The Setting

One of the most overlooked components of a story, especially in screenwriting, is the story’s setting. Perhaps, it’s because some writers find the concept confusing and don’t know what to do with it.

Unfortunately, many aspiring writers mishandle an important aspect of the story. Setting is much more than simply what is happening in the background of the characters’ lives, in most cases it is key to shaping their lives.

• Physically
• Mentally
• Socially
• Spiritually
• Politically

Screenwriting expert Robert McGee explains, “A story setting sharply defines and confines its possibilities.”[1] Clearly setting is integral to story, in many cases a movie’s setting becomes the story.

In a unique way a screenplay setting becomes an unseen character. A character with physical aspects, unique sounds and actions that help drive the story. Is it any wonder why some of Hollywood’s most successful films are visually stunning? Someone took the time to research and develop the appropriate setting.

Settings?

Setting is defined as: “The manner, position, or direction in which something is set, the time, place, and circumstances in which something occurs or develops.  The time and place of the action of a literary, dramatic, or cinematic work, the scenery used in a theatrical or film production.” But there’s a lot more going on here than what meets the eye.

McGee notes, “A story’s setting is four-dimensional—Period, duration, location, level of conflict.”[2] The best movies I’ve seen bring together the four dimensions to create a setting that is visually pleasing, audible and enhances the story.  A few of my favorite examples of how a movie’s setting becomes the story are:

1. “The Last of the Mohicans” Click here:
2. “Legends of the Fall” Click here:
3. “A Very Long Engagement” Click here:

At this point let me clarify, creating setting in a screenplay doesn’t mean going overboard with too many trivial details. Too much description in a screenplay can work against the flow of a story.

Studios don’t want to see huge blocks of description underneath each scene heading. Painting a vivid picture of setting is accomplished through an effective scene heading. Followed by a brief description of the scene and action that is building within it. Plant a seed and leave room for imagination.

Leave room for the director, cinematographer and actors to do their jobs. Sometimes, by not saying everything, we leave room for much more than we ourselves can imagine.

Do what?

Many screenwriters (me included) have made the mistake of telling other filmmakers how to do their jobs. Our job is to tell a story in its basic components, not to direct or act.

Clever camera angles or shots and music cues are the production crews’ problems, not the writers. In fact, it is best to leave more white space than words; if not our words can hinder the visual story. The old adage is correct, less is better.

A director will take your visual cues and use them to help shape a visually stimulating setting for the story to unfold. Telling him how to direct limits his imagination. No matter how great your description is, it is his job to direct all the action of a film, this is where the dance between setting and action occurs.

A general rule is to get in and get out of the way as quickly as possible. This is particularly important in historical films. Two of my favorite films that illustrate this are “Gone with the Wind” and a lesser-known film called “Glory.”

Gone with the Wind

“Glory” was mainly filmed in Georgia where I live. In middle school we took field trips to set locations for history lessons. I can vouch it is true that sometimes our imaginations are better than reality. Hundreds of years later the historic places look nothing like they did in the film.

Glory

Movies like these or any action film or story require special attention to their unique settings.

[1]  McKee R. (1997).  Story: Substance, Structure, Style, And The Principle of Screenwriting (Kindle edition) pg 69.

[2] McKee R. (1997).  Story: Substance, Structure, Style, And The Principle of Screenwriting (Kindle edition) pgs 67-68.

 

BIO

Martin Johnson survived a severe car accident with a (T.B.I.) Traumatic Brain Injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter @mtjohnson51.