Characters: Physical Description + Setting = History
Why do writers write? Because it isn’t there. – Thomas Berger
I have scoured the internet (okay, I did Google and Bing searches looking at the top 20 hits) to find something about creating a sense of history based on a character’s initial description and setting. I found nothing, and thus, I am writing.
My theory: if there is only physical character description without setting, the character’s history has to be explained. However, with proper consideration of the setting for introducing a character, history will take care of itself.
For most people, first impressions are very strong. Part of that impression is of the person themselves, but part of it is the setting. We associate our stereotypes with settings. Seeing an attractive, drunken woman at a bar might be enticing for some men; however, seeing an attractive, drunken woman in cuffs near the scene of a fatal accident gives a totally different impression. Why? It is because of our experiences, because of our prejudices. We, the readers, add to what we read. The setting gives us all we need to let our minds go wild, especially if it is a first impression of a lesser character.
Let’s play with an example: if a main character, Andre, is described as mulatto, well groomed, athletic build, and wearing a black suit, you can picture him without knowing anything about him. Further, add that he is crying while holding pink pom-poms to his chest. Now you may think he is strange, you may want to know more. However, that is all the physical description you need to make Andre totally come alive. Let’s play with the setting two ways:
- Andre is sitting on a couch between two other metro men watching “Bring It On” with a stack of Hayden Panettiere movies off to the side. What do you picture about the man? Can you see more than what was written?
- Andre is standing before two closed caskets, one full sized and one smaller. A group of peewee cheerleaders sit in the third row staring at the smaller casket. Do you get a sense of history that isn’t explained? Did you assume the caskets contained his family? Did you at least think about why the caskets were closed? What gender was his child? How close he was to his child?
Another example, if Christian, a main character, was described as a blubbery white mass nearly 100 pounds overweight, wearing sweatpants and a bandana. What do you see? Let’s see if we can add or take away from what you picture by adding the setting and maybe a touch more description.
- Christian is in a gym after most of the lights have been turned off, pleading with the owner to give him five more minutes on the stationary bike before going home. What do you think of the main character now? What is going on here? Why type of person is he?
- Christian is at his fly infested house that smells of stale food. Trophies for high school wrestling are in a display case behind him as he sits in a fabric worn recliner watching reruns of Ninja Warrior. He has a beer in one and and the last slice of a large pizza in the other. Can you picture what has happened in his life? Do you see him as the same man as from the bike setting?
Last example, this is from a manuscript that I have been working on. Picture a 16 year old Caucasian boy that is watching television with his dad – competing with him on some game show answers. What do you think of boy? the family? How does your viewpoint change when I say that it is 10am on a school day? Or that they are in a rundown trailer? What if I were to add that an older brother and wife were in the next room having loud sex? Do you think less of the father? Do you wonder about the family dynamics? Do you think “white trash!”? Do you automatically make assumptions about the family and their history that I didn’t mention?
Whether you are introducing a drunken woman, a sad father, an overweight has-been, or 16 year old slacker, the context in which you introduce them in will give the reader so much more than what you actually write.
Setting is important when introducing characters, especially secondary characters. It gives the reader more than what you say and keeps you, the writer, from having to fill in some blanks. If you introduce twenty characters at once in a party, then you have denied yourself and your reader the power of the first impression.
Here is a writing challenge, think of all the places you could put five naked teenagers – three boys and two girls. I’ll start with the first one, huddled together in what was supposed to be a shower in Auschwitz.

