How to Intimately Connect Character and Setting

10 Oct

The stories in Erin Pringle’s new collection, The Whole World At Once, reveal “how many strange shapes grief can take and how universal a human experience it is,” according to a Kirkus review.

Sometimes you’re reading along and hit a line that makes you stop. You can see in your mind the thing the words are describing, not just an image or a person but the whole thing: the world, the characters in it, the way they’re all connected. Setting isn’t simply a green screen behind the characters. It shapes every moment of their lives, big and small. Anyone who’s read the high-school literary classic “To Build a Fire” by Jack London is familiar with the big ways that setting shapes character, but the smaller ways are just as important.

A great example of how setting and character become a single entity can be found in Erin Pringle’s story, “How the Sun Burns Among Hills of Rock and Pebble.” It was originally published in The Minnesota Review and then as a stand-alone chapbook by The Head & The Hand Press. It’s now included in Pringle’s new collection, The Whole World At Once. You can read the beginning of the story here.

How the Story Works

The story is set in a small Midwestern town, the sort of place where the annual Agricultural Fair is an anticipated calendar event. Already, the reader is developing expectations for how setting will affect character. It’s a relationship that’s a staple of probably hundreds of movies: the young person who can’t wait to get in a car and go screaming past the city limit sign. But, just as Erika T. Wurth did in her story Mark Wishewas, Pringle moves beyond this familiar setup in a small but effective way. Here’s an early paragraph describing some girls in the town:

The girls’ new hips pull at the seams of their cutoffs. They walk in the most middle of summer, which, after the fair packs up and disappears down the interstate, will tip toward autumn and school doors and Friday night football fields. The girls carry bottles of water and soda cans like boredom. They roll the bits of string from their cutoff shorts against their thighs, balls of lint under their fingernails. Now and then one of their prepaid cell phones rings, but if it’s not that boy, they don’t answer since their mothers won’t buy another refill card from the dollar store until next month.

It’s that last sentence that made me stop, hit with a flash of recognition. It wasn’t that I recognized the moment from my own past. I did grow up in a small, Midwestern town, but it was before people cell phones. Instead, I recognized the moment because it made a kind of crystal clear sense to me: the idea that your cell phone minutes, doled out by your mother, were so precious that you’d answer only if the right boy called you. In a single sentence, Pringle has managed to show us the place, its economics, its family ties, what different members of those families value (mothers/money and daughters/talking with the right boy), and the scale of those values (the small amount of money required to purchase a refill card and literally minutes of phone time). I was hooked.

The Writing Exercise

Let’s create a small moment that reveals how setting and character are connected, using “How the Sun Burns Among Hills of Rock and Pebble” by Erin Pringle as a model:

  1.  Set up the general relationship between character and setting. Pringle uses a pretty simple device: an event (Agricultural Fair) that suggests a usual behavior that is common in the place but wouldn’t be elsewhere. If her story was set in New York City or Atlanta or Los Angeles or Austin or even any of a hundred medium-sized cities in America, nobody would care about an Agricultural Fair. What is an event or situation that quickly characterizes the general population of your setting?
  2. Show the characters in the midst of a usual behavior that suggests their attitude toward the setting. After the fair leaves, there’s nothing to do. The girls carry their water bottles and soda cans, bored and listless. If the fair represents a high point for the population of this place, the days afterward represent the return to regular life. What does regular, everyday life look for your characters? How can you dramatize it with an action (like walking with bottles and rolling lint)?
  3. Introduce one element of that usual behavior. Again, Pringle uses a simple device: something the girls are carrying as they walk and roll lint. A cell phone rings. As you’ll see in the next step, this is a key moment in their day. Look around your scene. What objects or implied actions are present? Introduce them until something strikes you as interesting.
  4. Let the characters react to it with a sudden shift in attitude. Earlier, the girls were bored, but when the phone rings, they’re paying close attention to the caller’s number. (Note that Pringle doesn’t actually show the girls looking at their phones or even what they see. She skips to their conclusions based on what they see. It’s a great example of how to describe a scene without showing every literal part of it, which is crucial to pacing.) In Pringle’s story, as far as the narrative is concerned, it doesn’t really matter who’s calling. What’s important is that the girls care who’s calling, and it breaks them out of their bored walking. Their level of interest and engagement has dramatically changed. So, what is an element that is part of your scene that will cause the characters to suddenly change their level of interest and engagement. That’s the element you want to describe.

The goal is to reveal the way that character and setting are connected and bring a story to life.

Good luck.

One Response to “How to Intimately Connect Character and Setting”


  1. An Interview with Erin Pringle | Read to Write Stories - October 12, 2017

    […] To read an excerpt from The Whole World at Once and an exercise on connecting character and setting, click here. […]

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