many revisions of their short story, their poem, their novel – whatever they are writing. But did it ever occur to you that our lives are full of constant revisions and we often have to “rewrite” parts of our lives? And that sometimes these life revisions affect our “revisions” in writing.

If this sounds absurd, let me give you a few examples from my life.

From when I was a teenager (back in the grey ages, of course) I wanted to write and get published. I accomplished the first, but the second was not so easy, Around the age of 20 I was writing short stories and when I finally got up the nerve to send them out (in those days by snail mail), I got what I thought was a devastating rejection from a journal in Alberta. “This is not a short story; this is an incident”. I was so upset that I stopped writing short stories and switched to non-fiction – newspaper and magazine articles. But first I took various courses i  magazine and newspaper writing at a local community college.

Then my husband (at the time) and I moved just north of Toronto to Aurora, Ontario. This was the mid-1970s and Aurora, unlike today, was a very small town. But that local college from Toronto had a campus in a smaller town just outside Aurora, so I took another course in freelance magazine and newspaper writing. This class was a turning point – all of the students got published.

My publishing started with me cold-calling a local newspaper in Bradford to pitch a story idea. The idea was actually my husband’s and he had to stand by the phone and give me moral support to call the editor. I was a real chicken then. But I did it. Then I go brave and added, “I also sent you a humorous personal essay.”

tBoth stories were published and I ended up freelancing for that newspaper for a few years, then moved geographically (getting published. i was still in Aurora). I wrote a weekly column on Aurora’s community groups and their activities – first with a newspaper in Newmarket for a year and a half, and then with one in Aurora. There is a story behind those gigs, but that is for another posting. My next regular writing  freelance gig was for the  Toronto Star – at the suggestion of one of the editors at the local paper. So I was freelancing for that newspaper as well as a few small magazines – writing profiles of quirky people (my favourite), theatre reviews, some business stories, stories of local organizations and their members.

And then I moved back to Toronto in fall 1998, and expanded my writing to higher profile magazines, wrote freelance for another Toronto newspaper The Globe and Mail and began to focus more on writing health-related articles – something I had become interested in when I started getting migraines.

But this was all non-fiction. Oh, yeah, I wrote a few poems and some were even published – in local newspapers and in a few literary magazines.

But what about fiction? I began writing what would become much later my first novel  in the Beyond mystery series. Actually I started that in Aurora not long before I moved.

And at some point in there I began writing short stories, one story in particular, Porcelain Doll. The idea for that came from my background way back. I was a railway brat – my dad worked as a timekeeper for the CNR and he, Mom and I got free train rides. So I started thinking like a writer. What would happen if? The father in the story is very different from my real father except for working for the railway and the three of us travelling to Grandpa’s farm in the summer.

Porcelain Doll went through many revisions and some of the writing critiques (from various writing groups, including the one I started – the East End Writers’ Group) tore it apart. But I kept on writing it and a few other short stories. Some of these other short stories were published in anthologies.

A new small book publishing company, Blue Denim Press, started up. One of the publishers in this husband and wife enterprise, used to come to my EEWG  group when he still lived in Toronto. so we were familiar with some of each other’s work from there. and after pitching a short story collection idea (originally with two of us authors), the publishers were interested in my stories. But I didn’t have enough stories to make a collection; still I signed a contract, and began writing frantically and furiously. Short stories travelled by email back and forth many many times with many many revisions. It seemed as more than half my life was then in constant revision

But Porcelain Doll finally made the cut and was one of the 13 stories published in Beyond the Tripping Point (Blue Denim Press, 2012). From there I (slowly, lots of revisions), I wrote and Blue Denim Press published my (so far) two Beyond mystery series novels – Beyond Faith (2014) and Beyond Blood (2017).

Now I’m writing two books and wondering if I have finally gone mad, crazy, off my rocker (well, I am a senior). One is a memoir, getting my most attention as it is the next one for publication next year, and the third Beyond novel, which has a beginning and I am also doing research with it and a constantly changing the plot outline – much of the changes going through my head.

