Intriguing Observations: Live. Write. Thrive.

The Intriguing Observations series was created to gather some of the greatest supporters and bloggers to provide their own insight on all things creative both in their ventures and their techniques. This week on the guest series is another all-star supporter and NY Times Bestselling author, Bob Mayer.

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No Matter the Genre, All Great Books Start With a Great Idea

The kernel idea is the Alpha and the Omega of your book, no matter what genre you are writing in.  By that I mean a single idea starts your creative process and it completes it.  It’s what you begin with and at the end of the manuscript, everything in the book points toward it.

The kernel idea is the foundation of your novel.  When I say idea, I don't necessarily mean the theme, although it can be.  Or the most important incident, although it can be.  But it can also be a setting.  It can be a scene.  It can be a character.

It is simply the first idea you had that was the seed of your novel.  All else can change, but the idea can’t.  It might be a place; a person; an event; a moral; whatever.  But you did have it before you began writing and you must remember it as you write.  If you don't, your story and style will suffer terribly.  You should be able to tell your idea in one sentence.  And repeat it to yourself every morning when you wake up and prior to writing.  Knowing it will keep you on track.

Every new book I begin, I write out this one sentence on a word document as the very first writing I do.  I print it out and put it where I can constantly see it. If you can't do remember this one sentence, then you need to backtrack through your thought processes and find it, because you had to have had it.  Everything starts from something.  Idea is not story.  Because every idea has been done, but every story hasn't.  The kernel idea is the one thing in your manuscript that cannot change.

In one of my early novels, the original idea was an action:  What if Special Forces soldiers had to destroy an enemy pipeline?  That's it for Dragon Sim-13.  Not very elaborate, you say.  True.  Not exactly a great moral theme.  Right.  But with that original idea there was a lot I could do and eventually had to do.  I had to change the target country after the first draft.  But that was all right because I still had the idea.  I had to change characters, but that was fine too, because it didn't change my idea.  I had to change the reason why they were attacking a pipeline, but again, the original idea was the same.

You will have plenty of latitude for story after you come up with your kernel idea; in fact, I sometimes find the finished manuscript turns out to be different from what I had originally envisioned, but one thing is always true: that kernel idea is still there at the end as the Omega.

For my first kernel idea, I made it as simple as possible to enable me to focus on the writing because when I was in the Special Forces my A-Team had run a similar mission on a pipeline.   Since I had a good idea what would happen in the story, I could concentrate on the actual writing of the novel.
I've sat in graduate literature classes and heard students say:  "The author had to have a moral point in mind when they wrote that book."  I agree, but sometimes it is not at the forefront of the story.  Many authors write simply to tell a story started by that kernel idea, which indeed might be a moral point, but sometimes is a story that they wanted to tell and the theme developed subsequently.

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A moral or theme (screenwriters call it intent) always does appear in a book by the time it’s done.   No matter what conscious expectations or thoughts an author has when they start writing, a lot more appears in the manuscript than they consciously anticipated.

After you have that kernel idea, you should spend a lot of time wrestling with it and consciously uncover your feelings and thoughts about it.  I try to look at my main characters and determine what will happen to them emotionally, physically and spiritually as they go through the story.  Who are they at the beginning of the story and who are they at the end?

This is an example of being aware of what you are doing.  I said above that not all authors have a conscious theme when they write a novel, but experience has taught me that it is better to have your theme in your conscious mind before you start writing.  It might not be your original idea, but it will definitely affect your characters and story.

The reason it is important to have a theme in mind is because people want to care about what they read and the characters.  If there is some moral or emotional relevance to the story they read, they will become more involved in the story and enjoy it more.  Even if the reader doesn't consciously see it either.  
Let me give you more examples of ideas I’ve used and gotten published:

What if the force that destroyed Atlantis ten thousand years ago comes back and threatens our world?  Atlantis series of books.

What if mankind didn’t originate the way we think we did?  Area 51 series.

What if Japan succeeded in its atomic bomb program at the very end of World War II and one of those bombs was hidden at the base of the Golden Gate Bridge?  The Gate

Another way to try to figure out what the core of your novel is this:  What is the climactic scene?  This is when the protagonist and antagonist meet to resolve the primary problem that is the crux of the novel.  This is what the entire book is driving towards.

Where’s the shiver?

What excited you so much that you decided to sit in the dark and writer 100,00 words.  That’s not normal, in case no one’s told you.  What excites people you talk to about your book?  I know I’m on target with an idea if others pick up my excitement when I discuss it.

Remember, as a writer, you are selling emotion and logic.  And Kirk always trumps Spock.
A key to selling your book is being able to communicate this shiver to other people.  To get them as excited as you were when you first began writing.

