Selgin on Setting: The Incomparable Peter Selgin Speaks on Scene, Setting and Sense of Place

Author, Selgin

Author, teacher and mentor Peter Selgin is the author of Drowning Lessons, winner of the Flannery O'Connor Award for Fiction, and Life Goes to the Movies, a novel, as well as two books on writing: By Cunning & Craft and 179 Ways to Save a Novel, a personal favorite of mine and almost an MFA in book form. Selgin also penned The Water Master, winner of the Pirate's Alley Faulkner Society Prize for Best Novel. On faculty with Antioch University's MFA writing program and visiting professor of creative writing at Rollins College, Selgin discusses the role of scene, setting and sense of place in writing. On July 30, he reads his richly woven work, which includes all these elements, at Byrd’s Books in his native Bethel, Connecticut.

AA: How does having been born and raised in Bethel impact your writing? For example, does it flavor your work with a particular sense of neighborhood or community, or of family?

PS: Setting and atmosphere are things I hold dear as a writer, but also just as someone living in the world. And I do think environment plays a crucial role, if not the greatest role, in shaping who we are. When I was growing up there, Bethel seemed to me a fairly ordinary place—a bit shabby, modest in size and in just about every other dimension, a "typical" American town. Now, looking back, "typical" translates to "prototypical" and even to "perfect." it really was the perfect place for a boy to grow in (I assume it was perfect for girls, too, but can't be as sure). I remember the complete freedom with which my pals and I hiked and rode our bikes around, how there seemed to be—no, there were—infinite worlds within that world: fields, forests, railroads, ponds, brooks, caves and quarries, dumps, factories, and so on, all ours to explore.

Just to share one example, in the woods behind a house in a then recently constructed development, I remember stumbling on an old car dump. There must have been at least a dozen antique rusted wrecks of cars and buses dating from 1915 or so, with enormous headlamps and sagging running boards. Imagine the joy of this discovery, the sense of wonder and privilege aroused by it, as if we'd entered the kingdom of Oz! Another time, walking through either a field or a sandlot, I remember coming upon the discarded, zebra-striped long arms of a railway crossing. There they were, disassociated from the railroad tracks that were their raison d'etre, with pie-sized sunflowers sprouting around them. This chance discovery on a sweltering summer day was, in its way, I'm sure, as enchanting as my very first kiss.

I could go on and on about such minor miracles engendered by that setting (the "Oasis" water fountain in the back of the Union Trust Savings Bank, dispensing water so achingly cold it numbed your lips). And how about Mr. Noe, the proprietor of Noe's clothing store, in his white shirtsleeves with his yellow tape measure draped like a surplice around him? Or Dante Vaghi, millworker/flying saucer prophet, taking us boys into the back room of his woodworking shed to share his latest UFO tales? As a teenager intent on flaunting my sophistication through cynicism, I frowned on my hometown. I decided that it was "provincial," a backwater inhabited mainly by philistines. Now I'd give both little fingers to see every last brick and shadow reinstated there just as they were back then, circa 1965. Since I don't have a time machine, and want to keep my fingers, instead I wrote a novel.

AA: How do you view the importance of setting and sense of place in your work? And would you—or how would you—differentiate the two?

PS: My mantra to my writing students: Always be writing scene. For them to do this, they first have to define "scene" in such a way that it doesn't necessarily mean rendering "action" and/or "dialogue" or even "setting," though all of those things may be present however invisible and unstated, but implied. In other words, though we're taught things like "show, don't tell," the dichotomy between showing and telling is, at least potentially, a false dichotomy. As long as a writer knows that she is writing within—or leading us toward—a particular event set in a particular place—then she's writing a scene. As long as there's at least one character, or one implied character, and that character is embodied in a particular time and space and involved in a particular action (for instance, standing at the end of a dock watching the sun set or ironing a shirt), even if all we are reading is that character's thoughts, a series of memories or ruminations, or an essay on the quality of sunlight at dusk or the best way to iron a pleat, still, we're reading a scene.