So you can see where your life going through constant revisions can affect what you write (or don’t write) and when. All from the wisdom in a short story rejection – “this is not a short story; this is an incident”.

I use that one in the short story workshops I teach – but that’s another “story”.

And that’s my cue to get out of Dodge – for now.

Question: What revisions or changes in your life have affected your writing? And how have they done so?

Cheers.

Sharon A. Crawford

 

With Crime Writers Canada at Richmond Green library

 

 

 

 

 

 

 

 

 

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Taming your main fiction character.

PI Dana Bowman, main character Beyond books.

She’s done it again. Private Investigator Dana Bowman has jumped out of Beyond Blood and Beyond Faith to run amok in the real world. Is she going too far? Has she taken over?

When your main fiction character takes over your story, what should you do? Scream? Kick her or him back into the manuscript? Go with the flow (or flood)? Or listen to what he or she is saying?

Often you get so deep into writing your short story, novella or novel  that it seems like the story is getting away from you.  You are sitting there writing away in a creative fog or focus (take  your pick) and suddenly  it dawns on you. Hey, just who is writing the story?

First, take a deep breath. A character getting involved in their story  is not always a bad thing. It is a sure sign that your character is alive and you are deeply connected to his life. You know better how he operates because he is telling you this – or so it seems. That can be a good thing. Maybe your story was getting dull with something missing. Then it was as if your character jumped in to save the story? Your character is also telling you who he is and how he acts and speaks..

But what if the character is way off base? Not necessarily adding on to what you envisioned as the latter can be a big help. But what if the character has turned so unrecognizable that he just doesn’t seem to be himself?

Sometimes this character reveal develops your character in ways that makes the plot work better. It is as if you are getting insides from deep down. But….

If your character really seems to have gone off the rails and it is not because he  is drunk, on drugs or hasa psychological condition…then you need to stop and take stock.

Sop writing and sit back. Go over your character descriptions and what you have written in your story so far and remind yourself where you as a writer want to go with this character, with this story and with the two connected.

Ask yourself:

Are your character’s actions and diaogue things he would do and say in character – even when he is angry; even when he is sad? For example, if your character has a habit of swearing when upset, and suddenly is throwing plates,. you .need to step back and think. Was the situation something that would push your character over the edge? And how would he react when pushed over the edge? This latter would tie in with his traits. For example. if big on justice and the law, and somebody in his life has crossed the line – maybe beat up his spouse – would you main character beat up the wife-beater? Is that how hat character would exact justice? Maybe, if you have made this character the type of person who when pushed too far takes the law into his own hands. Or maybe not.

Sometimes you might just need to sit down and have a conversation with your character and ask “Just what were you thinking when you…?

And yes, I do carry on conversations with Dana bowman. But she still leaps out of the Beyond books and does her thing – which consists of mostly dissing me, her author. And she even says she wrote Beyond Faith.

Now tthat’s when you start worrying about your character taking over.

If you want to see Dana Bowman in action, she opens all my Crime Beat Confidential TV shows on thatchannel.com and here is a link. This is the third episode where Dana actually returns later in the show to do some of the interviewing of our guest, a real life private investigator. At least it gets Dana off my back…momentarily.

Now if Dana would just use some of that energy to take care of the crap in my life – you know cleaning the house, doing the dishes.

But she won’t. I didn’t create her that way. She doesn’t  even cook. It’s her fraternal twin PI Bast Overture who cooks.

Maybe i should rethink Dana and have her take cooking lessons in the next Beyond book. Yeah right. the books are murder mysteries so Dana is liable to poison someone with her cooking..

Cheers.

Sharon

 

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When the muse strikes write?

My Muse?

My muse has been busy this week. Early in the morning, she appears in the last dream  before I wake and she appears with answers, suggestions to the story I’m rewriting.I don’t actually see her or hear her. It is more a short scene showing the story scenario I have been struggling with, and leaving me waking up with an answer of what to write. You see, the more I rewrote the story, the  more I questioned something in the plot. Most of the questioning was under the “does it make sense?” category or the “have I got the police procedure right?’