Bob Mayer is the NY Times Bestselling author of factual thrillers. He steeps his stories in military, historical and scientific facts, then weaves those facts through fiction creating an exciting ride for the reader.  He’s a West Point graduate, former Green Beret, and author of more than 50 books all available in eBook that have sold over 4 million copies.  He’s been on bestseller lists in thriller, science fiction, suspense, action, war, historical fiction and is the only male author on the Romance Writers of America Honor Roll.  He is one of the bestselling indie authors in the country.
Twitter: Bob_Mayer
Sites: www.bobmayer.org   www.whodareswinspublishing.com

Intriguing Observations: Blending Research with Real Life in Writing

The Intriguing Observations series was created to gather some of the greatest supporters and bloggers to provide their own insight on all things creative both in their ventures and their techniques. This week on the guest series is another all-star supporter and an outstanding wordsmith  Donna Galanti.

In writing my paranormal suspense novel A Human Element there were numerous spots I had to pull back and do research to blend the writing with my own experiences.

Ben Fieldstone in A Human Element, finds himself in dire circumstances stationed as a U.S. Navy photographer in Pearl Harbor. I too was stationed in Hawaii as a Navy photographer. I know of the dangers sailors can find themselves in on the island of Oahu if they’re not careful.

I was told not to go to the Pali Lookout alone, a spot far above Honolulu in the Ko’olau Mountains. It is set on cliffs with treacherous falls awaiting those who aren’t careful. Or those who are tossed off…or jump off. It’s known for its moaning, howling winds. People have disappeared up there, they’d say. It’s a haunted place where the ghosts of Hawaiian ancestors are said to roam.

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And rightfully so. It is a historic area that was the site of the bloody, historic Battle of Nu'uanu,
where Kamehameha I conquered the island of Oahu in 1795. This Hawaiian warrior king and his army arrived in hundreds of war canoes at Waikiki Beach. The Oahu warriors were led by Kalanikupule, the ruler of Maui and Oahu. Kamehameha's warriors headed to Nu'uanu Valley to face Kalanikupule's men. The battle was fierce and thousands of Kalanikupule's men were driven over the steep cliffs to their deaths. This fierce tale from history inspired me to set a particular dark scene at this spot for Ben. His battle for his own life.

Check out the amazing views from this spot, including the Old Pali Highway Trail where Ben finds himself taken – and tortured. http://www.portaloha.com/SecretsOfHawaii/PaliLookout.htm

These photos, my own memories, and the violent history of this place re-forced this spot as a key
scene in A Human Element.

When I lived on Oahu I quickly discovered we white folks were called haoles by the natives. I had since forgotten how to pronounce it and found a site that pronounces all the words in the world for you. Here is the correct version of haole: http://www.forvo.com/word/haole/ I figured this would also come in handy during book readings, and I was right.

If you've ever visited Hawaii, you might have heard what sounds like another language but it's still English. Since the 1800's, workers from China, Japan, Korea, the Philippines, and Portugal have come to work the sugar plantations originally run by American missionaries. That mixture of nationalities developed into a common language called Pidgin English.

More than half of Hawaii's one million residents are estimated to speak Pidgin. That's according to two Linguists, Kent Sakoda and Jeff Seigal, who created the Pidgin Grammar Book. Hawaii has a population of a little over one million people. About 600,000 are estimated to speak a form of Creole language specific to Hawaii called Pigdin which is a mixture of Hawaiian, Chinese, Japanese, Filipino, Korean and English.

I drew on my memories of Hawaii and experiences with locals speaking in native Pidgin English and found this reference site of words, definitions, and usage. In A Human Element, Ben frequents Chinatown and has an unfortunate run in with a homosexual prostitute who speaks Pidgin and is called as a “mahu.”
http://www.e-hawaii.com/pidgin/pidgin-english-words-starting-with-m

I also found a site that lists a quick cheat sheet on Hawaiian Pidgin English that helped me in my dialogue. http://www.eyeofhawaii.com/Pidgin/pidgin.htm

Here are three excerpts from A Human Element where the local Pidgin dialect comes into play:

Ben, drunk and beat up, hails a prostitute in Chinatown:

Beat up and with no prospects, he needed to find a 'relaxation parlor' and some company. It didn't take long in Chinatown for him to be approached. 
"Howzit, sailor? You hurt? Need some wahine to take care of you?"
"Maybe . . . you got a back room nearby?"
"Yeah, yeah, sure thing, sailor buggah. Da cute! Pretty gray eyes, too." She mixed in the local Pidgin dialect with English. "I'll wash your handsome face for free." She laughed as he touched his face, remembering the blood. He must be a scary sight. 

