Quotes & Sayings About The Setting Of A Story

I'm producing too many stories at once because what I want is for you to feel, around the story, a saturation of other stories that I could tell and maybe will tell or who knows may already have told on some other occasion, a space full of stories that perhaps is simply my lifetime, where you can move in all directions, as in space, always finding stories that cannot be told until other stories are told first, and so, setting out from any moment or place, you encounter always the same density of material to be told. — Italo Calvino

I never think of an entire book at once. I always just start with a very small idea. In 'Holes,' I just began with the setting; a juvenile correctional facility located in the Texas desert. Then I slowly make up the story, and rewrite it several times, and each time I rewrite it, I get new ideas, and change the old ideas around. — Louis Sachar

I think this takes a lot of courage and integrity to find your own voice and way to express not only your story, but the reality you are setting it within. — Danae Elon

To do that Cinnamon had to fill in those blank spots in the past that he could not reach with his own hands. By using those hands to make a story, he was trying to supply the missing links. From the stories he had heard repeatedly from his mother, he derived further stories in attempt to recreate the enigmatic figure of his grandfather in a new setting. He inherited from his mother's stories the fundamental style he used, unaltered, his own stories: namely, the assumption that fact may not be truth, and truth may not be factual. The question of which parts of story were factual and which parts were not was probably not a very important one for Cinnamon. The important question for Cinnamon was not what his grandfather did but what his grandfather might have done. He learned the answers to this question as soon as succeed in telling the story. — Haruki Murakami

In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words. — Madeleine L'Engle

'Seize the Story' takes readers all the way through the process of writing fiction, from beginning to end. Every element, from dialogue to setting, plotting to character creation, is laid out and illustrated with examples. But the tone of the book is not that of a dry writing manual - it's definitely written for teenagers. — Victoria Hanley

French with Madame Fine is reduce to a long series of technical exercises whether we're doing grammar or reading texts. With her it's as if a text was written so that we can identify the characters, the narrator, the setting, the plot, the time of the story, and so on. I don't think it has ever occurred to her that a text is written above all to be read and to arouse emotions in the reader. Can you imagine, she has never even asked us the question: Did you like this book? — Muriel Barbery

There's an awful lot of corruption in Japanese business and politics, corruption of the sort that can make for great setting for a spy story. — Barry Eisler

Your story is not a picture of life; it lacks the elements of truth. And why? Simply because you run straight on to the end; because you do not analyze. Your heroes do this thing or that from this or that motive, which you assign without ever a thought of dissecting their mental and moral natures. Our feelings, you must remember, are far more complex than all that. In real life every act is the
resultant of a hundred thoughts that come and go, and these
you must study, each by itself, if you would create a living
character. 'But,' you will say, 'in order to note these fleeting
thoughts one must know them, must be able to follow them in their capricious meanderings.You have simply to make use of hypnotism, electrical or human, which gives one a two-fold being, setting free the witness-personality so that it may see, understand, and remember the reasons which determine the personality that acts. — Jules Verne

For the fiction students I teach, one of the most common mistakes is to start in the wrong place. Often the actual story doesn't begin until about a third of the way into their narratives. They start off instead with excessive scene-setting, metaphysical speculation, introducing nonessential dramatis personae, throat-clearing, etc. — Darin Strauss

A single prop that does not look real to an audience can louse you up. The same is true of the smallest flaw in setting up the motivation in a story line. — Desi Arnaz

I grew up at the height of the AIDS panic, when desire and disease seemed essentially bound together, the relationship between them not something that could be managed but absolute and unchangeable, a consequence and its cause. Disease was the only story anyone ever told about men like me where I was from, and it flattened my life to a morality tale, in which I could be either chaste or condemned. Maybe that's why, when I finally did have sex, it wasn't so much pleasure I sought as the exhilaration of setting aside restraint, of pretending not to be afraid, a thrill of release so intense it was almost suicidal. — Garth Greenwell

No, life cannot be understood flat on a page. It has to be lived; a person has to get out of his head, has to fall in love, has to memorize poems, has to jump off bridges into rivers, has to stand in an empty desert and whisper sonnets under his breath ... We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and resolution. It would be a crime not to venture out, wouldn't it? -Donald Miller,Through Painted Deserts — Donald Miller

the same way that you can easily switch the letters of a word around to see another hidden meaning, such is life. A life can be defined by its hardships or its blessings. It's all a matter of how you look at it. So, while this book was once setting up to be a tragic tale, it turned into a love story, an imperfect but unconventionally epic romance. — Penelope Ward

Pueblo, Colorado, a corrupt and decaying mining town high in the Rockies, is the setting for Heidi Julavits's The Mineral Palace, a story of motherhood, a troubled marriage, and the unveiling of long-held secrets. — Nancy Pearl

When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing - she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision. — Mary Grandpre

I throw everything I have into whatever story I'm writing - and so there's something immensely gratifying about finishing one piece and then starting fresh with a new setting, time period and cast of characters, getting to see the world through a completely different lens each time. — Molly Antopol

In campaign reporting more than any other kind of press coverage, reporters aren't just covering a story, they're a part of it - influencing outcomes, setting expectations, framing candidates - and despite what they tell themselves, it's impossible to both be a part of the action and report on it objectively. — Michael Hastings

It's easy to think that if we had a different house, different car, different job, different relationship, different city, everything would be different; that we would feel different then.