It is a mystery at a crime scene and there is some police procedure there. But the main character is a civilian who wants answers and is determined to get them. because of who the victim is. So police procedure has to be correct, but it is seen from somebody not really familiar with it. And my character is a fat eccentric senior So the story is not just a mystery, but it has humor, satire.

I did my research and have explicit info from a police sergeant who is involved in investigating homicides. So I’ve been going over what he emailed me to fact check with what I’ve written. And that necessitated some changes and a follow-up email concerning the large binders police now use for interviews of all things. And he caught something else I had in the question wording – where witnesses and suspects are taken for more questioning.

So, like I said before, every time I made a change, another necessary one would pop up.

This story has a submission deadline of a week from now and a maximum word count. So those factor in with writing time and story changes.

So I’ve been lucky with my active Muse. And sitting down at my computer every day and rewriting. And resenting time I have to do other things.

It is only now that I have figured out how my Muse is working. Each day and each evening I mull over what needs to be changed to work in my story and it gets pushed into my unconscious when I get distracted. And I do get distracted a lot – problems coming at me to solve, health issues, other writing and editing stuff, phone calls, computer problems, errands, etc. When I finally get to bed and get some sleep  I have to go through several sleep cycles first and several unremembered dreams to get to the point when my Muse can get through. And she has and I am grateful for that and also for her timing – last dream before I get up.

Now if my Muse would only help me solve all the other annoying problems I have to deal with.

Any day I would much rather do something creative – like write or take photos or in the summer garden then deal with what I call negative problems shoved at me from what I call outside. I can create enough chaos without any help from others.

So, the lesson learned is – when the Muse strikes, WRITE!

How does your Muse work? Do you have a Muse? Do you listen to your Muse?

Cheers.

Sharon A Crawford

riter/Editor/Writing Instructor

Author of the Beyond mystery novel series.

 

 

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Using Humour in Fiction

Mysteries, thrillers and horror fiction can be very grim. Some authors (including me) add a little humour to lighten the load a little. But there are a few things to consider if you want to use humour in your fiction. (Note: I’m using the Canadian spelling of  “humour” because I am Canadian).

First, a big  no-no:

Don’t have your character or characters crack a lot of jokes. This isn’t stand-up comedy or a comedy TV series. There could be one exception to this – if a trait of one of your characters is to tell jokes – bad or otherwise and it fits in with the plot and this character’s interaction with other characters. But use it sparingly or not at all. It is not the best technique.

Some techniques that can work:

Your main character is a klutz. Picture a klutzy private investigator or cop or? This can bring up several scenarios that can lighten your story. It can also provide some problems for your character in their investigation. For example, your PI is snooping outside a house where nobody is home at the moment. Or maybe he or she gets into the house to look around. Instead of the family dog barking at them or charging at them, why not have the kluzy PI trip over a sleeping cat and fall down a few stairs – or how about a whole menagerie of animals – maybe he or she collides with a snake that has gotten loose from its cage? And the PI is terrified of snakes.

Or give your PI or cop, what we call a character tag and use that to create some humour as the character does what he or shee normally do. In my Beyond books, Detective Sergeant Donald Fielding stutters – not with work-related things, but with personal things that make him nervous – such as his attraction to PI Dana Bowman. He also suffers from migraines. In one scene in Beyond Blood, Fielding knocks on the door of the bedroom Dana had to sleep in overnight – not at her place as a murder and kidnapping took place there and her home is a crime scene,so Dana and her fraternal twin PI  Bast Overture are staying at a neighbour’s next door. Here’s a short excerpt from Beyond Blood with the encounter the next morning between Dana and Fielding.

Beyond Book No. 2

The pounding came from the bedroom door.

“M … M … Ms. Bowman,” Fielding said from outside the door.

Couldn’t the man give me a little privacy? I pushed the covers off and realized I was in a strange bed and still wore my party dress. Red for blood. Red. Cut it out, Dana.

“What the hell do you want, Fielding?”

“Are you d … d … decent?”

“What?” I scratched my head and yawned.

