Here's what he had to say...
I'll start off this post by asking a silly question: Is setting really that important? I mean couldn't most books work just about anywhere? Okay, that was two questions, but even though the answer seems obvious, many writers often consider setting in a lesser light than their human characters. Yet, one would never even think to set a book like Gone With The Wind in Brooklyn, would they? For that book the setting was as important as any of the human characters. I'd even go so far as to say the setting in GWTW is a character, a living breathing part of the book.
For my novel, A Note from an Old Acquaintance, Boston is an integral part of the story. I used it because I spent many years living there and am intimately familiar with it. It was a natural choice because it goes back to that hoary old piece of writing advice: "Write what you know." And while it's true many fine books are written by authors who conduct exhaustive research, there is no substitute for having "been there and done that."
So, how does one make one's settings more vivid without overdoing it? My best advice is to use just a few choice words to describe the room. This isn't the 19th century, where readers expected to be told every little agonizing measurement and detail. Instead, what contemporary writers do is weave those choice words into the narrative as they go along. Modern readers are far more visual and sophisticated and will fill in the spaces in their minds. In that sense, writing has become more cinematic. The other important part of setting is mood, the "feel" of the place. What is the atmosphere like in that room you're writing about? Here are a couple of examples:
Sherry wanted to cry when she first saw the inn's romantic attic room. It smelled of cinnamon and roses, mixed with the salty tang of the sea air billowing the homespun curtains. Late afternoon sun pooled on the scuffed slatted floor where dust motes swirled in the golden light; and the quilt-covered four-poster bed, nestled into the only corner of the room that was truly square, sagged in the middle, like an old swaybacked nag. She smiled, wondering how many honeymooners had spent their days and nights in it? Sherry squeezed her new husband's hand, knowing the island's rustic charms would have to wait a few days while they gave that saggy old bed a workout it would never soon forget.
The single bare bulb cast a weak, jaundiced light around Mr. Hammond's basement, a light that did nothing to dispel the shadows or his fear. Jimmy tried the ropes again, but only succeeded in tightening the knot, something the old man had told him would happen. His tears had long-since dried, and his eyes felt puffy and gritty. But that wasn't the worst part. It was the crumbling moss-coated brick walls that seemed to close in on him and the hard dirt floor darkened by his urine. He could smell it now, the sting of ammonia tickling his nose. There was another smell, too. It came from the dark-red effluence congealing on the porcelain mortician's table with the drain in the center. All that was left of his buddy, Paul. Tears leaked from his eyes again and his nose began to run. He should have left the old man alone. He should have tried to earn money some other way. Now, he was going to end up like Paul...like the corpse of that dead rat rotting in the corner.
Both of these passages give very different impressions of the setting without going into too much detail. It's those kinds of images you want to convey to enhance whatever setting you choose. Done with care and finesse, proper setting can be a powerful force that together with plot and character will propel your story along in the readers mind and keep them turning those pages. And that's what all writers want.
A Note from the Book Boost: Can I just say...I love Boston? Visited there many times when my sister lived there and it is a great old city. Thanks for sharing your story setting advice with us today. Now, please tell us more about your book.
Brian Weller is a haunted man. It’s been two years since the tragic accident that left his three-year-old son dead and his wife in an irreversible coma. A popular author of mega-selling thrillers, Brian’s life has reached a crossroads: his new book is stalled, his wife’s prognosis is dire, and he teeters on the brink of despair.
Everything changes the morning an e-mail arrives from Boston artist Joanna Richman. Her heartfelt note brings back all the poignant memories: the night their eyes met, the fiery passion of their short-lived affair, and the agonizing moment he was forced to leave Joanna forever. Now, fifteen years later, the guilt and anger threaten to overwhelm him. Vowing to make things right, Brian arranges a book-signing tour that will take him back to Boston. He is eager to see Joanna again, but remains unsure where their reunion will lead. One thing is certain: the forces that tore their love asunder will stop at nothing to keep them apart.
Filled with tender romance and taut suspense, A Note from an Old Acquaintance is an unforgettable story about fate, honor, and the power of true love.
“Please tell me why you’re doing this, Brian! Please!”
He tried opening his mouth, tried to tell her the truth, but the words he’d always wielded with such effortless aplomb, failed him, slipping away like smoke on a windy day. His throat felt as if it were gripped in a vise, his mind a flat, cracked slab of flyblown desert; and her muted sobs echoing through the phone’s earpiece made him want to take it all back. Every word. But how could he do that, now?
“I—I’m sorry, Joanna…for everything….”
THE PHONE JANGLED, RIPPING Brian Weller out of the dream. He sat up, gasping, sounds and images jumbling in his groggy brain until none of it made any sense.
The phone rang again, startling him.
He grabbed it, his eyes struggling against the darkness in the
What time was it?
Jesus, it was only 6:00. It felt even earlier due to the late night he’d spent at the computer
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