Ben is confronted by the prostitute’s pimp:
A massive local stood over him. He looked Samoan.
"You cheat me, stupid sailor boy? Is dat what you want to do?"
"Yeah, that's him, Koko." The transvestite stood next to his moke. His wig now back on,
but askew. He smiled at Ben and put his hands on his hips. He had blood on his face from where
Ben hit him. How could he have ever thought this was a pretty woman?
Ben stood up in a torpid daze and shook his head.
Before he could speak the giant grabbed his shirt and glared at him. "You see my girl
here? You ruin her pretty face so she can't make tricks and I'll kill you. She's my money-making
mahu.”

Ben is kidnapped and held at the Pali Lookout by two Samoans:

"I'll pay whatever you want," Ben said. "Just let me go now." His body ached everywhere
but he could think again.
"Don't give me your stink eye, boy." Koko slapped his head again. Ben turned his face
away. One of them pulled his head up by his hair and slapped duct tape on his mouth. Ben
quivered.
"Got chicken skin there, eh?" Koko caressed his arms. "No one will hear you scream up
here. This is a haunted place. Your screams carry away on the wind, right, Kami?"
"Right, brah. People too scared to come up here at night with the ghosts of our ancestors
roaming about."

In learning the local dialect I also had to reacquaint myself with the logistics of the island of Oahu. This involved looking at online maps and researching the history of the locales used. I poured through articles and statistics to choose the best pieces to incorporate in A Human Element.

How do you blend research with your own experiences?

About A HUMAN ELEMENT:

One by one, Laura Armstrong’s friends and adoptive family members are being murdered, and despite her unique healing powers, she can do nothing to stop it. The savage killer haunts her dreams, tormenting her with the promise that she is next.

Determined to find the killer, she follows her visions to the site of a crashed meteorite–her hometown. There, she meets Ben Fieldstone, who seeks answers about his parents’ death the night the meteorite struck. In a race to stop a mad man, they unravel a frightening secret that binds them together. But the killer’s desire to destroy Laura face-to-face leads to a showdown that puts Laura and Ben’s emotional relationship and Laura’s pure spirit to the test.

With the killer closing in, Laura discovers her destiny is linked to his and she has two choices–
redeem him or kill him.

Readers who devour paranormal books with a smidge of horror and steam will enjoy A HUMAN ELEMENT, the new novel about loss, redemption, and love.


Reviewers are saying…“A HUMAN ELEMENT is an elegant and haunting first novel. Unrelenting, devious but full of heart. Highly recommended.” –Jonathan Maberry, New York Times best-selling author of ASSASSIN’S CODE and DEAD OF NIGHT


“A HUMAN ELEMENT is a haunting look at what it means to be human. It’s a suspenseful ride through life and love…and death, with a killer so evil you can’t help but be afraid. An excellent read.” –Janice Gable Bashman, author of WANTED UNDEAD OR ALIVE, nominated for a Bram Stoker Award.

Donna Galanti is the author of the dark novel A Human Element (Echelon Press). She won first place for Words on the Wall Fiction at the 2011 Philadelphia Writer’s Conference. Donna has a B.A. in English and a background in marketing. She is a member of International Thriller Writers, The Greater Lehigh Valley Writers Group and Pennwriters. She lives with her family in an old farmhouse in PA with lots of nooks, fireplaces, and stinkbugs. Visit her at: www.donnagalanti.com

LIKE Donna’s Author Facebook page for news and updates! Her tour runs through April 11thh with book giveaways, more guest posts, and interview fun, and a chance to win the big prize giveaway! So pop over to her blog to see the full tour schedule.

Connect with Donna here:
Twitter: https://twitter.com/#!/DonnaGalanti
Facebook: http://www.facebook.com/DonnaGalantiAuthor
Blog: http://blog.donnagalanti.com/wp/

Purchase A HUMAN ELEMENT:
Amazon  Barnes & Noble Smashwords

Establishing Style

Each and every composition is born of a unique idea that the creator desires to convey through their work. The idea, concept and overall composition may be unique; however conveying the distinctiveness of the piece can be one of the more difficult prospects.

Out of the more than 300,000 books published in the US each year, the difference between one composition and another can be as little as character names despite the unique idea that the creator originally had.

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The audience is often drawn to similar works and when one composition is difficult to distinguish from another on premise alone, the unique idea needs a strong means of conveying that distinctiveness. Adjusting tone, setting and specific details can take a composition from similar average work to something iconic.

Examining some of the most iconic media compositions, Burn Notice, MacGyver, Supernatural, X Files, Twin Peaks, The Matrix, TrueBlood, GhostBusters, The Shining, even James Bond it is apparent that each of these compositions established their distinctiveness through tone, setting and the manipulation of character details.

