Guest Author Michael Dellert Discusses the Land’s Influence on Writing

Time and Place: The Real World of Fiction

Hi, Jean Lee. Thanks for inviting me to write to your audience today.

You asked me recently, “How does the landscape around me influence my writing?”

Nothing anchors a work of fiction so solidly in a reader’s mind as knowing when and where something is taking place. Settings provide bases of operations for everything that happens in a story or novel, and these settings—along with the characters that will do things in there—provide writers with a means to actually tell a story, rather than simply report information.

I grew up in a small, rural farm town in the Appalachian Mountains, surrounded by reminders of the US Revolutionary War, during the height of the US détente with the Soviet Union. Down in the valley, there are rolling hills, twisting streams, swamps, and small family farms with dairy cattle, sheep, horses, corn and other vegetables. Up in the mountains, where I grew up, there are worn, blunted peaks, steep drops, and tumbled collections of fractured boulders, deposited by the retreat of glaciers so long ago that the land didn’t even know a footprint when those stones were laid down. There are lakes in the low places on top of the mountain, most of them man-made in a time not so long ago when my town was conceived of as a close-to-home retreat for wealthy New Yorkers.

In the winter, the temperatures fluctuate, sometimes bitterly freezing for days at a time, during which the lakes ice over. Then at other times, the weather is mild and merely cool. On such days, the icy lakes suddenly melt, and fog rises, obscuring sight beyond a few dozen yards, and the black-barked, leafless trees loom through the mist. In the Spring (which comes late and slow to the mountains), those same trees suddenly riot with yellow-green leaf-shoots, and the blossoms of flowers in purple, yellow, and white. Summers are a time of blue skies and white clouds reflected on the still waters of the lakes, but also of drenching, earth-shaking thunderstorms. Autumn is a cacophony of colors, gold, red, brown, and yellow, as the leaves change. The temperature drops off in late September when the apples ripen on the trees, and then rebounds for a last hint of summer in mid-October before dropping off again and for good until the following Spring.

As a young man, I didn’t fully appreciate where I’d grown up. It was too familiar, and familiarity breeds contempt. I left that small town as soon as I could to see what this “real world” was really like. Since then, I’ve been a lot of places, and seen pictures of the rest. From city to wilderness, I’ve crammed a lot of travel into a short time on this blue-green marble of ours. And one thing I’ve always found? When I’m stuck for inspiration in my writing, one of the things I can do to break the block is go for a walk wherever I am.

The Credibility of Setting

Human beings are strange creatures. Despite all evidence to the contrary, we’re always in search of “objective truth,” a common reality that is beyond all dispute and argumentation. Why else is “based on a true story” such a great marketing hook? The idea that some strange, absurd, and fascinating story “really happened” carries a certain amount of magic, doesn’t it?

For this reason, every one of our stories has to really happen in the minds and eyes and ears of our readers. The worlds we create have to exist as surely in fiction as if they had actually transpired in fact. And this comes down to two simple things:

  1. Establishing our characters and their situations and the details of the setting so completely that it all could possibly take place; and
  2. Effectively conveying those characters and situations and details so that the story does take place.

One of the very best ways to ensure that both of those things happen is to pay close attention to the description of our settings.

For example, in my recent book, A Merchant’s Tale, I take the reader to a time before they were born and a place that never existed. Yet through the description and use of small details, the reader is actually there, seeing the things the narrator is seeing, feeling the chilly, early spring morning of a rural farmland:

The wagon rocked beneath my seat. The trail was rutted and pocked with holes and stones. The axles groaned as the old, grey-haired drover tapped at the oxen with a long, flexible switch and nickered encouragement. Ahead, the hills rose and fell. Early spring leaves on the scattered trees had recently broken bud, and flowers belied the hidden dangers lurking amid the shadows.

We passed through croplands. A ploughman and his ox-goader struggled to drive a team and their ard-plough through a fallow field. It had been cold overnight. No doubt the soil was partly frozen. Adarc told me it was hard work, but they might plough at least an acre that day.

