By Jean Henry Mead
Selecting your novel's setting is important because it not only adds color to the
plot, it serves as a secondary character. People against nature has
created countless adventures, from Hemingway's Old Man and the Sea to Jack London's story, "To Build a Fire."
Stranding someone in the middle of the Sahara Desert is far more intriguing
than having a car stolen from a city street, so settings should be
considered carefully.
My amateur sleuths travel
in a motorhome about the West and the setting changes with each book. Although
Dana Logan and Sarah Cafferty began solving murders in their California
retirement village, Dana inherits her
sister’s mansion in Wyoming, so the settings change considerably. Both
60-year-old widows are feisty and determined to get to the bottom of each mystery
they encounter. In Diary of Murder, Logan and Cafferty are forced to drive through a Rocky Mountain blizzard in their motorhome, an experince I'd had years earlier. In Murder on the Interstate, they're caught in torrential rain when they discover the body of a young woman in her Mercedes convertible in Arizona.

My themes usually encompass social problems and I incorporate humor and a little romance to prevent the storyline from becoming dreary. By setting each plot in an unusual area, it hopefully enhances reader awareness and interest by educating as well as entertaining him or her.
3 comments:
You're absolutely correct! Settings done right become secondary characters. And you, my friend, do an wonderful job of creating realistic settings.
You're absolutely correct! Settings done right become secondary characters. And you, my friend, do an wonderful job of creating realistic settings.
Thank you, Jackie. You do a good job with settings, yourself.
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