“Ms. Bowman. I need to talk to you.”

“So talk.”

“I h … h … have a ch … ch … change of clothes for you.”

“What?” I leaped out of bed, ran to the door and pulled it open.

Fielding leaned against the wall. His face resembled whitewash and red rivers flowed through his eyes. He held a plastic bag, which he slid over my way.

“Your ch … ch … change of clothes. C … Constable Nivens collected them.”

“Thanks.” I grabbed the bag. “You look like hell. No sleep?”

“Just a migraine. I get them all the time. It’ll pass.”

“Migraine. Here, come in and sit down on …” A quick glanced around the room showed an ironing board piled high with clothes standing beside a chest of drawers. A basket of clothing sat in the room’s only chair. “… on the bed.”

“No, it’s okay.”

“No, it isn’t. Migraines are awful. My mother used to get them, but thankfully I don’t. She used to blow in a paper bag, to get rid of the pain, I mean. Maybe there’s one here.” I started rummaging in the dresser drawers.

“Ms. B … B … Bowman. It’s all right.”

“Here we are.” I shook a scarf from a Fashion Shoppe bag and shoved the bag at Fielding. He ignored it. “Put it over your face and blow.”

He stared at me, for once speechless, took a deep breath and sputtered.

“Take the damn bag and blow. And go and sit down. I don’t want to have to deal with a cop passing out in a bedroom.”

A little colour hit his face for a second. He staggered over to the bed, plunked down on the edge, leaned over and blew. I moved towards the doorway, stopped and swung around.

“Look, Fielding, I’m sorry. Guess we’re all a little edgy.” I sat on the bed beside him and touched his forehead. He flinched and pulled away. “Sorry. Do you want a glass of water?”

“W … w … wait. It’s the kid. I m … m … mean your son. I have a daughter.”

“I know. You told me earlier.”

“Well, I want you to know, Ms. Bowman.”

“Dana.”

“D … Dana, that I’ll do my best to get your son back safe and sound.”

“I know that, Fielding.”

“Don.”

“What?”

“M … my name is Don.”

“Okay, Don. Anyway, you have two private detectives in the house to help you out.”

“Now, listen here, Ms. Bowman. You let the police handle this. Your job is to answer your cell phone if it rings, so we know what the kidnappers want. Nothing else.” He pointed his forefinger under my nose. (Copyright Sharon A. Crawford, From Beyond Blood, Blue Denim Press, 2014).

As you can see,  there is enough for the reader to visualize – especially a burly cop blowing into a brown bag.  hey are in close quarters and both characters are uncomfortable. But it is only a moment before the two characters return to “business”. But what else does the encounter tell you about the characters and the story?

In my short story collection Beyond the Tripping Point, some of my stories are noir and satire, one in particular – The Body in the Trunk, which has an unusual take on two friends trying to move a body to… well, that would be giving it away. You have to read it to get it.

And that’s my last suggestion. Read published novels  containing humour in the genre you are writing in. Three authors who do it so well are:

Melodie Campbell with her Goddaughter  series. The Toronto Sun calls her “Canada’s Queen of Comedy”.

Steve Shrott (who also teaches humour writing) with his stand-alone mysteries. One features a dentist who is a part-time PI and another features an actor whose main roles have been dead bodies.

Janet Evanovitch and her  mysteries. Her bail bonds character, Stephanie Plum, is forever getting into scrapes, especially with the two fellows who like her.

See how these authors work their humour to fit their characters and their plots.

Happy reading, especially over the Christmas season.

Have a good holiday.

Cheers.

Sharon A. Crawford

 

 

 

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Can Point of View help Character Development?

No matter what genre of fiction your write – mystery, romance, science fiction or if you writer literary fiction – your characters are very important to your story and to your readers. Readers want to get to know your characters so they can connect to them – whether they like or dislike them. If you just skim the surface of your characters they become too superficial and your readers just won’t care about them. They may even stop reading your short story or novel before getting to the end. This does not bode well for the fiction writer.

How can you make your readers connect to and care about your characters?

