Sometimes a setting is so vivid and so involved in the plot—sometimes even becoming an antagonist—that we say the setting is a character in the story. And that’s actually very close to what I think is the truth. No, settings are probably not going to be as dynamic or as influential to a story as your characters will be—but it’s the characters that make the setting.

Last time, I mentioned The Cruelest Month by Louise Penny, and a haunted house setting she uses. She sets up some facts and background: people had been murdered there, it stood vacant, they were about to hold a séance there. But those facts aren’t enough to create the chilling haunted house she’s going for.

It’s more than just empirical facts that imbue a setting with a sense of place or make it come to life. Penny also uses emotion to flesh out her settings. To paraphrase characters in The Cruelest Month, this house

• is the focus of local evil and ill-will, offsetting the good spirits of the bucolic, idyllic village
• inspires dread
• has a powerful draw on the characters, despite their dread
• is the perfect setting for an effort to raise the dead
• um, is a murder scene. and abandoned. (because the facts do help a little 😉 .)

Describing a decrepit old house won’t be enough to inspire a specific response from your characters or your readers. Powerful settings actually have less to do with the location itself, and more to do with the psychological and emotional effect these places have on the characters. As writers, we can almost always access our readers’ emotions best by using our characters’ emotions. Settings won’t have an impact on the reader if they’re not having an impact on the characters.

Tapping into character’s emotions allows us to connect with our readers. In some ways, the setting’s best use can be to create those emotions and set the mood for a scene, drawing your readers in by inspiring those same feelings in them as they see the setting through our characters’ eyes.

What do you think? How else can setting connect with readers’ emotions?

Photo by Shane Gorski

I’ll be honest: setting is one of my weak points as a writer. Sometimes I don’t see settings as I envision scenes at all; other times, I don’t transfer enough of the settings I see in my head to the story on the page. (One of the many reasons I need critique partners!) And when I read, I seldom envision more than just a rough outline of a setting, no matter how much square footage the author devotes to the subject.

In fact, the more time an author spends describing the setting, the less likely I am to 1.) be able to picture it or 2.) actually read paragraph upon paragraph detailing the historical and architectural details of a location that will never pertain to the story. (Pointed look at a deceased author who shall remain nameless.) (10 brownie points to anyone who guesses who it is.)

On the other hand, I can’t (and won’t) deny the potential power of settings in storytelling and writing. Recently, I read a book that reconverted me to the power of settings, The Cruelest Month by Louise Penny.

The particular setting that she used so effectively was a house rumored to be haunted. The characters hold a séance there, and they reflect on the people who were murdered there. While those creepy details set the stage for a truly chilling setting, they are not enough to create the full effect on their own. (And we’ll finish that thought next time.)

What do you look for in a setting as you’re reading? How do you convey setting as you’re writing?

Picture by Lauren