.jpg)
I’ve always found novels with a strong sense of place
compelling, and been fascinated by the powerful effect setting can have on an
unfolding story. Of course, it’s a crucial aspect of all forms of fiction, but
where suspense is involved, the right setting can help the writer in all sorts
of ways.
A character’s immediate surroundings – the house they
live in, for instance – can point to a person who’s off balance. Suspense
builds as the reader anticipates the effect their skewed world view might have
on developments. You don’t have to go as far as Dickens went with Miss Havisham
to introduce unease.
Wider setting is also a huge bonus when creating mood
and tension. Daphne du Maurier’s Jamaica
Inn comes to mind. Mary Yellan’s awful journey in appalling weather, from
her familiar village, to the remote moorland home of her aunt and uncle, remains
vivid. The reader is immediately sucked into a threatening and oppressive
atmosphere.
And then there are the physical practicalities of a
location. Because Mary’s geographically so far away from help, and the
landscape around her is so harsh and unforgiving, we’re intensely conscious of
her isolation.
In my own debut novel, You Think You Know Me, I used two locations: London and the Lake
District.
When the novel begins, Anna, the heroine, has just
moved to the capital. London was a good location on practical grounds. It
allowed her plenty of glamorous opportunities to pursue her career as a
freelance journalist, and was a realistic setting for a story focussed on crime
in the art world. But beyond the practical, it was also perfect in terms of atmosphere.
I love the bustle of London, the frenetic pace, the crowds and the buzz. And as
Anna’s caught up in a passionate love affair, pulled along by excitement,
uncertainty and the first hints of danger, this pacey backdrop worked.
And then, as the mystery deepens, her desire to find
out the truth leads her to the Lakes. You
Think You Know Me is set in winter, and Anna finds herself driving through
dark, deserted lanes, caught in torrential rain, her mobile dropping in and out
of coverage. I’m always staggered by the beauty of the area when I visit, but
on dark, stormy days, the awe-inspiring masses of mountains like Skiddaw and
Blencathra become menacing. The hairpin bends, steep inclines and the
narrowness of the roads mean any escape is going to have to happen at an
agonisingly slow pace. What’s more, there are plenty of places where there’s no
mobile coverage at all, so calling for help can be tantalisingly out of reach.
My next novel is the start of a mystery series, and
has a Cambridge setting. I find the city endlessly intriguing, but realise
there are dangers with writing about somewhere I know well. I need to make sure
I can still see what’s unique about the city, even though I’ve become an
insider. Luckily, Cambridge is full of surprises, and sometimes things that
shock, so it’s not hard to see it afresh, even after all these years.
.jpg)
Biog:
Clare Chase writes fast-paced romantic mysteries, inspired by what makes
people tick. She reads everything from Jilly Cooper to Sue Grafton, and finds
romance complements crime perfectly, doubling the intrigue.
Clare wrote dodgy whodunnits in primary school, read English at London
University, and honed her creative writing skills working in PR.
In her spare time, she enjoys drawing, cooking and wandering round the
pubs and galleries of Cambridge, where she lives with her husband and teenage
daughters.
Links:
Twitter: @ClareChase_
Thank you, Clare!
The RNA blog is brought to you by Elaine Everest & Natalie Kleinman
If you would like to write an article for the blog please contact us on elaineeverest@aol.com