One way is getting inside their head. The best way I know how to do this is by using another fiction-writing technique – Point of View.

Point of View is often misused, especially if you use more than one POV in your novel. And using more then one POV is not wrong. You just have to remember the cardinal rule. One character’s  POV per scene or per chapter. So stay only in that character’s head during that scene or chapter. Otherwise you are doing what we call in the business – “jumping heads”. Perhaps if you think of lice doing that it will give you some incentive not to jump heads.

How can POV help you see and develop your characters?

Basically,if you are inside that character’s head, you have to think like him or her – not like you would think for yourself. For example, how does he react when things go wrong ? What makes him scared and what does he do because of it? Is he shy? Is he a bully? Is he being bullied?  Reactions include actions, dialogue, inner thoughts and how others react to him? And these will depend on the character. For example if the character is a child, the reactions will be different than an adult. But adults also react differently to situations and that is based on their background, their characteristics – physical (are they short and fat and subject to a lot of derogatory comments about that? Do they cringe, hide inside themselves, stand up for themselves or bully the attacker – maybe punch him in the nose?)

All depends on your character and yes, doing a detailed character outline of your character helps. Just remember like real-life people, characters change and evolve – often because of what goes on in their life. So your character outline is fluid.

How do your characters react to being insulted? Frightened? To trauma?

Let’s look at one of my main characters in Beyond Faith – seven-year-old David Bowman. He was kidnapped in the previous book, Beyond Blood, and is suffering from Post traumatic stress disorder because of it. This affects how he speaks, what he does,what he thinks and what others, especially close family, think of him.

The best way is to use the writing axiom of “show not tell.” So here are a couple of short excerpts from Beyond Faith (published Blue Denim Press, fall 2017). Please note all copyright of all excerpts,  is with me, Sharon A. Crawford, the author.

First, his mother’s inner thoughts about him. The first chapter is from her – PI Dana Bowman’s POV. She is walking up Main Street dreading returning home. Two short excerpts here:

THE WIND WHIPPED my back and the cold rain pelted my face. Hunching further inside my jacket, I pulled the hood tighter. Despite chattering teeth and an oversized purse sliding down my sleeve, I continued plodding forward.

Late November in Thurston Ontario could weave a wicked wind, leaving you out of sorts and gasping for life, a feeling I had experienced a lot lately. Couldn’t seem to put my finger on it. Bast said it was because we would turn 40 the end of next month and to get over it. But that wasn’t it. Just when I seemed to find the proverbial hole, something always kept me from crawling in. But what was really stopping me?………

 

I should be happy. Not only did my son David survive his kidnapping last year, but this July he finally started talking again after months of silence. First he wouldn’t shut up, then he took to following Bast around again like he did when still mute. Since summer disappeared into autumn, when not at school, David was spending more time alone in his room—drawing. I didn’t like what erupted from his crayons—devils, fires with heads sticking out the top, hands wielding axes or guns. Where did he get all these ideas? Had he not healed from the kidnapping? Maybe the aftermath was like grief—going back and forth and all over the place in uneven stages……

What’s happening here? How does this clue the reader in on David’s character? And on his mother’s too? What do these short excerpts tell you about mother and son?

Let’s hear from David now in another scene. A little bit of info first. Partway through Beyond Faith, Dana is attacked from behind, falls to the cement and suffers a concussion. This is part of the scene a few hours later in the hospital from David’s POV.

“Uncle Bast, can we go see Mommy so the detective can find out who hurt her?”…..

Bast turned to the doctor. “Very well, if you don’t have any objection, Doctor? I would like to see my sister, too.”

Dr. Richards scratched his cheek. “She is sleeping now. She should get more rest, no excitement.”….The doctor shrugged his shoulders. “Fine. But just family. And just for a few minutes.”

He led them back to Mommy’s room. The cop sitting outside seemed to be asleep on the job. David went to him and shook him. “Wake up. You’re supposed to be watching Mommy’s room to keep the bad guys out.”