Adjusting the tone of the entire piece not only changes how characters perceive others and elements in the composition but it affects how the piece is perceived through the narrator and ultimately the audience's own perceptions. Changing the setting to something unique or even changing how the setting is perceived can establish a unique aspect that shifts the composition to something iconic. One of the most powerful means of establishing a composition's uniqueness can be through the details of the piece. Does the main characters wear expensive suits? Drive a classic car? Have an obsession with coffee?

When there are millions of different narrative compositions and the audience has a preference for things that are uniquely distinct but remarkably similar to what they are comfortable with, the struggle to be distinct becomes synonymous with Style. Even when the theme or concept is familiar establishing the uniqueness becomes a drive for the distinct style of the work.

Abstracting Layers

Depth, Dimension, Layers…

As a narrative piece is composed, one of the difficulties of framing a specific point as the subject of the narrative is establishing the sense of depth in the composition.

Often a visual composition will rely on layering to add a sense of depth and even time to the piece. A narrative composition can quite frequently utilize similar techniques to bring that composition into greater focus, bring it to life.

Adding depth to a narrative is achieved through layering interaction dynamics and narrative history.

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Interaction dynamics are the implied and explored relationships within the narrative. These can be the relationships between subjects or between subjects and setting. Implied relationships are not overt reactions between subjects but the secondary inferred relationships. In a visual sense the subjects would be juxtaposed to demonstrate hidden emotions or draw tension. These are quite common in romantic narratives as two subjects awkwardly avoid interactions.

The explored relationships are overt dynamics, emotions and interactions are direct. Visually there are direct correlations between subjects or subjects and setting. These can be further layered with different levels of emotions, interactions and relationships. All of these are typically the make new friends, adversaries and love interests subject interactions.

The interaction dynamics of both implied and explored relationships add layers to the composition, provide a sense of depth to the interactions.

A visual composition can frequently capture a still moment in time, but it can also appear flat and superficial. While in a narrative it is possible to convey a linear progression of time, like a visual composition it can also appear flat and superficial.

Through narrative history it is possible to layer a composition with additional depth and dimension. The composition demonstrates a history for the subjects through details of worn settings, memories of previous events and relationships built on events not within the composition.

As any visual composition becomes more interesting with layers of interaction dynamics and narrative history so to does a narrative composition. The flat one-dimensional take on a narrative timeline or strictly overt interactions leaves a flat, superficial image. Adding layers of interactions, history and detail together brings the piece to life.

Leading Lines

In a composition there are a variety of techniques that can be utilized to explore the piece. One of the most dynamic means of guiding the audience through a piece is through the use of leading lines.

Leading lines are one of the top rules of visual composition and are used to great effect to guide the viewer's perspective through the piece, drawing attention to focal points and creating narrative rhythm. These lines are also can be used singularly or with additional supporting lines.

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A narrative composition is led by leading lines as much as any visual composition, however unlike a visual composition the leading lines are not only visual based on the narrator's perspective but also a product of dialogue.

The narrator's perspective has a strong influence on the composition through the depth of field, viewing angle and the leading lines. Through the narrator's perspective it is possible to guide the audience through the piece in a similar fashion as a visual composition. The narrator's perception can create tension, emotion and dynamic depth through their perception of the scene. As the narrator examines a particular scene, their view will follow the same leading lines as an audience would with a visual composition.

Ex: I forced the weathered metal door open and stumbled out onto the platform. The tile was cracked and broken, covered in disturbing stains that led to the tracks. The tracks were rusted, long forgotten as they ran down the tunnel and back into the real world.


The narrators eye follows the leading lines as the audience would view it in the visual composition. The eye follows the lines of the tile in the foreground to the tracks which prominently guide the eyes down in a linear direction.

Dialog leading lines are often more clearly defined as character movement within the environment or lines that begin or end a scene. These lines convey movement not only through the visual composition but through the story as well. Often these lines are used as indicators for scene and settings change.

Ex: "Well, that's not going to matter anyhow." I heard her let out a sigh. "Fine, let's do this." I stopped and looked at her. "That's the spirit. Ready?" She nodded. I turned the knob.


The audience's perception of a narrative composition is subject to the same rules of visual compositions. Through dialogue and scene leading lines, an audience is guided through the piece in a fluid, dynamic manner that keeps the piece interesting.

Filtered Perspectives

Perceptions, Tones, Filters…

A writer's challenge in crafting a narrative is conveying the piece they envision to an audience that has no concept of the piece. The creator has to balance the elements of the piece, the settings, characters, thrills and the visual elements that can affect the perceptions of the piece.

Even as a piece is painstakingly balanced between the elements, it still may not convey the vision that the creator desires. It may not have the appropriate tone or saturation.