It comes down to intent. If you, as the writer, know at any given moment not just who your characters are, but where they are and what they are doing, then, essentially, you're writing a scene and not confronting your reader with disembodied ideas or abstractions. This gets to setting, since what keeps our characters (and our readers) grounded in scene is the embodiment of their sensations (thoughts, feelings, actions, etc.) in a body or bodies inhabiting a particular time and space as conveyed by way of a consistent and thorough point of view. Lose that sense of embodiment, forget that you're writing scene, and you lose that grounding; you lose readers. 

If there's a different between "setting" and "sense of place," it may be that a "sense of place" is a good thing to start with, an appreciation for and grasp of the qualities that characterize a particular environment. But then we need to set our characters in that place—"setting" as verb, something that we, as writers, need not only to feel and consider, but to do.

For more on Peter's life and work, visit Peter Selgin. On July 30, Peter will read his richly woven work, which includes all these elements,  at Byrd’s Books in his native Bethel, Connecticut.

Invitation to Wonder, Too: A Writer's Journey

Award-winning newspaper columnist and Center for Creative Writing founder Elizabeth Ayres has authored Invitation to Wonder: A Journey through the Seasons. She describes what prompted the book, and the emotional healing writing can bring. The winning comment on her posts will receive an autographed copy of Elizabeth's Invitation to Wonder.

AA: How would you categorize "the journey" noted in the subtitle?

Elizabeth at the Patuxent RiverWriting Retreat-Workshop

EA: My background is poetry. When I moved back to southern Maryland, every wave, every leaf, every bird, everything spoke to me, everything put words in my head, but I wanted to give voice to this experience in such a way that it would be accessible to a general audience, which tends to be intimidated by verse space. I decided to write prose, and I proposed a monthly column of lyric reflections to a regional newspaper.

So there I was, writing about Nature each month, trying to express the amazing aliveness of the world around me, but also conscious of my readers: What would make the reflection most relevant, most meaningful to them? In "Butterfly Q and A," for instance, I started out writing about honeysuckle — that was what was calling to me at the time. Honeysuckle was in bloom, I was transfixed by the smell — but I also knew the column would appear in July, so I related it to Independence Day, an experience common to all my readers, so a connection between nectar and freedom emerged. Or with "Vigil." I'd been wanting to write about the stars for a while. As Columbus Day approached I thought, well, Columbus would have used the stars to navigate, so that's how I can link the two things together and make the reflection most meaningful to my readers. After four years, I had cycled through the seasons four times, addressing every major and minor event in the American experience: from Martin Luther King Day through Memorial Day and Labor Day, from Easter through Thanksgiving and Christmas, from Groundhog Day through Mother's Day and Halloween.

The seasonal progression became all the more apparent when I decided to record selections from the book as an MP3 audio download. I realized that Invitation to Wonder contained not one but five distinct themes, each of which can be experienced as we travel through the seasons. So this became A Journey through the Seasons, Celebrating the Journey, A Journey into the Cosmos, A Journey into Chesapeake Country and A Journey into Divine Presence. Then, when I decided to create a study guide for each audio; the series just naturally demanded to be called The Companion on the Journey Listening Guides. I give these away free with the audios. I had been resistant to the word "journey" at first — it's so overdone! But it seems to have been an inspired choice after all.

For an autographed copy of Elizabeth's Invitation to Wonder, post the best comment on the writing life.

Elizabeth Ayres is also the creator of Writing the Wave, Know the Way and her Center for Creative Writing is celebrating its 20th anniversary. Visit her at Invitation to Wonder.
 

    

Invitation to Wonder: A Writer's Journey

Invitation to Wonder

You never know who you'll meet through a Google search. I met award-winning newspaper columnist and Center for Creative Writing founder Elizabeth Ayres while researching great resources for writers. Since then, Elizabeth has written Invitation to Wonder: A Journey Through the Seasons. Here, she describes what prompted the book, and the help and emotional healing writing can bring. Read her first post in the series, and submit a comment or post on the positive effects of writing to Word for Words. The winning selection will be published on the blog and receive an autographed copy of Elizabeth's Invitation to Wonder.

