Setting

BOB MAYER: There are two ways one can look at setting: it’s generic, or its critical to the plot. What I mean is I’ve listened to authors discuss this. One bestselling author said: “Hey, if I put a story in a New England village, everyone knows what it looks like, so I don’t have to go into much detail. I let their minds fill in the setting.” Another disagreed. She felt setting was critical and needed to be described down to the last detail, to the point where one could thatch a roof after reading her description of it. Extremes.

For me, it depends on the story. Even the genre to an extent. Since I’ve published in a wide array of genres, I do see a different in them. For a thriller, setting supports the plot, but often isn’t central to it. Unless you’re writing something like The Eiger Sanction, in which case that mountain is pretty important.

Narrative Structure

Note:  It took us a while to get traction on this chat, so prepare to skim. 

JENNY: Narrative Structure. Hmmm, big topic.

First, you can use any narrative structure you want, even make up your own. (Translucent linear, anyone?) I think the majority (although by all means not all) of modern stories are linear, in the way of the Red King’s “start at the beginning and go on until you get to the end.” It’s a very male way of telling stories, but it’s also been the predominant form for centuries (hello, Patriarchy), so pretty much everybody recognizes it.