Conveying the appropriate tone for a piece can often be the most challenging due in-part to the preconceptions that audiences carry. Every individual has differing experiences and most often what one person perceives is not what another understands.

Ex. "She let out a sigh and leaned against the damp brick wall. Somewhere down the alley she could hear the rats fighting."    

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The setting in this example may convey a gritty and dark tone to some, to others that have lived or experienced this type of setting only conveys a night-time city neighborhood. The piece fails to utilize the preconceptions and carry the appropriate tone.

Drawing the appropriate saturation for an audience can be an equally strong challenge. The saturation of a piece is dependent on how long the audience is exposed to a setting or scene. Certain individuals will require longer time in the scenes to reach the appropriate saturation levels to convey the envisioned composition.

Adjusting the tone and saturation of a composition is similar to the visual arts. In photography and cinematography, when all of the elements are drawn together and the composition is still not what was envisioned, the artist typically applies filters to create the vision. Red filters to 'warm' a composition, 'blue' to cool and still more to affect the saturation levels in the piece. The more the light is controlled through filters, the more artists are able to control the audience's perceptions of the piece.

In a narrative it is possible to control tone and saturation through this same 'filter' concept. Adjusting tone is possible through filtering the narrator's perception. Expanding on the previous example with a 'filter' it is possible to ensure that the right tone is conveyed.

Ex. "She let out a sigh and leaned against the damp brick wall. It was hard to believe it had come to this. Somewhere down the alley she heard the footsteps over the fighting rats."


Through filtering the narrator's perspective it is possible to adjust the tone to a perceptible level. Extending the scene through a few slight details fully saturates the audience. Attaining the envisioned composition is not only an assemblage of the right elements but often the right application of filtered words.

A Sound Design

Any narrative composition is an assemblage of elements from the relationships between characters and their interactions, to subtle details like lighting, depth of field and narrative angles that are all designed to control the audience's perceptions of the piece.

In cinematography, a primary element that is necessary to unify a composition is sound. Whether it's the audio levels for a given scene, the subtle use of background noise or even music, audio creates the gestalt composition.

Controlling the audio levels in cinematography, while challenging, also yields the most dynamic results and brings the composition to life for the audience.

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Audio levels typically consist of two subset levels and four operating levels. The two subsets consist of the dynamic range, the full range of sound in a given recording; and the operating range, the actual range of recording. Within these subset levels are the operating levels; the Noise floor, the Reference level, Headroom and Maximum output.

The Noise Floor, also known as the background noise, is most responsible for creating a unifying tie between scenes even when the scenes take place in dramatically different settings. Most often a cinematographer will create a steady white-noise that they can underly to subtly tie together all of the scenes in a piece.

The Reference Level quite frequently is the 'talking volume' in a piece. This is subject to the direction that the sound is coming from in regards to the input. Individuals talking in frame or background music that alter from scene to scene. This is the primary level for action and interaction with the main composition.

The Headroom and Maximum Output levels are typically only utilized for 'peaking,' that is, the times when the music will swell or a particular noise will be emphasized over the previous sounds. A number of compositions utilize this to great effect for startling the audience.

A narrative composition utilizes sound design just as well as any cinematography effort. While the cinematographer needs to rely on the actual sounds and levels of their work, the writer has infinitely more control over the sound but has a greater challenge. Every narrative setting has audio levels that can be subtly used to create the desired effect and control the audience's perceptions of the scene.

 Ex. She paced along the walkway under the warm glow of the park's lights. She needed answers and he was going to be the first step.


In the narrative, the sound design is not always overt and quite frequently the audio is dependent on the audience's preconceptions of the scene. While it is not overtly described in this scene the audio levels are inferred. The sound levels are very low with footsteps on the wooden walkway and a quiet undercurrent of nocturnal sounds from the park. While the implied sounds are adequate the audio does not utilize the full operating levels for the scene. The composition feels incomplete.

Ex. She paced along the ocean walkway under the warm glow of the park's lights. She needed answers and he was going to be the first step. The winds picked up, rustling the bushes and carrying small bits of litter across the grass.


The additional details not only add to the visual composition but also succeed in generating full operating levels for the composition. The Noise Floor is filled with subtle shifts between the ocean and winds. The Reference level is filled with footsteps on the walkway while the Headroom Level is filled with swelling winds and rustling bushes.

Just as in Cinematography compositions, a Narrative composition relies heavily on sound design to control the perceptions of a scene. Understanding and utilizing the audio levels to great effect can be the difference between an average scene and a dramatic scene that influences the audience. Sound is integral creating the optimal composition, world building that immerses the viewer.

Juxtaposition of Relationships

Every narrative composition is about the dynamics of relationships, the interactions between characters that drive the piece forward. There are however, more elements to conveying those relationships than just the interactions between the sculpted characters.

