In the more than three decades I have been published, I have learned so much about writing not only from reading but from other authors. One of the things that surprised me is that most novelists begin with a plot idea or particular main character in mind, whereas I’ve always begun with a setting I love or that intrigues me. In my writing, the setting is key, and then the other story elements will fall into place.
This is even true of my historical novels based on the true stories of actual women. I always start with British or American settings and eras and then find my heroine’s story from there, because those two countries are the cultures and places I know best.
For my contemporary romantic suspense novels, where I place my plots in the US is of key importance to me. As a born and bred Ohioan, I have used my home state in a variety of novels, especially my Amish stories. Often, however, I’m impacted by a place I visit which grabs my imagination. If I find a place intriguing, a story usually starts forming in my head, hopefully later to be brought to life.
That was the case when we visited our nephew in Denver and stayed at his home high on Black Mountain above Conifer, a suburb. I had no more returned to Ohio than a heroine, her predicament—and her home area—came to me for the novel The Hiding Place, because I liked the unique setting. Likewise, my visits to and knowledge of Appalachia led me to write the Cold Creek trilogy set there.
The point, however, is not just to choose a beautiful, challenging or intriguing place, but then to bring it to life with details so that it becomes another character—a key character. Setting as a character in novels interacts with the human characters and may change during the course of the book, just like a person.
The best example I can think of which everyone might be familiar with is the doomed ship Titanic in numerous stories and movies. The (character of the) ship begins as a safe haven for other characters on the dark, cold sea. It’s a warm, glitzy, friendly, welcoming place. Of course, then—in the best style of a murder novel—the ship turns into an enemy to escape from and then a killer, a mass murderer.
Another classic setting with a great character arc that goes from lovely to scary is the “friendly” beach and ocean setting in the book and movie Jaws.
The Alaska setting in Deep in the Alaskan Woods begins with a place that is a protective haven and retreat for Alex, who is fleeing an abusive relationship in “civilization.” Through Quinn, who is very tied to the setting, she comes to realize that the area, which can be dangerous, can also be a desirable friend. Quinn, too, having lost his father and dog as a child to “nature” has had a changing relationship with the wilds. When Alex is abducted, the forest could have quickly become her enemy, but she then knows and cares enough about this “character” that she can use it to fight for her freedom and her life.
I’m sure you have read novels that glued you to the page but could have taken place anywhere. I prefer to read and write ones in which the setting is very special, an essential element, because the place really is part of the novel. That doesn’t mean that a writer who begins with a character in mind or a theme/plot doesn’t write a great novel. Many have. Writing with the setting as the first consideration works for me, and I hope my readers enjoy those setting and stories.
Karen Harper