The Walk-Through

setting's not just about surfaces; it's about story

Guillaume’s bar, 124 Bluestone Road. These places, as rendered by James Baldwin and Toni Morrison, are not just physical locations made up of surfaces, sights and smells. They are settings in which stories and lives unfold. We may see them in our mind's eyes, but we remember them because of events that transpire there, not because of still shots.

Beloved opens with the house itself driving people away from it with burnt chickpeas, shattered mirrors and ghostly handprints. It is active, and it’s made even more so by the actions of its inhabitants. We know from the outset that those who remain are survivors — though not yet of what exactly.

In Giovanni’s Room, James Baldwin creates a strong sense of place with very minimal visual description. Guillaume’s bar is not defined by its finishes or furniture but by its denizens, the collective din they make, the clothes they wear, the way they drink and talk to one another.

PROMPT

To create a muscular setting, start by have a character do a mental or actual walk-through of a space that has history for them, and make sure every single element that is named or described is included for a reason, not just for set dressing. This is a powerful tool for opening a story or chapter because it entwines place, character and setting. Rather than focussing on the visual, focus on present action and on relevant backstory, recalling past incidents and telling in micro flashbacks stories that reveal new facets of your main story. Setting without story is an empty room. Fill yours with life — or even death — but anyhow actions rather than objects. And when it comes to sensory description, once again, veer away from the visual as much as possible and toward smells, tastes, textures, temperatures, sounds — senses other than the visual.