Week 2 Lecture 1Setting and Its Impact on CharacterThis week w.docxcockekeshia
Week 2 Lecture 1
Setting and Its Impact on Character
This week we see settings ranging from Iran to the Deep South of the United States, and that is merely when it comes to location.
Setting includes so many ideas beyond locale. Often when asked to describe the setting of a story, people make that mistake. Setting, as we see from Foster, includes time, season, weather, and countless other smaller ingredients. By defining the time and place for a particular story, we are already narrowing the world and its possibilities. One starts to make assumptions about race, gender, religion, wealth, vehicles, jobs, politics, war, peace, love, etc.
As you read the selections this week consider the following:
· How the setting creates a feeling or atmosphere, both for you and for the characters in the story.
· How the setting and the action of the story work together.
· How the setting contributes to understanding the important ideas and themes in the story.
Making a few minor adjustments to the story may cause the events to appear unbelievable. For instance, the end of the twentieth century, versus, the beginning of the twentieth century. What do you think about changing the race of a character? Would the story shift….how drastically?
The setting of a story often influences the action, or at least works together with what the characters in the story are doing. A foggy street in East Berlin is much better for the action in a spy thriller. A rocky landscape on Alpha Centauri, 4.4 light years from Earth, suggests the action you would expect in science fiction much better than any typical street in the United States.
Character and setting are often dismissed by readers as just another word for scenery. Add some rain. Add some wind. Tell me what time of day it is. Tell me exactly where this person is standing. Is our black woman accidentally walking past a bar filled with angry members of the Ku Klux Klan? Is our German lover a Nazi? Is our American Soldier storming into a mosque to capture a member of Al Qaeda? Look how much that fine-tuning of setting did to the tales whose plots and characters you still do not know.
Consider this: if I kept telling you more and more specific things about the setting, would you begin to limit the possibilities for character? What if I told you our black woman is walking past the Klansmen on the night President Eisenhower forced Alabama to integrate its schools? Are you getting a more limited sense of possibilities for this character? Do you have a better sense of who she is and what could take place in the story than if I merely told you she is a woman in America? Bare in mind, we still do not know her age or what she is doing here.
That is only half of the equation. We were generating our notion of character by using setting as our springboard. Authors often do this. They want to tell the story of a time and place. William Faulkner, with the exception of much of his Hollywood screenwriting, was a man who devoted his wr.
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