Since you are a stubborn and have decided, nevertheless, to follow even these "lessons" of writing, then we pass a few small suggestions on settings.
After giving the rapids "brushstrokes" to your characters, making sure to give them a connotation of character or psychological well defined, we move to "environment" our actors.
Imagine watching a movie or a play. In these cases the director is always careful to treat the set, so that from the first glance we can understand the "when" and "where".
When the curtain rises and the scene shows some wooden tables, the chairs, some jugs of clay, of the glasses with wine, now understand to be in a tavern. The data "sense" in this case the view, we immediately put in a position to understand the place and, if anything, the time of the representation to which you are about to see. The director and designer will play on the costumes, stage lighting, the objects with which they will furnish to the environment but all they can do to attract public attention and give an immediate and accurate "information" is based on visual data.
The writer has a weapon in more refined and certainly effective. Thanks to the words and, in particular, the ability to "describe", it puts the reader in an ideal position to immerse himself in the scene. The writer does not merely describe the place, the objects and their features, furniture and clothes worn by the characters, the author creates the setting.
What does it mean to create a setting? Simply connote the scene with data able to evoke emotions, memories, feelings. Saying that "the narrow road with no sun, crushed between high gray buildings, he felt the early morning, the smell of freshly baked bread" makes you immediately come to mind a childhood memory, a similar situation that you yourself have experienced . Also, playing on the opposite, the character "cold" environment (road narrow, sunless, gray building) is mitigated and softened by a "presence" familiar and reassuring (the smell of freshly baked bread). At this point the reader is already part of the scene, the protagonist is himself and not a mere spectator. A scent, a sound, a smell have a strong evocative power on any human being. Learning to use these elements to give meaning and effect described in the environment will help you more easily reach the goal dell'immedesimazione.
Practice "environment" including consideration of the songs below:
1.Sui glass door there were no complaints. Jingle bells. Fin the threshold we felt enveloped by an atmosphere dominated by odori.Ma indefinable smells like? A hint of cinnamon, a note more intense than ground coffee, and even a vague hint of oil, but mixed in whiffs of acquavite.Una electric light bulb, only one. Behind the wooden bench, painted dark brown, a woman with white hair and a black bodice spoke with a woman holding a baby. (George Simenon, The House of the Flemish, Adelphi)
2.La attic was large and dark. It smelled of dust and naftalina.All 'outwards the light of the rain drumming on the roof of the large copper plates, you could hear a mighty mosca.Travi, black old, rose from the floor, met with other higher roof beams ... Here and there hung cobwebs sized hammocks, moving back and forth in the air flow, light and quiet as ghosts. From a window that opened into the roof down a milky ray of luce.L 'only living being in that place where time seemed to stand still, it was a rat that jumped on the floor, leaving footprints in the dust of minuscolissime legs. There was crawling along the ground the tail sign ran a long and thin. Suddenly the beast stopped and listened ... and then, psst! disappeared with a flick of the ace in a hole. (M. Ende, The Neverending Story, Longanesi).
3.Once in top of the pile of waste fertilizer of the magician we saw a tiny dragon who scratched
under green wing with its claws scarlet and gray smoke breathed flames azzurree.
(M. Mahy, A door to heaven, Mondadori)
Pina Varriale
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