Setting as Obstacle with Brian Evenson
When I’m working on a new novel, I try to turn to old favorites to mine for examples of what I’m trying to do. Brian Evenson’s Immobility is one of those, for me. Today we’ll be examining a scene that’s doing something I’m attempting in the WIP–using a simple setting as an obstacle for a character. As much as possible, I’ll try to avoid spoilers.
When you want to have a character alone in a room, interacting with a setting, building stakes and conflict, how can you maintain that for an entire scene? In what ways can settings and characters interact to create forward momentum in a plot?
I’ve tried this in the past, and whenever I go back to the scene, it always seems to be mostly internal monologue, and it gets a tad redundant the longer the scene goes on. So I went back to a novel I enjoyed a lot a while ago that, at least in my head, had a lot of these moments.
Although I’m a huge fan of all of Evenson’s work, I think that Immobility likely would has the broadest appeal to genre readers. It’s set in a post atomic-apocalyptic world and has a huge backbone of mystery, and a culture more or less foreign to us. One of the things that floored me about it was how the author maintains a sense of suspense and kept my interest despite its rather simple plot, and one of the ways that was accomplished was by allowing the main character’s physical handicap to create obstacles out of rather simple things–in the novel, he simply has to travel a few miles without any mechanical form of transportation. Main trouble being, he can’t walk.
In that context, the setting of the book becomes a concrete obstacle–it becomes physical in the same way a well-drawn villain does. You’ll see one of the more direct moments of this in the excerpt below:
(pg 113 – 115)
In this small excerpt, there are quite a few tricks to pick up. It’s not a long scene (certainly not as long as the one I’m planning, and maybe that’s a signal to me), but the action here is slow, even slower than most of the action lead up to it, and it’s methodical. Four main takeaways:
- The setting acts very similarly to a character-based obstacle. It has a mind of its own, and after each attempt of Horkai’s to overcome it, it is given a moment to react. The resounding silences, the lights going on and off, the movement of the camera. It’s acting very much like an adversarial ally, because while it’s not working at exactly crossed purposes with him (he wants to be found and it, being half security system, wants to find him) but largely the conflict comes through the incompetence of the system and the mystery/suspense of who controls it.
- Horkai begins with the most obvious of attempts–knocking. And from there he moves to less obvious stuff until it finally demands a discovery (the camera) before the obstacle can be overcome. It’s important, for this part, to know the layout of the setting, to have a good sense of where everything is, excepting the one detail.
- The failures only last a paragraph or two. Horkai makes an attempt, gets a reaction from the setting, then regroups and tries again. By far the longest attempt is the final, successful one, which is not immediately successful but does end up paying off.
- The failed attempts build to make sense of the setting, to teach us how this puzzle works. Knocking won’t work (it’s too quiet) and slapping won’t either (still too quiet) but movement does something (there is a motion sensor). This all leads up to the camera being obvious in hindsight, a kind of foreshadowing. Once he discovers the camera you think duh, it’s a security door. Why didn’t i think to look for a camera?
There’s a simplicity and clarity to this conflict that captivates, although it also helps that it’s at the breaking point for one of the biggest mysteries of the book: Horkai’s true identity. That has to be what gives this scene its sense of stakes.
Keep it simple. Treat the setting as an opposing force, trying to get a word in edgewise. Understand the relationship between your character and that setting: does it want–is it designed to–help them get what they want but need help to do so (yes, but) or does it exist to stand in the way of what your character wants (no, and). For an inanimate obstacle to take on the suspense of a living one, it’s important to consider these things.
How do you maintain a conflict between character and setting? Any major examples you can think of? Do you notice any tips that I’ve missed from the excerpt above?
Thanks for reading!