setting – Tess Perko's Blog

Building a Sentence, Step by Step

You know what excites me? Crafting sentences that overflow with content and brim with alluring vocabulary. When I read Stanley Fish’s book, How to Write a Sentence and How to Read One, I became giddy with pleasure, thinking about all the future memorable sentences I could write. In one chapter, Fish demonstrates how to expand a four-word basic sentence into one that reveals character, moves the plot, and illustrates how the setting affects a story. Let me show you what he suggests with my own example.

My basic four-word sentence is: her brother went to the meeting.

Now, if I want to build the character of the brother, I must say something about him. Here’s my first addition: her brother, a tall and lanky 56-year-old with a cantankerous and rude demeanor. But I could say even more. Here goes: her brother, a tall and lanky 56-year-old with a cantankerous and rude demeanor who always arrived twenty minutes late to every appointment and made excuses for his tardiness. Now, the reader knows that this guy is unpleasant and too arrogant to take responsibility for his short-comings.

Next, let me tackle how he went to the meeting. I replace the verb “went” with a more exact one and add some related information: her brother, a tall and lanky 56-year-old with a cantankerous and rude demeanor, who always arrived twenty minutes late to every appointment and made excuses for his tardiness, rolled his wheelchair across the snow-packed sidewalk in thirty-degree weather, wearing a down jacket, gloves, wool hat, and earmuffs. Not only does this addition explain how he got to the meeting, but under what conditions. It also infers that he was determined to go since driving a wheelchair over the snow in freezing weather is tough.

Ok, home stretch here. Let’s finish by adding something about the meeting: her brother, a tall and lanky 56-year-old with a cantankerous and rude demeanor, who always arrived twenty minutes late to every appointment and made excuses for his tardiness, rolled his wheelchair across the snow-packed sidewalk in thirty-degree weather, wearing a down jacket, gloves, wool hat, and earmuffs, to get to his AA meeting. Whoa, I only added one more word, here, but a term full of meaning and content. Now, the reader might associate the brother’s tetchy deportment with his alcohol problem that he is struggling to overcome.

I like this sentence so much I’m going to paste it on the bottom of this post, so I can admire it. Happy sentence-crafting to you, too.

Her brother, a tall and lanky 56-year-old with a cantankerous and rude demeanor, who always arrived twenty minutes late to every appointment and made excuses for his tardiness, rolled his wheelchair across the snow-packed sidewalk in thirty-degree weather-wearing a down jacket, gloves, wool hat, and earmuffs-to get to his
AA meeting.
by Tess Perko

Reference: Fish, Stanley. How to Write a Sentence and How to Read One. Harper. 2005.

How I Wrote My First Novel

I’ve been a writer my whole life. In grade school and high school, I wrote poetry and essays. In college, I wrote my first short story. When I became an accountant, I wrote financial reports and audit recommendations. I also learned how to eliminate “fluffy” words and overly-embellished ideas. While I was raising my children, I wrote newspaper articles and more short stories. Finally, I became an English professor and I spent most of my busy career writing lesson plans and college letters of recommendations; yet, I hadn’t yet attained my ultimate dream of writing a novel. I either had writer’s block, low writer-esteem, or not enough time.

Then I retired a year and a half ago. Immediately, I decided that one of my activities would be to write a novel. This project, however, had no requirements—except one. I didn’t promise to finish it, publish it, or be tied to any kind of working schedule. The only requirement was for it to be fun.

People started to ask me numerous questions. When would it be finished or published? Was it a personal story? What percentage had I written so far? My answers were always the same: I have no requirements and no timetable.

Meanwhile, I started and wrote my novel. I posted a few chapters on this blog and received positive feedback. I discussed my ideas with my writing-oriented daughter who got excited about the story. I researched and researched and researched the setting and background of some of my characters’ activities. That was fun.

When I got stuck, I buried my nose into books that I thought could help me with my own novel. Books that had female characters and writers that used imaginative writing techniques to propel their plots forward. While reading, I stopped many times and thought about writing practices. Since reading is my favorite hobby, this was sheer joy.

I wrote when my husband played golf and on the weekends while he was watching football and basketball. I dreamed about my plot and got up in the middle of the night to write down notes so I wouldn’t forget my new ideas. I wrote outside in the garden when the sun was shining and my flowers kept me company. I wrote after my Pilates class and after hiking 4 miles in the open space. I wrote blog posts, and then I wrote my novel again. The thing was, since I had no requirements, I found a comfortable way to fit writing my novel into my life. I didn’t worry about ever getting rejected by a publisher or poorly reviewed by The New York Times.

