Just wondering about a novel idea I have in mind.

It would take place in and around one location, concerning several characters. I'm concerned it could become boring although I can see interesting possibilities, too. I'm also concerned it might not be clear (even to me) who the MC is.

Is it better to have a string of locations rather than the play-like restriction of a limited location?

I'm not sure I'm yet skilled enough to pull this off. Is it the dangerous territory it looks to me?

Thanks,

Laura

Hi Laura,
Why not start it and see what happens? I reckon that the main character will emerge naturally as you begin to write, as will the answer to your question. I don't see any reason why one location can't work, providing the characters and the plot are strong. In fact, it could be a strength, providing a kind of crucible for the plot to really bubble in!
Good luck with it,
Susiex

Hi Susie

Thanks for replying.

I think you're right, I should just suck it and see. I also think you're right about the limitations being a possible strength.

Will go for it. Thanks.

It’s possible for the location to become a ‘character’ in itself. I once wrote a short story centred around a day in the life of a bench on Morecambe promenade. It worked because a thread of the story touched on all the people who interacted with the bench throughout the day. Don’t know how easy or difficult it would be to expand the idea into a full novel. Hasn’t it been done in film before? Wasn’t that the basis of the storyline in ‘A Yellow Rolls-Royce’?

Dee

'The Yellow Rolls Royce' centred around the car, which had various owners and groups of very different characters involved with it and passed through many different locations and situations. Like 'Black Beauty'. Not like the idea I have in mind which would be much more static than even your seaside bench because the characters would not change. Static in that sense, although there is room for dynamism in the relationships between the characters.

I have no idea if this is any help for you, but try and rent a dvd of Rashamon, the daddy of all single location, but many points of view story and also Smoke, a Harvey Keitel movie centered around a cigar shop and I suppose you could Clerks into the mix.

There may be ways of better understanding how characters enter and depart from watching such movies.

David


<Added>

I meant throw Clerks into the mix

Reservoir Dogs!

Even in single locations, such as The Evil Dead (all in a house) there are locations within the main - the different rooms and how they effect the people - a bedroom being a place of safety, a cellar being a place to be afraid of, when they are essentially both rooms within one building. You could do the same within a single room - the positioning of the characters describes the location - under a bed, in the cupboard, under the sheets, on top of the wardrobe.

there is a strong possibility I'm talking bollocks.

I think you blew it when you got to the top of the wardrobe, Colin

Other than that it made a lot of sense.

It sounds interesting Laura. I think it depends too on why you are focusing on one location ie as an experiment or because you have a particular place in mind that would lend itself to this. If you're a little uncertain, why not start with a short story and take it from there?

Setting a film in a single location is fairly easy, because you can fill it with action and personal conflict and pack out 90 minutes. In a novel you might have a problem because your characters might require more room to develop. You'll still need a secondary plot and mini-subplots. Could be an interesting challenge though.

If I were going to take on something like a restricted location, I would probably read/study one act stage plays. One would have to be a good writer to hold a readers interest in a limited location. Actors have to move on and off stage. There are probably some fictiion books on lifeboats dramas, which would also be of help.

Azel

Hi Laura
If you are prepared for your story to take you to where it wants to go then a one location plot is a possibility. If you feel the need to look out the window, or mention somewhere else then don't discount that, just return to the main location again straight afterwards.
It has been done before and worked, I think it would be a good idea to see some films or read other works first and then see if your basic location has enough life in it, so to speak.
A general synopsis might help as well because then you can see whether you have enough for a novel or just a short story.
I do think though if you are keen enough on the idea to ask for advice you really want to write it and that, in the end, is the main reason for you to go for it.
Take care
Tracy

Twelve Angry Men - that's a fabulous film set in just one location, and it has a wonderful claustrophobic feel to it as a result. I like novels with just the one setting - where, as Dee says, the setting almost becomes a character. And if you're basically doing that, then it also becomes possible to use brief forays beyond the 'four walls' for special effects of one kind or another - heightening drama/pace, introducing some outside perspective on events, etc...

Rosy

'Twelve Angry Men' is, I believe, written in 'French scenes', where the location doesn't change, but the action centres around different groupings within the cast of characters, i.e. two people may be talking together, then two others join them but one of the originals leaves, etc.

I had French scenes partially in mind for this story but upon working the idea up further over the last couple of days have decided that it won't work for the story I have in mind. 'Twelve Angry Men' being a courtroom drama, French scenes are ideal for it but would not feel natural for this. I am hoping, after all, to write a novel not a film or play.

I have now decided that the locations can be slightly more varied than I first envisaged although still restricted to the environs of the main location. For reasons central to the plot, it really can't range any further than this.

My new (newest?) problem is that the denouement of the sub-plot is in danger of out-doing the main plot. Hmmm.

Thanks everyone for your input, it's much appreciated.

Also Hitchcock's film Rope, which not only takes place in one location (the protagonist's apartment) but is filmed in one take.