Susan Meissner is the author of 13 novels,
including The Shape of Mercy, named by Publishers Weekly as one of the Best
Books of 2008. When she is not working on a new novel, she is directing the
small groups ministries at The Church at
Rancho Bernardo. She also enjoys teaching workshops on writing,
spending time with her family, music, reading great books, and traveling. She
lives in southern California with her pastor husband and their four grown children.
Visit Susan at her website.
Susan is giving away 3 copies of her book, A Sound Among the Trees. Leave a comment to be entered in the drawing. U.S. residents only, please.
would like to be right at this moment. See it, feel it, breathe it. What makes
that place special to you? How does it make you feel? What do you taste and
touch and smell at that place? If that place had a voice, what would it say to
a place to mentally head to. We are wired to assign value to places. That’s why
home is so sweet, Yosemite is so beautiful, Paris is so romantic and a moonlit
beach is so calming. It’s also why dark houses scare us, crumbling cliffs
intimidate us, and foggy moors depress us. Places communicate something to us.
A spider doesn’t care if it makes a web in a dark, musty cellar or under a
chair in an opulent ballroom. But we care!
different places is actually something you can shop from as you write your
novel. Because the more you make your setting a character, the more you can use
your setting to influence your character’s quest as either her ally, an
observer, or her adversary.
Sound Among the Trees, which hit bookstore shelves just last week, I
wanted the antebellum house that appears in both the contemporary and
historical parts of the book to come across as almost a living thing, with desires
and regrets and loyalties. I knew if I could do that, the story would have an
extra layer of depth and I would have a built-in mechanism for increasing the
tension. Holly Oak, the house on
the front cover of the book, was more than just a setting; it was an apparatus
to display my characters’ flaws and strengths.
character traits? Here are some steps to follow:
world your characters live in. Know the environment that will be the backdrop
for everything that happens. The setting you choose should matter. It should
make a difference to the outcome. It should communicate something. Note that
there is one major setting and dozens of supplementary ones. You want to be
intimately familiar with all of them.
research upfront. Familiarize yourself know the weather, the lingo, the hot
spots, the scary streets, how the sky looks at sunset and how far you can see
on a clear day. Knowing the setting ahead of time frees you to concentrate on
plucking out of it plot-driving details. Read that city’s newspaper online,
check out the real estate ads, the society pages, the obituaries, and the
restaurant guide. Look at satellite photos on Google Earth, noting its streets,
its topography, its airport and shopping malls
physical setting than the weather. We love to use the weather (it was a dark
and stormy night) to set our stages but there are so many other very vivid
scene-setters at your disposal. Make use of all your senses. Every scene should
include a setting that is dimensional and purposeful.
mode so that when you begin to actually write and the creative engine is
cruising along, you don’t have to stop to study the place where your characters
find themselves in. Mine from your setting’s details the aspects that will
touch the reader at the sensory level. Concentrate on the five senses, and be
mindful of the ones that aren’t as obvious. There is more to a setting than
what you can see.
about the time and place you have chosen? Make a list.
a try and see what happens. Pretend your setting is sitting across from you. Ask
it these questions: Are you ambivalent, malevolent, or benevolent toward my
character(s) and the quest? Why? What has made you the way you are? What would
you say to my character if you had a voice?
to help hone your setting skills! Watch You’ve
Got Mail this week or weekend. Make a list of every time you sense the
setting as character. When the movie is over “interview” Kathleen’s West Side.
Is it ambivalent, malevolent, or benevolent toward her and her quest? How are
the seasons used to help tell the story? What sensory details enhance the setting
other than simple geography? Let
me know how this exercise helps you…
A house shrouded in time.
A line of women with a heritage of loss.
As a young bride, Susannah Page was rumored to be a Civil War spy for the
North, a traitor to her Virginian roots. Her great-granddaughter Adelaide, the
current matriarch of Holly Oak, doesn’t believe that Susannah’s ghost haunts
the antebellum mansion looking for a pardon, but rather the house itself bears
a grudge toward its tragic past.
When Marielle Bishop marries into the family and is transplanted from the
arid west to her husband’s home, it isn’t long before she is led to believe
that the house she just settled into brings misfortune to the women who live
With Adelaide’s richly peppered superstitions
and deep family roots at stake, Marielle must sort out the truth about Susannah
Page and Holly Oak— and make peace with the sacrifices she has made for