The problem is, you are the main character in the story that is your life. No matter how much you alter the setting of that story, you can't escape from yourself. There are many factors which contribute to your experience on this planet, but ultimately, you are the one creating your experience here. In order to get to the life you are here to live, you must begin by becoming the person you are here to become. — Stephen Lovegrove

Michael Koryta is that rare author who is at once a compelling story teller and a fantastic writer. From the first sentence of THOSE WHO WISH ME DEAD, you'll be under his spell. His characters are living, breathing people you'll care about; his setting is a place you'll visit and stay-long after you've decided to leave because you're scared. You can't leave; you're trapped. There are too many nerve-jangling, beautifully written, razor sharp moments and you won't want to miss a single one. This is an absolute sizzler. — Lisa Unger

It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story. — George Lucas

Even if your novel occurs in an unfamiliar setting in which all the customs and surroundings will seem strange to your reader, it's still better to start with action. The reason for this is simple. If the reader wanted an explanation of milieu, he would read nonfiction. He doesn't want information. He wants a story. — Nancy Kress

If you set out to write an adjective novel, you're setting out to write a mediocre novel; your allegiance is to the adjective, not to the story, and then that just sucks all the joy right out of it. — Patrick Ness

The irony of informing nearly naked people in a wilderness setting about the story of naked Adam and Eve eating the fruit of knowledge and inventing the fashion industry due to a sudden need for clothing to hide their shame is not lost on Williams. — Sarah Vowell

Now for St. Francis nothing was ever in the background. We might say that his mind had no background, except perhaps that divine darkness out of which the divine love had called up every colored creature one by one. He saw everything as dramatic, distinct from its setting, not all of a piece like a picture but in action like a play. A bird went by him like an arrow; something with a story and a purpose, though it was a purpose of life and not a purpose of death. A bush could stop him like a brigand; and indeed he was as ready to welcome the brigand as the bush. — G.K. Chesterton

The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail. — Big Boi

Within the desert setting, women faced an additional challenge because they had to manage not only their own spiritual progress but also the constant tension caused by men's reactions to them. A story about an anonymous leader of virgins demonstrates the need to deal gracefully with men who often treated them as a source of temptation rather than as fellow seekers. When some monks made a detour to avoid encountering her and her sisters, she commented, 'If you were a perfect monk, you would not have seen us as women. — Kate Cooper

What the young writer needs to develop, to achieve his goal of becoming a great artist, is not a set of aesthetic laws but artistic mastery. He cannot hope to develop mastery all at once; it involves too much. But if he pursues his goal in the proper way, he can approach it much more rapidly than he would if he went at it hit-or-miss, and the more successful he is at each stage along the way, the swifter his progress is likely to be. Invariably when the beginning writer hands in a short story to his writing teacher, the story has many things about it that mark it as amateur. But almost as invariably, when the beginning writer deals with some particular, small problem, such as description of a setting, description of a character, or brief dialogue that has some definite purpose, the quality of the work approaches the professional. Having written some small thing very well, he begins to learn confidence. — John Gardner

The novel was set in an unspecified near future, because setting a novel in the present in a time of unprecedented technological and social dislocation seemed to me shortsighted ... To write a book set in the present, circa 2013, is to write about the distant past. — Gary Shteyngart

I often think of setting as an important character in my story. 'Dark Powers' takes place in Doncaster, a Maryland Eastern Shore community rich with watermen and historic atmosphere. I modeled it after a stunning little town called St. Michaels, but since a lot of bad things happen in Doncaster, I changed the name. — Ruth Glick

My own writing has perhaps more of an American flavor than a British one, but that's because the stories I've so far written have needed it. 'Empire State,' 'Seven Wonders' and 'The Age Atomic' are all very place-centric, where the setting itself is almost a character. But there is a universality to story that isn't just limited to science fiction. — Adam Christopher

Setting is the bedrock of your story. If you choose a real-world backdrop, be certain you get your facts straight. — Lynn Flewelling

