Craft Lessons #1: The Unseen Character
Reading characters that fit so well with the setting is as satisfying as watching round pegs fit into round holes.
Hello and assalamu alaykum, I hope you are well and writing? This week, I’ve been curious about how much weight setting carries in fiction. Is it merely a background to stories, or is it much more? In this week’s edition of craft lessons, I’ll be exploring the topic of setting and how to optimise this tool to enrich your storytelling.
What is setting?
Setting is simply defined as the time and place in which a story is narrated. The time could be the present, past or future, and the place could be a real location or an imagined one. The decision of where and when to place your story is often made at the start of writing.
Now that we've established what the element of setting is, let’s take a look at a case study of how setting is used in storytelling.
Case study of River Spirit by Leila Aboulela
Leila Aboulela’s River Spirit offers a great example of setting as a narrative element. In River Spirit, Akuany is taken in by a young merchant, Yaseen, whose promise to protect her binds their lives together through years of turmoil. As Sudan is swept into the Mahdist War, the characters must navigate loyalty, faith, and survival in a land torn between imperial rule and revolution.
The setting of the novel is nineteenth-century Sudan.
At the core of this novel are themes of love and separation. What I've observed is that Aboulela could have chosen any other cultural setting to represent the core themes of love and separation, but it wouldn't have resonated as deeply as nineteenth-century Sudan.
Why?
Without giving too much away about the book, it was essential that the story had to be set at a time where slavery was still legal in Sudan to understand the attraction between Yaseen and Akuany. Additionally, the Mahdist War served a major purpose in highlighting certain character traits that distinguished Yaseen from other male characters.
Here is an excerpt from the book:
I am thrown at the feet of the Mahdi. No, I will not call him that, not even if he is the defacto one. I will call him by his true name, Muhammad Ahmed. I am thrown down in a heap to easily kiss his feet, to beseech for my life and profess my undying faith. When make no move to do so, I am dragged to the side, cast out of the illustrious gathering. He is surrounded by his emirs, some familiar from the time I saw them in the cave at Jazira Aba. They are better dressed now, still the jellabiyas with the patches, but the material is brand-new, and the patches are fine silk from the looted monastery in Fashoda and what looks like the curtains of the governor's residence. The intended effect of poverty and austerity is not achieved; instead the patches have become a style, a fashionable uniform.
Finally, Khartoum represented the idea that oppression and resistance can co-exist in one space, as we see in the struggles of characters like Robert and Salha. From this, we can tell that setting plays a major role in character formation. Reading characters that fit so well with the setting is as satisfying as watching round pegs fit into round holes. In fact, setting can inspire you to give your characters traits that make them more interesting.
So what should you consider in creating your setting?
Personality
Setting goes a long way in determining the personality of your characters. Whatever personality you attribute to your main character should reflect in the time and place of the story. For example, placing an Algerian character in Japan speaks to the adventurous nature of the character.
Be intentional about what you want the setting to say about the characters. Agatha Christie set her Miss Marple novels in small villages. People living in close-knit communities tend to be curious about other people's lives, making investigation much easier.
A good question to ask in the writing process is: What does this setting say about my characters? Why are they here, and what does this place reveal about them that no other place could?
Plot
Setting can trigger events in a story. It can influence character choices and introduce unique challenges. It can also impose constraints and limitations, intended to force characters to act out of character (ironic, right?). Imagine a storm trapping unlikeable strangers in a building for three days. Such a story would likely be filled with tension, resistance and a lot of conflict.
Perception
It's important for the reader to perceive the setting of the novel through the characters’ senses. The reader has to feel transported to the place and time through your description. This is where the principle of “show, don't tell” comes in. Give vivid descriptions like the taste of spices, the smell of wet sand, and the sight of a weak sunset on a rainy day. Make the dialogue reflect the setting. The characters should speak in a manner that's natural to them.
You might have to do a lot of research if the setting is unfamiliar to you - what's important is that the reader isn't left feeling vague about where and when your story occurred.
Reflecting on the role of setting, I've discovered that it's a vital tool in a writer's toolbox. When used wisely, it can be the difference between a strong story and a weak one.
That's all I have to say about setting today. What ideas stood out to you? Do you have any favourite examples of setting done well, or any tips of your own? I’d love to read your comments. As always, share with anyone who might benefit from this craft lesson.
We’ll be taking next week Friday off for Eid (Eid Mubarak in advance!), and we’ll be back in your inbox on the 13th of June in shaa Allah with a stellar interview!
Best wishes,
Halima from Qalb Writers Collective
Such a great craft lesson. I love River Spirit and am constantly giving examples from it.