My WIP takes place in a continent-spanning wilderness, but I can't decide how to introduce this. Should I go with the discover-as-you-go approach, or should I introduce the setting in that free paragraph I hear so much about?
I've written it both ways, and I like them both (though the second smacks of taking the reader by the hand and showcasing a real estate pitch). They each have their own merits.
The first holds more wonder and mystery for the reader, as the MC doesn't quite know where she is, but she's heard stories enough to terrify her, and more and more of them seem to be less than utter fiction. She discovers as she goes, and therefore so does the reader, for although we switch POVs to those who already know, they're not the sort to stop now and then to arbitrarily recount information just to remind themselves that they know it.
The second second approach is far more direct. It details (in a few paragraphs) this "wild continent bifurcated by a mighty river" (as I think I wrote it), as it hints at locations and events, mentions some out-of-the-ordinary creatures, and sets up some of the main characters in a kind of panoramic shot of the continent, with the occasional zoom to the more pertinant, and aforementioned information (yes, I'm cinema influenced. Sue me). I like these paragraphs (some good writing, I think, though it needs a bit of tweaking), but they may not be necessary. And if they are, do I put them in their own "Introduction" chapter, or at the beginning of Chapter One? (Not in the prologue, for sure. I've enough of them as it is.)
So yeah, I'm conflicted. It's not the end of the world, or the story; the problem came completely out of left field (the panoramic view only recently occured to me) but I'd really like to have this nailed down before I move on.
Personally I like the first way. I like to write it. I like to read it. Unfortunately that is not what is in vogue now. I fear that if you start your story of that way and write too cinematic (which I also do and like)it would not be recieved well by the writing community or the publishing community. I feel, if you are already published and that book did well, then you might be able to go very descriptive and get away with it. If publishing isn't your main goal with this work then keep the detail.
posted
"...the MC doesn't quite know where she is, but she's heard stories enough to terrify her, and more and more of them seem to be less than utter fiction."
Perfect. That's it right there. Describe it through your MC's POV -- how she perceives it, how it frightens her. Characteristics of the world that are important to your MC are the ones important to the reader. Plus, it's a great way for us to find out more about your MC.
posted
If your MC knew all about the land, if she was raised there and its vast wilderness expanses were a matter of course, then I would have some sympathy for the second approach as the details would be unlikely to flitter through the MC's head in a realistic enough way for you to squeeze them into the narrative. BUT it is inadvisable for the reader to know much more than the MC does in 3PLO. (There are exceptions but your cas isn't one of them.)
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posted
I'm for the "tell the reader" approach, but the question is, tell the reader what?
If there's something important that the reader needs to know, tell us even if it breaks POV (in paragraph 1). But it *sounds* like all we need to know is that MC is lost in the wilderness -- and she already knows that!
When I've done the cinematic paragraph 1, I've done it in 2 ways (both times because OSC told me to, for those particular stories): * A free paragraph telling the reader what he should know from the blurb, something the characters will be discovering soon; but I don't want the reader puzzling over it (since the characters have other fish to fry) * A paragraph telling the reader something you must know to follow any of the story, something the MC knows but would not be thinking about (since MC had other fish to fry)
posted
Well, characters seldom go around saying, "Hey, we're on name of planet" or "name of area" to each other after they've been on it or in it awhile. (Hey, we're on Earth...or, at least, I am...)
If you go with your first option, it might be possible to drop a few details in dialog and commentary around it about where they are and what they know.
The other option will work...if it's relatively short.
posted
If you were only using the one POV, I'd say you should definitely use that POV only. But since you're using several POV characters, some of whom have this knowledge already, it probably is a good idea to use the establishment shot.
The reason for not using an establishment shot is because you want to focus the entire narrative on the story from the perspective of a single character. Rather than seeing her in perspective, we see from her perspective. But by using other POV characters, you're already giving up on that. And as those other characters already know this information, we need to know it as well in order to properly understand their perspectives.
The real question is how much you need to use those other POV's. I can see two or three POV characters where the focus of the story is entirely on their relationship, but if the reason your using multiple POV is to do a "cast of thousands" epic, it's best if you're actually in some form of unrestricted omniscient. This would ordinarily be called Full Omniscient, but in fantasy it's often a "Bardic" Omniscient. Jordan (and I've been hesitating to invoke him) uses just such a POV. Tolkein uses the much more studied "Scholarly" Omniscient (which is sufficiently more difficult to be very rare, I don't think many people who aren't actual scholars could imitate it).
Include the panoramic cinema shot, but detail only what the girl knows: the wilderness is vast, dangerous, and dark; a river cuts through it, and that's where she is.
Basically catch up the reader to the girl, who knows the least of all MCs, and have them (the reader & the girl) discover the rest together.
posted
I think its a huge mistake to think that you need to establish your setting before your story.
You need to establish your setting in the opening scenes of your story, but your story should be starting while we become familiar with the setting.
Your characters do not need an introduction. Their entrance/being themselves will introduce them just fine.
The biggest mistake I see is people who formulate their introductions.
Introduce the physcial setting. Introduce MC.
The sun rose over the majestic purple mountains above the hamlet of Goobersville. As the townfolk began their day, Johnny woke and stretched. He found a mirror and admiring his brown hair and striking blue eyes, proceeded to shave.
OMG...these are so typical of novice writer mistakes.
Start your story at the begining of the story. Include enough setting in your story to make us feel like we are in the place but do not pause the story to describe the setting. Don't even pause it before it starts.
posted
I've been reading all your posts with interests. Would the best way to decide on the best way - heh,heh - be to compare the two and maybe throw in a compromise and decide which method helps get the story to the reader best? You might have to write it three different ways, but what's time and toil to a writer? For all our concern about mechanics, I think we should remember that the story's the thing.
Posts: 98 | Registered: Aug 2006
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posted
If you're only going to establish what she knows, then you should just do so from her POV.
The reason for using the panorama is to give us information that she doesn't know, but will be critical for us to understand the POV of other characters later. If you omit telling us about Gonzo the wonderful wish-granting dog, then we'll be confused when you switch POV to some character on a quest to find Gonzo on behalf of some other character we probably should have heard about already.
There are other ways to give us this information. You could have someone (perhaps our questing friend) inform your current POV character about Gonzo. You could switch to his POV in a moment when he has reason and opportunity to think over the details of his quest. You could stick a wacking dull history lesson on the front of your novel. Or you could put it in an appendix or use footnotes. There are lots of ways to do this. You just need to know how each method helps with your overall purpose in writing.
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