As with any visual composition, the elements of a piece can be juxtaposed in a manner that can convey the specific dynamics of relationships. Through a manipulation of perspective and the details of a scene it is possible to emphasize ties or relationship dynamics, convey emotions and shared feelings, reveal occasions and shared history.

Ties and relationship dynamics in a composition are primarily a revealed through actions of the subjects but the details can clearly reveal similarities of physical characteristics, similar thoughts and perspectives. Choosing the appropriate details, it is possible to create a sense of unity between characters.

Ex. She pushed her way through the crowd when she saw Nick talking with someone at the back of the bar.

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In this example the atmosphere is crowded and suspicious but does not carry an emotional impact. If the perspective and focal points are adjusted it becomes significantly stronger.

Ex. She pushed her way through the crowd and stumbled to a halt. Nick was sitting with some redhead at the back of the bar.


Utilizing the relationship between subjects and the setting makes it possible to convey emotions and shared feelings in a subtle cohesive manner that prevents any jarring disconnections between the audience and the piece. When conveying a specific subject matter the composition is arranged to a 'telling-effect' that reveals the emotional impact rather than reactionary from the subjects.

Ex. The struggle caused the camera to slip and tumble over the side of the boat. We bolted to the railing and watched helplessly as it splashed into the water.


The entire scene is predicated on actions and the relationship between the subjects and objects in the scene. While no dialog or emotions are revealed the juxtaposition of the elements creates the emotion. The same can be created with the use of objects alone in a composition.

Ex. The light followed the red droplets along the darkened corridor only stopping when the source was revealed. A simple folding knife with dark stains on the glinting metal.

 Often compositions utilize occasions such as holidays, birthdays or other special occasions to create a sense contrast for the subject material. A more subtle use of objects and subjects in the composition is utilizing and emphasizing the shared history of the subjects. Referencing a single previous event, high school slogan years later or other telling moments.

A narrative composition is no different than a visual composition, the relationship between objects, details and subjects affect the overall piece. Choosing the appropriate emphasis, focal points and providing the right juxtaposition between the elements creates a stronger composition. Any single element can be enhanced to affect the overall piece.

Analyzing the Angle

Composition, Framing, Angles….

In any composition there are a variety of facets that can impact the composition as a whole. Elements such as lighting, perspective and depth of field for the piece can adjust the overall tone, perspective and even objective for the entire composition.

As with any composition in the visual arts, one of the most significant facets of to keep in mind is the angle of the 'shot.'

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While there are many conceivable angles to approach a scene from the two most important framing angles are the 'low shot' and the 'top down' shots. The low shot is commonly used in compositions where emotion is the principle objective. Focusing on a subject from a low angle creates a sense of overbearing pressure, authority or menace. The opposite is true for the 'top down' shot. Often used in compositions to show scale and distance the audience from subject matter, it is possible to convey a sense of insignificance.

In any narrative, each scene is perceived from a specific angle and perspective. As with most instances of first-person narratives, the angle of the scene is restricted to the available and logical perceived approaches by the narrator. The narrator is restricted to human perspectives, angles on scenes. This perspective may appear limiting but as the creator of the composition, it is possible to move the scene to accommodate a stronger impact.

Ex. I jogged down the hallway towards the figure looming over the latest victim. I was too late.


In this example the angle of the scene is perceived at distance on the same plane, the same level as the scene. Adjusting the angle and scene to create a better impact…

Ex. I jogged to the stairs and started up until I found the next victim. I knelt on the landing and cursed myself. Too late, again. Lifting my gaze, I saw the figure looming at the top of the stairs watching me.


As the angle on the scene changes so does the emotional impact and tone of the scene. If the scene is reversed and the angles change again so that it is a 'top down' angle then the perceptions change with it.

Ex. I jogged to the top of the stairs. He was standing over his next victim on the landing below. I was too late again.


In these examples the tone and perceptions of the scenes change giving a completely different tone to the composition each time. In the first example, the perceptions range from the antagonist may be caught, fight or flee. The second example, the perceptions range from sadness to fear that the character may be the next victim and in the final example the perceptions are that the antagonist may flee or be caught.

While the composition may have many facets that impact the overall tone, the angle of the 'shot' is one of the strongest elements for controlling the narrative perceptions. In a third person perspective, it is far easier to control the angle of the shot but it is also more difficult to convey the same level of emotion as the 1:1 ratio of the first person perspective. Every detail, perspective and angle has attributes that lend itself the certain compositions. It's the director, the creator's challenge to understand these and create the ideal composition.

How do you perceive the angles?

Establishing Perspective

In any composition there are a core set of elements needed to create the composition and each element can be adjusted to reflect the desired effect on the entirety of the piece.

