A scene comes out of story naturally. In the past, my method has been simple: write the scene. Recently I've been thinking more about the planning that goes into a scene.
Some decisions—like conflict, tension, and stakes—are dictated by the story, but scene decisions can help you enforce those elements. That's really what scene decisions are all about, how to design a scene in a way that reinforces the story and affects the reader.
I'll write about a few of them in the next few weeks. This week setting has been on my mind.
Setting can provide emotional context, illuminate background, highlight character, and reinforce world building (that includes real world settings, folks).
In Thor: the Dark World, there is a scene where Jane Foster's date is interrupted by Darcy. You can watch it on YouTube. What does the setting say here? It's a nice restaurant; not cheap. Everyone (except Darcy) is well dressed, and we can see a lot of London through the windows. Jane put on lady clothes and took a shower. Richard (Chris O'Dowd's character) has a jacket and collared shirt. Behind Darcy there might be a bar.
Imagine if this scene had been in a greasy-burger joint and the characters dressed appropriate to that. Or if Jane had been sitting alone on her coach. How would the scene change?
What the setting says to me is that Jane and Richard have put effort into this date. Jane is trying to move on. Richard is quietly desperate. Darcy's interruption is untimely and unwanted. (The chairs are so heavy and loud, that she disrupts everyone around her.)
By the way, the elegant restaurant in this scene is the OXO Brasserie on the eighth floor of the OXO Tower, located on the River Thames.
Had this scene been on Jane's couch, it would have been a mere conversation. It would have been information. The plot would have moved forward, but not in an interesting and engaging way. (Though it might have said some things about Jane's not-moving-on in that case.) So this location adds humor and low-level tension, played on by Richards little interjections while Darcy delivers information. The setting has a job. It's saying something about the characters in this case. What's awesome is that it does it silently. In a novel, a writer could describe the setting—something that needs to happen anyway—and the job is done.
Setting lends itself naturally to imagery. Knowing the jobs a setting can do, a writer can construct images to build that effect. Writing this scene, a novelist could pick out which images reinforce the niceness of the place—glass walls, the view of London and the river, silverware, crystal, the other patrons. What images would do the trick?
So the qualities of a strong scene setting choice are originality, impact, and imagery.
Writer of speculative fiction. Current work in progress is an untitled dark fantasy novella.