I think of setting as almost a character of its own, influencing the other characters in ways they're not even aware of. So much of the success of a good ghost story rides on creating a creepy atmosphere; details of the landscape itself can help create a sense of dread. — Jennifer McMahon

I suppose, I hoped, by setting a particularly brutal ancient rite in the present and in my own village to shock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives. — Shirley Jackson

Our lives are so important to us that we tend to think the story of them begins with our birth. First there was nothing, then I was born ... Yet that is not so. Human lives are not pieces of string that can be separated out from a knot of others and laid out straight. Families are webs. Impossible to touch one part of it without setting the rest vibrating. Impossible to understand one part without having a sense of the whole. - Vida Winter — Diane Setterfield

In the detective story, as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder. The country is preferable to the town, a well-to-do neighborhood (but not too well-to-do-or there will be a suspicion of ill-gotten gains) better than a slum. The corpse must shock not only because it is a corpse but also because, even for a corpse, it is shockingly out of place, as when a dog makes a mess on a drawing room carpet."

(The guilty vicarage: Notes on the detective story, by an addict, Harper's Magazine, May 1948) — W. H. Auden

Psychopathic workers very often were identified as the source of departmental conflicts, in many cases, purposely setting people up in conflict with each other. "She tells some people one story, and then a totally different story to others. — Paul Babiak

A story should be managed so that it should suggest interesting things to the reader instead of the author's doing all the thinking for him, and setting it before him in black and white. — Sarah Orne Jewett

Q. Your original, self-published version of The Martian became a phenomenon online. Were you expecting the overwhelmingly positive reception the book received? A. I had no idea it was going to do so well. The story had been available for free on my website for months, and I assumed anyone who wanted to read it had already read it. A few readers had requested I post a Kindle version because it's easier to download that way. So I went ahead and did it, setting the price to the minimum Amazon would allow. As it sold more and more copies I just watched in awe. — Andy Weir

I am called to listen to the sound of my own heart
to write the story within myself that demands to be told at that particular point in my life. And if I do this faithfully, clothing that idea in the flesh of human experience and setting it in a true place, the sound from my heart will resound in the reader's heart. — Katherine Paterson

Pittsburg is like Birmingham in England; at least its townspeople say so. Setting aside the streets, the shops, the houses, waggons, factories, public buildings, and population, perhaps it may be. It certainly has a great quantity of smoke hanging about it, and is famous for its iron-works. Besides the prison to which I have already referred, this town contains a pretty arsenal and other institutions. It is very beautifully situated on the Alleghany River, over which there are two bridges; and the villas of the wealthier citizens sprinkled about the high grounds in the neighbourhood, are pretty enough. We lodged at a most excellent hotel, and were admirably served. As usual it was full of boarders, was very large, and had a broad colonnade to every story of the house. — Charles Dickens

A circular plot structure, often seen in adventure novels and quest fantasies, is a narrative devise involving setting, character, and theme. Typically a protagonist ventures from home (or the starting place of the story), goes on a journey, often a dangerous one in which many challenges are overcome, and then returns home a changed person. The plot is usually chronological, with the events occurring in a setting that becomes a circle. By returning the character to the place where he started, the author can emphasize the character's growth or change while also highlighting the theme of the story. — Carl M. Tomlinson

Science fiction, as a genre is fundamentally about ideas. It's about asking an impossible question, "What if...?" and building a story out of the answer.

Romance on the other hand, is fundamentally about relationships. The hypothetical romance transposed to the past could be rewritten without the futuristic elements and still work as a story, which is something that can't happen with SF. It works in romance, because the story is the relationship and that depends on character, not setting.

Lots of books take elements from multiple genres, and there are elements that put them into one genre or another, but setting isn't a key determinant. — Dave Robinson

The Bible is so much more than a dry compilation of genealogies, prophecies, and laws. It is the story of the most important relationship in the world, the one between God and his people. The setting of this story moves quickly from Paradise to a fallen world and then culminates, after much foolishness and suffering, in heaven itself. It reveals what was, what is, and what will be. As the story unfolds, it exposes the nature of our deepest problems and the roots of our worst sufferings. Through its various characters, we recognize the tug-of-war that takes place in our own souls as we struggle to respond to God. — Ann Spangler

There are species on this planet we've never seen. They live in lands and seas that no human has ever explored, and they are struggling to survive in a world unknown to us...We destroy their homes. And then they are gone, before we even have a chance to meet them.
Every species on this planet tells a story, an evolutionary novel packed with generations upon generations of knowledge. Letting those species disappear is like setting fire to every library on earth...the key to understanding life itself- is right here: millions of years of trial and error, data we can never even hope to accrue on our own...The only way we will ever learn what animals have to teach us about ourselves- about life- is if we keep them around. — Christie Wilcox