Constable Biggs looked up, but before he could say anything, Uncle Bast was leading David into the room, behind the doctor. The doctor said something to the nurse about giving them a few quiet minutes alone with the patient. The nurse stood up and she and the doctor left the room.

Bast sat down in the chair on one side of the bed. David moved his chair closer to Mommy on the other side. He sat down and took her hand. And started to talk about school, Ms. Dugan, and Buddy. He was there and he wasn’t going to leave her. If he did, he knew she would die……

What does this excerpt tell you about David? What techniques were used to show the reader David’s character? And as this is a child character, are his thoughts and language appropriate for a seven-year-old boy?

If you wish to find out more about the Beyond characters, Beyond Blood and Beyond Faith are available at amazon.com, amazon,ca, and other online places as well as some bricks and mortars stores.

But I am also suggesting you read a variety of novels (or short stories if that is your writing area) to see how a variety of other authors handle POV and character. Two caveats: unfortunately a small portion of published fiction messes up the POV – blame the editor here. And don’t copy what another author does – reading is for your learning and inspiration. In the end it’s your story and your characters.

Cheers.

Sharon A, Crawford

 

 

 

 

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Getting ideas from your garden

Scene from my garden

Many of us writers are also gardeners. I’m not sure why. Both are creative although not in the same vein. One we create with words and the other we create with colour, design and more practically for food to eat. Writing is more in the head and gardening requires a lot of physical exercise. So maybe the two provide balanced living.

For example, when something about a story I’m writing hits a stalling point, I go out in the garden. Often I end up pulling weeds. Like the bad things in life irritating me, which I want gone, I want the weeds gone. And sometimes when someone or some entity (read big utility company and the like) has messed up something in my life, I give the weeds names as I yank them out and pitch them in the yard waste bin. And yes, when I’m done in the garden I often have an idea how to deal with the problem person or entity.

And I often get a story idea – like the short story I’m writing and rewriting about telemarketers.

So, let’s see how something in the garden can bring about a story idea. Let’s take something common in people’s gardens – wildlife trespassing and doing damage. In particular raccoons getting into the garbage and creating a mess. I used that idea as part of the plot in my first Beyond novel Beyond Blood. I had someone doing a series of break and enters one summer also leaving a dead raccoon at some of the places. There was a reason for it and not to punish raccoons for causing damage. You’ll have to read Beyond Blood to find out what.

But raccoons or any other animal doing garden damage can conjure up several story ideas: a rash of garbage and recycling bins being knocked over in a neighborhood on collection days. Raccoons? Or something else. Maybe a red herring for something really bad going on. Perhaps someone in the neighborhood wants to sell their property to a developer and his or her neighbors don’t want to. Or vice versa Maybe a developer wants to tear down some old houses to put up condos. So someone (depending on your story’s angle) might be imitating raccoon actions to make the area no longer livable for the residents and so they will want to sell, but not get caught.

Or back to the weeds for another story idea. Whose name are you using when you pull a weed and why? What’s the problem the person is causing? Take it from there but fictionalize it.  Like I did with the telemarketer story. I wrote it somewhat tongue in cheek but it is a murder mystery (well, that is what I write). I decided to take a crack at telemarketers and created a fictitious telemarketing firm and had a gardener and a non-gardener who are friends go after that company. And that’s all I’ll say.

And from that, you can see your story characters don’t all have to be gardeners. In my Beyond series, neither PI Dana Bowman or her fraternal twin PI Bast Overture are gardeners, but gardens and gardening appear in two of the short stories featuring them in Beyond the Tripping Point. In “Road Raging”, the twins traipse through a garden gone dormant in the fall – they are after a road rager. In “Digging Up The Dirt” inside a garden centre  something poisonous in it is featured.

Want more ideas? Watch the old BBC series Rosemary and Thyme which has two gardeners who are hired to fix large estate gardens in England and always run into murder. One of the two women gardeners is a former police detective. Sometimes PBS runs reruns but it is also available ion You Tube.

Or if you want something currently running on TV on one of the specialty channels – try Midsummer Murders – often takes place in a large beautiful English country garden although murders are investigated by police, not gardeners.