The composition can be adjusted through the subtle shifts to subjects, lighting, settings and especially focal points. A shift in perspective can change the entire composition. In most narratives perspective is long-regarded as first person, second and third person in reference to the narrative perspective.

The narrative perspective is actually the 'narrators perspective' and not necessarily the visual perspective for a scene. In the visual arts the concept of a perspective is defined as the relationship between objects within a composition.  Simply put, a three-dimensional scene is compressed to a two-dimensional depiction of that scene but through the illusion of perspective it is possible to convey a three-dimensional scene.

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Taking the concept of the visual perspective and applying it to the narrative composition allows for similar control of a scene through different visual perspectives.

The Linear Perspective is the most common perspective for most narrative scenes. As objects and details are perceived further from the focal point, the fewer details are visible and smaller the objects are perceived to be in relation. The narrator's perspective as an individual is subject to a visual perspective within the environment.

Most instances of visual perspective in a narrative are subject to the subconscious Rectilinear Perspective through interpretation. This means that what is actually straight in the scene is perceived as straight. The perceptions of objects and subjects in a scene will shift however depending on the visual perspective. Illusions like overlap, dwindling size and volume will influence the perceiver within the scene.

When perceiving the perspective of a scene it is important to understand how visual perspective works. Through the eyes of a character, the objects and subjects in a scene can be unintentionally deceptive. Controlling the specifics of the perspective can provide a narrative with a stronger connection for the audience and more opportunities to affect the atmosphere of each scene in the composition.

Lighting the Narrative

In any composition, details can control the tone and atmosphere of the piece more than any overt elements. The strongest of these elements is also most often overlooked due to it's rather commonplace nature, lighting.

While settings and even weather can influence the atmosphere and tone of a piece, these are direct elements that an audience can perceive as cliche and can become a detriment to the overall composition. Using the lighting of each scene, each setting can be a subtle means of controlling the audience's preconceptions and perceptions of the composition.

As with photography and cinematography, controlling the lighting of the scene allows the creator to bring their vision of the piece to life. Through controlling the direction, quality and quantity of light in a scene it's possible to control perceptions of a scene.

Through the subtle manipulations of directional lighting it is possible to convey specific emotions and manipulate audience perceptions of the scene.

Ex: She paced along the ocean walkway under the warm glow of the park's lights. She needed answers and he was going to be the first step. Her pacing quickened until another gust rushed her and the rolling waves sprayed higher than the railing.

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The streetlight provides the directional lighting and offers a sense of security, safety, that the audience can perceive. This light source conveys the emotional tone of the scene, it's night, there's an anxiety about the scene and most details are washed out highlighting the primary subject in even greater detail.

Controlling the quantity of light in a scene is another means of controlling tone although it is far less subtle than simply adjusting the quality of the light and the direction of it.

Ex: The sun was warm as she drew a breath of determination and pulled open the heavy fire-door. Inside was a long dirty hallway lined with neglected and abused doors. Light was a precious commodity with a number of the ceiling lights broken. The fire door closed and left her in the pathetic lighting.

The transition from sunlight to a poorly lit interior reflects the oppressive emotions of the scene. The sunlight offers warmth, safety and comfort while the interior lighting reflects something darker, harsher than the outside world. This also demonstrates the differences in the quality of the lighting. The sunlight carries natural preconceptions and emotions while interior lights reflect a different set of emotions. Even if the lights were simple florescent lights there would still be a shift in the perceptions associated with the lighting.

Ex: I stepped out into the pure white florescent light. White eggshell walls reflected the light off the white tile floor in an empty wide hallway lined with cream colored doors and wire mesh windows down it's length. I stopped at the first large glass window to look at the sun-lit parking lot.

The distinction of the florescent lights emphasizes the sterile nature of the environment and carries a sense of cold detachment while the sunlight carries the warmth. The contrast between these two different qualities of light distinguishes two different sets of preconceptions and perceptions of the settings.

Through the subtle manipulations of lighting it is possible to reflect the desired narrative tone of the scene. Adjusting the depth of field, the focal points and emphasized details of a composition allows for a more dynamic composition that carries more emotional weight for the audience.

Assigning Depth of Field

As the artist conceptualizes their work, they designate a specific subject or focus for that work. There is a particular message that they wish to convey with their subject and as a result, a given selection of details that must be emphasized in their work.

In a particular work, the artist will need to select the appropriate 'focus' for the piece. This focus will reveal a subject in greater detail while de-emphasizing the surrounding subjects to provide a greater contrast that allows the subject to stand out. This technique of emphasizing a particular subject with a selected focus is commonly described as a depth of field in photography and cinematography. In a visual sense it is the distance between the nearest and farthest objects in frame that appear 'acceptably sharp.'

