Though not always the dominant element in a story, setting is essential to give your story a sense of place and time. Setting might be a bare bones mention of time like: "It was a dark and stormy night" or it could be the main element as in Stephen Crane's "An Open Boat."

Setting accomplishes: visualization, characterization, and mood or tone, to give the story verisimilitude (the quality of appearing real or true).
It should have universality, so your readers can put themselves in the scenes with your characters. In her article, "The Universe in a Grain of Sand" (WRITERS DIGEST, April 1992) Nance Kress says: "If the setting is to have universality, it must be described with specific details, and those details must be chosen to illustrate some point of significance." She explains for instance, if you're creating a motel room in Kansas whose distinguishing characteristic is its lack of distinction, don't describe the furniture in vague terms. Describe the collection of bland and mediocre furnishingslamp, bed, dresser, framed print. The result will be universal anonymity attained through specific details.

How much detail should you use? The rule of thumb is to sketch your setting quickly and obtrusively, so it not only provides a place for the characters, but also a subtle statement on their emotions.

One pitfall some writers fall into is what's called White Room Syndrome. This happens when the story has no mention of time or place, whether the story is indoors, outdoors, in a house, or on a space shuttle.

Then you have the other extreme. Pages and pages of description weigh down the story's movement. It was fine to spend ten pages about the English countryside in Thomas Hardy's day. Times have changed. We have fast transportation, fast computers, and movies to take us where we want to go. We want instant gratification. Less is more. Use enough detail to make it real but not too much we forget who the characters are and detract from the scene. Show details gradually rather than all in one chunk. Setting should not interfere with action. Don't employ description for the sake of description. If you mention an object, like say a gun or a doll, there must be some significance to it. Avoid overexplaining. If you mention someone retrieving her email, it's not essential to describe the computer, how she dialed in, connected, then scanned through her messages. Most people know about the process of retrieving email. On the other hand,

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