My opinion was the only one that counted. And you know what? Because I didn’t care what anyone else thought, I developed courage to create scenes that I never would have written otherwise. I also broke grammar rules to emphasize settings or to create tone for important events in the story. I’ve never written with such creative abandon, and I’ve had the time of my life.

I finished my novel a few days ago–after starting twenty months ago. I wrote the story’s epilogue, typed a dedication, and printed out my manuscript. Now I’m getting my daughter and one of my writing friends to read it. Whoa. This is a little scary, but I keep reminding myself that I’m still having fun and don’t have to do anything that I don’t want to do. That includes listening to all their comments.

I’ll read their comments though, and use my creativity to incorporate those that I like into the draft. Then I’ll have to decide what to do next. Get an agent? Send it to a publisher? Put it on a shelf in my library?

All I can say for sure is that my heart is all aflutter. I feel fulfilled at last.

Why This Writer Reads Stories: Reasons 6 & 7

I became a better reader when I started teaching college-level English courses in writing, literature and critical thinking. Since I had to lead discussions relating to literature, I studied authors who were renowned for their literary prowess such as John Milton who wrote Paradise Lost and Paulo Coelho who wrote The Alchemist. I read books on how to develop plot, build characters, use a setting to strengthen a story, and employ figures of speech to heighten meaning.

Today, through reading, I’m still studying all of these topics in great detail. Here are two more specific writing techniques I’ve studied recently from reading other author’s stories.

Reason 6: How to develop characters with different speech patterns and thoughts

The best stories have memorable characters, and memorable characters are unique people who have a distinct voice, extraordinary thoughts, and notable physical characteristics.

In my novel, my main character, Leonie, is from San Francisco. Her companion on the hike to Machu Picchu, Luna, is a woman from Argentina. These two women meet many people on their journey—a winery owner, a young woman who seeks love, a tango instructor, a fortune teller, and tourists who are visiting South America from all over the world. Each of these characters must be distinctive in order to effectively contribute to the story.

In West with Giraffes, Lynda Rutledge does a fantastic job at creating likable characters that entice the reader to stay with the story until the final curtain. In this story, an old man has the task of transporting two giraffes from New York to the San Diego Zoo by truck. One giraffe is wounded, so he must take great care not to injure the giraffe further and to provide it with enough comfort to heal.

The old man is rather gruff with his first driver when the driver drinks too much and threatens the giraffes’ safety, but he is gentle with the giraffes, as gentle as a mother soothing a baby. Rutledge develops his personality by creating dialogue in which he shouts at the driver and threatens him. Immediately afterwards, she describes how the old man climbs up to the giraffes and speaks to them until they are calmed down. In other words, the author develops the old man’s character with careful dialogue and action to show that he can be impatient with people who are irresponsible, but also kind with creatures under his care. These are two techniques that I can use to develop the characters of my story.

Reason 7: How to connect the setting to the plot of the story

From real life, writers learn that setting is intricately linked to the plot of a story since characters’ choices are strongly influenced by where they live, travel, or wish to go.

In my novel, my two main characters decide to take a four-day hike to Machu Picchu in Peru. The hike is strenuous, risky, and uncomfortable. For example, some of the elevation on the trail is steep and the hikers must either do everything they can to endure it or choose to give up. Some of the hike is at 12,000 feet elevation and some hikers are not conditioned for such altitudes. In addition, no showers are available at the camps until day 3, so the hikers must decide what to do for hygiene. All of these conditions greatly influence the choices that characters make.

In The Alchemist by Paulo Coelho, Santiago goes to Tangier, a dangerous port city, where he is robbed of all of his money. He had wanted to use that money to go to Egypt. Because he is now destitute, the boy takes a job in a glass shop where he learns patience, business skills, and a new language–skills he needs to travel to Egypt. As he learns the skills, he also learns not to give up on his dream. The setting of the dangerous city shows the boy that he is naïve and must decide whether to give up or to persevere. The setting gives the author the opportunity to show that the boy is strong and determined to achieve his goal.

If the purpose of stories are to help humans learn how to navigate through their own lives, then stories must imitate life realistically enough to be instructive. Human lives are challenged by their environments on a daily basis—riches, poverty, war, traffic jams, noise, isolation, abuse, and advantage all impact what people can or can’t do.

A good author puts a character into a challenging setting and shows the reader what a strong character does with it.