AA: What prompted you to write the book?

Center for Creative Writing founder Elizabeth Ayres

EA: I grew up in southern Maryland. Our house stood on a bluff overlooking the Patuxent River just where it enters the Chesapeake Bay. I loved it as a child, but as a teenager I hated it. It was too remote, and there were family tensions I needed to escape, so I left when I was 17 and rarely returned. I lived most of my adult life in New York City, then in northern New Mexico. And all that time, I never really felt connected; I never really felt I had a home. I kept wandering around, lamenting my sad plight, the rootlessness, the alienation so prevalent in American society.

Finally, through a series of rather mysterious events, I moved back to where I'd grown up. The connection to the landscape of my childworld just gushed forth onto the page every time I sat down to write, and the more I wrote, the less estranged I felt, until I came to realize, I belong here in this place, I belong everywhere in the place called Earth. It was a powerful experience of healing for me, personally, and I think it's something we all need to cultivate. Intimacy with Nature's beauty, wisdom and mystery is the antidote to all our ills, really, because the feelings of awe Nature induces make us feel part of something larger. That's why I called the book Invitation to Wonder. I want my readers to step into the place where joy, amazement and insight meet as an ineffable response to the world around us.

To receive an autographed copy of Elizabeth's Invitation to Wonder: A Journey Through the Seasons post the best comment on the writing life.

Elizabeth Ayres is also the creator of Writing the Wave, Know the Way and two Sounds True audio albums, and her Center for Creative Writing is celebrating its 20th anniversary. She lives with two cats, and spends long hours walking shell-strewn Chesapeake Bay beaches, plucking words from the soft salt breeze. Visit her at Invitation to Wonder.

Ideas Into Images: Illustrator-Writer Adrienne May on Creating Characters

Illustrator-Writer Adrienne May

Artist, children's book illustrator and writer Adrienne May found her way into a second life career writing and illustrating children's books. She uses traditional and contemporary tools to create pieces in a realistic style, and takes the same approach to crafting her stories and characters. The tag line of her WinsomeWays online portfolio says it all — "ideas into images."

AA: How did you get into writing?

AM: I came to writing by accident. My career destination is children's book illustration, especially children's picture books. However, designing characters and a world setting(s) are tasks that illustrators and writers must do. Writing was the result of thinking of children's picture books as visualized stories, rather than a series of isolated illustrations.

AA: With experience in fine arts, how do you approach writing the stories?

"Jamaican Doll," by Adrienne May

AM: When I write, visual imagery lets me immerse myself in the story. I try to experience each scene with all my senses. As a writer, I want visual imagery to be a stepping stone to a full-sensory experience of the characters, their world setting and any changes to them in the story. I need this in order to describe them to someone else. As writer and illustrator, I aim to reconcile the voice and physical appearance of each character, the pace of the plot and the narrative weight any physical illustrations must bear.

AA: How does that impact your role as an illustrator?

AM: In my illustrator role, I want to respond to the needs of the story, and update my drawings to reflect physical changes to the characters and world setting. (In one story a character became three years older, and I added three new characters.) While I draw, I ask myself what else is there to understand about the story. In the end, the illustrations ideally show details beyond the text.

AA: How would you describe "success" as an artist?

AM: From "Making Artists," and The New York Times article, "The End of the Great Big American Voice," by Anne Midgette:

"In the end, artistic success depends, as it always has, on intangible factors that no training program can provide. One is luck. Another is stubbornness."

'People who really persevere,' Ms. [Dolora] Zajick [mezzo soprano] said, 'find themselves in lucky places.'"

Tip: Try Adrienne May's winsome approach to illustrating your characters with words, and visit WinsomeWays for a visual tour.