For example, I keep all my actual writing in the Manuscript section divided by chapter, and then, in the research section, I have folders for Setting, Characters, and Plot with a separate area for my cuts file (where I put big blocks of text that I've cut out of the story but can't bring myself to delete yet) and my writing worksheet, which is the table I use to keep track of my word counts. — Rachel Aaron

Our task is to announce in deed and word that the exile is over, to enact the symbols that speak of healing and forgiveness, to act body in God's world in the power of the Spirit. Luther's definition of sin was homo incurvatus in se, "humans turned in on themselves." Does the industry in which you find yourself foster or challenge that? You may not be able to change the way your discipline currently works, but that isn't necessarily your vocation. Your task is to find the symbolic ways of doing things differently, planting flags in hostile soil, setting up signposts that say there is a different way to be human. And when people are puzzled at what you are doing, find ways - fresh ways - of telling the story of the return of the human race from its exile, and use those stories as your explanation. — N. T. Wright

If you are a warrior, decency means that you are not cheating anybody at all. You are not even about to cheat anybody. There is a sense of straightforwardness and simplicity. With setting-sun vision, or vision based on cowardice, straightforwardness is always a problem. If people have some story or news to tell somebody else, first of all they are either excited or disappointed. Then they begin to figure out how to tell their news. They develop a plan, which leads them completely away from simply telling it. By the time a person hears the news, it is not news at all, but opinion. It becomes a message of some kind, rather than fresh, straightforward news. Decency is the absence of strategy. It is of utmost importance to realize that the warrior's approach should be simple-minded sometimes, very simple and straightforward. That makes it very beautiful: you having nothing up your sleeve; therefore a sense of genuineness comes through. That is decency. — Chogyam Trungpa

A mistake is the name we give to any action in which we perceive a difference between what we intended and what has occurred. Intention fuels every dramatic action, including the writing of dramatic stories, which involves a series of dramatic actions. In the course of writing, or finding, the story that wants to get itself told, it behooves the writer to liberate the characters by finding the faith and courage necessary for setting aside one's own conscious needs and expectations. Not to do so promotes 'mistakes' - i.e: confusion born of some incoherence in the emotional logic of the story). As the writer abandons his/her intentions - no matter how noble they may seem - only then does that most strange and ineffable quality we so casually refer to as 'the magic' have a chance of entering the story, and rendering even the 'mistakes' stimulating, daring and provocative. — Billy Marshall Stoneking

Plot-wise, there's nothing particularly groundbreaking about 'Scalped.' It starts off as something we've seen plenty of times before: the story of an undercover FBI agent infiltrating a criminal organization and the story of the guy at the head of that organization. The twist was always the setting: a modern-day Native American reservation. — Jason Aaron

I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book. — Mary Balogh

Obviously, I love to do both contemporary and historical fiction. When a hint of a story grabs me, I try to go with it to see where it will take me whatever the setting. — Katherine Paterson

Woolf worried about the childlessness from time to time, and suffered from the imposed anxiety that she was not, unlike her friend Vita Sackville-West, a real woman. I do not know what kind of woman one would have to be to stand unflinchingly in front of The Canon, but I would guess, a real one. There is something sadistic in the whip laid on women to prove themselves as mothers and wives at the same time as making their way as artists. The abnormal effort that can be diverted or divided. We all know the story of Coleridge and the Man from Porlock. What of the woman writer and a whole family of Porlocks?
For most of us the dilemma is rhetorical but those women who are driven with consummate energy through a single undeniable channel should be applauded and supported as vigorously as the men who have been setting themselves apart for centuries. — Jeanette Winterson

For me, a story begins with music: I feel the rhythm, the cadence, the pulse of the characters and their voices and the setting. Because I had just finished writing a book called 'Black Potatoes: The Story of the Great Irish Famine,' I was already filled with the music of the lives and culture of the Irish people, so I thought, why not use it? — Susan Campbell Bartoletti

The fiction writer has a lot of balls to juggle. Setting, pacing, dialogue, and so on. And let's not forget: plot. That was always a hard one for me. And I always had this spastic tendency to wrap up a story before I'd seen it the whole way through, a sort of writer's pre-ejaculatory tendency: "The End!" — Cate Marvin

The most difficult part of writing a book is not devising a plot which will captivate the reader. It's not developing characters the reader will have strong feelings for or against. It is not finding a setting which will take the reader to a place he or she as never been. It is not the research, whether in fiction or non-fiction. The most difficult task facing a writer is to find the voice in which to tell the story. — Randy Pausch

I grew up with some kind of storytelling instinct, and when I write, my default setting is to find a story and then to tell it. It's the only way I know how to write. — Khaled Hosseini