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Much like the visual arts, it is just as necessary and integral to select the appropriate focal length, the depth of field for a piece. Three primary means of focusing on a subject across mediums include the deep focus, shallow focus and a selective focus.

A deep focus or large depth of field is common in cinematography and is also quite common in fantasy novels as well. In a deep focus shot the foreground, middle-ground and background are all in focus. This emphasizes moderate detail across all planes of the frame and in narrative terms this is revealed as detailed descriptions of the world, characters, atmosphere even political machinations. While there will be given subjects within the frame they will only exhibit an equal level of detail as that of the rest of the frame regardless of positional emphasis(if they're the main characters, subjects, etc.).

Ex: The rusted mechanical horse slowed its piston-timed pace until it brought the carriage to a stop before us. It was clear that the Algenie were being selective about transit updates in this section of the city. "Select your destination sir." The robotic voice echoed.

The counterpoint, a shallow focus or small depth of field is often more effective. In a shallow focus the subject is emphasized while de-emphasizing the foreground and background. This emphasizes great detail on a single plane and significantly less detail on surrounding subjects and in a narrative sense, is common in most contemporary novels. The subjects in frame will exhibit varying levels of detail depending on their positional emphasis.

Ex: The cab swerved across traffic in response to my hail drawing to a stop in front of us. I jumped in and tried not to recoil at the stench. The cabbie looked over his shoulder, "Where to boss?"


A balance between the shallow focus and deep focus is the selective focus, a large depth of field with selected emphasis. This focal method allows for a larger detailed frame than a shallow focus but also provides more detail than a deep focus on selected subjects in the frame. In a narrative sense this is more uncommon but also generates an air of inconsistency.

Ex: The battered yellow cab swerved around the sanitation truck as the workers hopped off. The car dodged a pristine Mercedes and slid to a stop in front of me almost taking my toes off the curb. I shook my head as horns sounded in the distance and I pulled the door handle. The scent of sweat and decay greeted me as I slid in on the cheap vinyl seat. "Where to boss?" The large cabbie asked with a thick Brooklyn accent.


Every creative piece has a selected depth of field, a focal length that establishes what in frame is emphasized and de-emphasized. Once a focal length is selected, it is abundantly apparent to the audience when that focal length changes. If there is a shift within the focus it often weakens the piece and often distinguishes a professional piece from the amateur. Do you know what focal length you're using?

Saturated Settings

In any piece, a setting can infuse a narrative with a distinct tone, a mood that flows throughout or even permits the characters to demonstrate traits that would otherwise remain hidden from the piece. Unfortunately many settings have been utilized to the point of exhaustion from decrepit abandoned buildings to the city coffee shop.

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Each distinct setting in a narrative can infuse a particular tone into the piece because of the preconceptions that every individual has regarding those settings. Most settings are not chosen based on the tone that they will set but because they will be relatable for the majority of the target audience but in choosing this route it creates and sustains the cliche settings.

Some of the most over saturated settings include; urban sprawl, office building, coffee shops, the sea-side town, the sewers, caves, hidden rural towns, decrepit abandoned buildings, schools, forests and swamps. Each of these settings carries a certain connotation and infuses a specific tone into the narrative.

In the Urban Sprawl setting(Cities or Suburbia) this is the most common setting for a narrative because the sheer number of audience members that live in a similar setting. The Urban Sprawl infuses believability and a tone of pressure, stress, to the piece. The coffee shop, the office building, the parking garage, the sewers and apartment/loft are frequently exploited in this setting. While there are a multitude of variants of these settings, the sense of normalcy that these settings evoke makes the narrative more believable but also less distinguishable from other works in a similar setting.

In the Rural setting, whether it's the hidden town on the sea or in the woods the setting adds a sense of peace and a tone of mystery. While there are fewer individuals of the audience that actually live in these settings the preconceptions created by these are far stronger. The audience will constantly be 'en garde' for the subtle hints of something else underneath the surface of the town.

The Hidden settings like swamps, forests, caves and abandoned buildings carry a tone of foreboding and sadness. Unfortunately these settings have been used by horror stories so frequently that the audience is just waiting for something to 'jump out' at them from the piece. Since far fewer individuals have actually experienced these settings, the layers of development and detail will be much greater to convey the same levels of tone that a familiar setting can do far quicker.

As a setting is utilized to build a relatable connection between the audience and the characters this also applies all of the knowledge and experiences that an individual has regarding a setting. When tapping into the viewer's knowledge it is important to note that not only will it be more readily believable but also that they may have more knowledge about the setting than the writer. It becomes a delicate balance of tone and believability. Drawing on popular settings can make a piece more believable but also less distinct.

What settings to you find that you draw upon the most and for what tone?