Take a look at the photo from my garden at the beginning of this post. Does it give you an idea for a story?

Cheers.

Sharon A, Crawford

Author of the Beyond mystery series. Latest Beyond Faith. Here is one of the other Beyond books mentioned in the post above. Click on it for more info about it and the other two Beyond books.

 

 

 

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Dark and stormy nights and other novel settings

It was a dark and stormy night. All right, cliche setting. But perhaps it’s overuse and familiarity has a reason. Settings are important when writing fiction. You don’t live in a vacuum, do you? Neither do your characters and their stories. Even if your character has disappeared to a remote island, there is still a setting. Think ocean, sand, trees, wild animals, an anonymous presence, etc. Even if your character is in prison, there is still a setting – albeit one limited in space.

Settings influence your plot and your characters’ behaviour. Don’t believe me. What about the late Rex Stout’s Nero Wolfe mysteries? Wolfe, a  middle-aged PI, lives in a brownstone apartment in New York City. He seldom leaves his apartment and prefers to spend his time alone in his big orchid room, commiserating with his large collections of orchids. Yes, the plants, in a room of their own.. Not your typical use for a spare apartment room. Wolfe is a loner and an eccentric. When he wants to see clients or suspects, he orders his employee, side-kick Archie to get them in. Any legwork outside the brownstone is Archie’s responsibility. And that is where the reader sees and experiences the setting – a New York City a few decades ago.

So you can see how setting is part of the characters and plot. Sometimes setting can even be a character. Think The Perfect Storm, although here I am treferring to the movie. In fact if you want to see setting, watch the movies and TV shows and see the variety of settings presented. There are hospital series such as The Good Doctor and Chicago Med. So you feel like you are there in the hospital. Or a fire with some of the firefighters stuck inside it in Chicago Fire. You can tell what I like to watch. Even the overdone car chase scene has setting. If you can get your eyes off the cars for a few minutes and just see their surroundings. A car chase on Hawaii Five-O is much different than one through the slushy, snow-covered streets in wintry Chicago PD. And the setting for the car chase influences just how the chase might go.

Back to books. In my mystery novel Beyond Faith, late the last night in November 1999, PI Dana Bowman is walking from a reception party to a midnight meeting with a blackmailer at St. John’s Church. Basically, she is walking from the industrial area of a mid-sized town to its downtown. On the way, I blend in the warm for  November night with a car that seems to be following Dana. I’m not going to tell you what happens with that; instead I’m going to quote some of what happens when Dana gets to the church.

No one else was about, which might make it easy to spot the blackmailer as he or she arrived—if he or she showed up. Even the area of St. John’s was barren of people, but about half a dozen cars were parked in the parking lot. Overflow from the Beaver and Cricket, no doubt. Not the church, which appeared dark, and after climbing the stairs, I found that the door was locked. Odd. But then the time was pushing closer to midnight and St. John’s probably was the church that had been robbed earlier this year.

I walked down to the cement seat surrounding the fountain, and began pacing to and from the seat. My digital showed as five minutes before midnight. More pacing and time checking did nothing except move time forward to 11.58. The blackmailer was pushing it close. A breeze brushed my face and I wished to be wearing the usual wardrobe of jeans, sweats and warm jacket. I also wished the blackmailer would hurry up and get here. Just as I started to put on my fake fur coat something snapped nearby. A tree branch? I jumped and dropped the coat on the ground. Get a grip, Dana. Clutching my bag, I moved away from the fountain seat and looked at the other side of the fountain. (from Beyond Faith, Copyright 2017, Sharon A. Crawford, published by Blue Denim Press, 2017)

And no, I’m not going to tell you what comes next. You have to get the book for that. (Hint. Click on the book at the top of this post.)

But from the Nero Wolfe scene descriptions and from the above from Beyond Faith, something else is going on. We don’t just get a bland description of the setting. The characters are actually doing something in it and the plot moves forward.

Plot, characters, setting – all part of a novel and they are intertwined, connected.

Cheers.

Sharon A. Crawford

 

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