Location, location, location

Most new writers set their script in their hometown or someplace that they know very well. Nothing wrong with that. Exactly. But is that the best setting for the story? How do you decide where you story should take place? Is there a set of criteria? Places to avoid?

There is no definitive answer to the question of location. But I do know this; exotic or multiple locations are expensive. If you’re writing a romcom and have decided to set it in Ghana, I’ll save you a lot of painful rejection and tell you now that isn’t a good idea. Why? Because nobody is going to shoot a romantic comedy in Ghana – not unless the Universal backlot will suffice or you are a very well known and established screenwriter. Even then, it’s a long shot.

The question to ask yourself, as in the case above is – why? Is the African setting absolutely intrinsic to the story? Well, if you are writing THE CONSTANT GARDNER the answer would have to be yes. Maybe you have a passion project about Bosnia or Istanbul or the Arctic Circle. Then by all means set your story there. But do be aware that an exotic location will make some producers think twice.

When thinking over location, first think of the genre of the script. Is it at crime thriller? Most writers would then opt for a Manhattan, Philadelphia or Chicago setting. Sharp, steely, urban, gritty backdrops might suit a crime thriller well. On the other hand, nothing says foreboding like a small, quiet town in Kansas. Think about the mood you want to establish, the ancillary characters and the set pieces that the environment might suggest. Will that cactus patch make a great chase scene? How about some wooing under the elms? Big, old barns are a great place for a hatchet murder.

Don’t take the easy way and say, well, I’m from Omaha so this story should be set in Omaha. Don’t take the slingshot approach and think well, I’m from Poughkeepsie so I’m going to set this in Uruguay!

The setting should serve or even suggest story. Setting aside the truthful basis to BOYS DON’T CRY, what might that movie have been like if it has been set in Florida? Quite a bit different. How did Los Angeles become a character in and of itself in COLLATERAL? This sleek, oddly desolate-at-night city was perfect for the movie both tonally and from a plot perspective. How about the quirky logging town featured in TWIN PEAKS? Somehow that television show wouldn’t have been the same had it been set in Arizona.

So be aware of some pitfalls and limitations when choosing the backdrop for your story: exotic, far-flung locations make for difficult, costly shoots. As a writer trying to break in, think long and hard about making a choice like this; it could put producers off your project before you even get your foot in the door.

Don’t choose a location you know zero about. If you really feel compelled to write a drama set in Boston but you live in Tempe, do your research. Buy a map. Get to know Boston in any way you can. Take advantage of the topography and culture of Beantown.

Avoid the temptation to set your story in any-town USA just because you figure it will be easier. Place is everything: Memphis has a distinct, sluggish, Southern, Bluegrass feel that cannot be found in quite the same way anywhere else. Los Angeles, San Francisco, Atlanta, a small town in North Dakota – choose someplace that has something to offer your story; weather, topography, local culture and traditions will all make an impact. Don’t take the boring way out but don’t overreach either. Ask yourself, could this story be told anywhere else? If the answer is YES then I’d rethink the story or your use of the place in question. Maximize location for the oh-so-important specificity necessary to differentiate your script from the third one down, two stacks over.

Reading – whether it is a novel or a script – really is armchair travel. Take your reader on a journey and don’t forget to take the scenic route. Show us the trees, the locusts, the weather and waves. Show us the brilliant sunset, the smog and the jungle - asphalt or otherwise.

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