Elsewhere, cow-herds mustered cattle through pastures and dogs barked and nipped at the herd to move it toward the best grazing.

The land rose as we passed through the village fields, bearing east into the hills of Droma. We could look down on the king’s village behind us. It wasn’t much more than a ramshackle collection of thatch-and-daub mud hovels clustered on a wide, shallow bend in the river. The tower was impressive, a three-story shell-keep on a tall hill, but otherwise, I’d seen much more civilized mud-holes.

For the reader, this event really happens, just as surely as the events in any “based on a true story” movie. Despite the distance in time, culture, and place from our modern world, this little scene comes through as clear and crisp as if the reader was standing on that trail on that chilly morning, looking across the countryside of Droma.

All fiction should seem that real to the reader. The only way to make it happen is to pay close attention to the details that you want, and only those you need, to convey your story. Then find the very best words you can to describe those details.

The end result will be a work of fiction that brings your readers in and gives them a realistic sense of where things will be taking place.

Thanks so much for having me on your blog, Jean Lee!


Michael Dellert lives in the Greater New York City area. Following a traditional publishing career spanning nearly two decades, he now works as a freelance writer, editor, publishing consultant, and writing coach. He is also the sole writer, editor, and publisher of the blog MDellertDotCom: Adventures in Indie Publishing. He holds a Master’s Degree in English Language & Literature from Drew University, and a certificate from the Cornell University School of Criticism & Theory (2009). He is the author of two fantasy fiction novellas: Hedge King in Winter and A Merchant’s Tale, which can be found on Amazon in print and for Kindle.

24 thoughts on “Guest Author Michael Dellert Discusses the Land’s Influence on Writing

  1. A beautifully written post, Michael, and thanks, Jean Lee, for inviting him.

    This post reminded me of my godmother Nina’s husband Pavel Machotka’s work. Pavel is a world-renowned Cezanna expert, gifted artist in his own right, and professor.

    The title of his book is “Landscape Into Art” (I love the cover!) and while his book focuses on paintings, the theme of landscape’s role in a creation remains the same; art is also writing, of course. 🙂

    Living along or near the stunning California coastlines of Pacific Palisades and Santa Cruz, I’ve been deeply affected by the landscape. I hope to imbue my writing more with vivid imagery that rings true to the beauty and different moods of the land.

    Here’s Pavel’s book in case you want to see the cover:

    Liked by 2 people

  2. Great post, and a very important topic for me as a reader 🙂 I don’t ask for a detailed map, I don’t care much of political system in a fictional country. I don’t know this stuff, so you can make it up as your fantasy permits :). But I know a lot about many other things, sensations, sounds and colors, and if I see that they are fake, I lose interest in the book. These details are as important as the plot itself.
    Thank you again for this wonderful post, Michael! Best of luck with your writings!
    Well done, Jean! xxxx

    Liked by 2 people

    • Awww, don’t give maps and world-building a bad time. I cut my teeth on fantasy fiction that had maps, glossaries, and appendices, and I loved every bit of them. 🙂

      But for sure, map or no map, politics or not, one thing they all had in common was painstaking attention to detail. No map in the world will show a reader what the pine trees sound like in the wind before a storm, or how the sea smells of salt as it crashes on the shore. And no reader in the world will read a book that doesn’t offer the sights, sounds, and smells of the story-world.

      I’m glad you enjoyed the post, thanks very much for the good words!

      Liked by 1 person

    • I recently saw a film where it was clear the writer had no idea how the world worked. Without a sense of the world, all the motivations of the characters, setting itself, the plot points–all felt contrived beyond reproach.
      You’re quite right that all the cogs and wheels of a world may not make for good reading, but they make the world work. It’s like a clock made by a professional clock-maker, and a clock made by a child. We look upon the first clock: it functions, and it’s smooth and painted and has dancing figures on the hour. We look upon the second clock: it has cool ninjas glued on, and oodles of glitter, and the numbers are in the right order, but it sure ain’t gonna tell you the time. 🙂

      Liked by 2 people

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s