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A Note on Setting in Time
In most of the preceding examples we have emphasized the physical aspects of setting at the expense of temporal ones. But the time of day, time of year, or period of history at which a given event or series of events occurs can also contribute importantly to setting, as in the case of historical novels. The fact that the events of Hawthorne’s My Kinsman, Major Molineux take place at night is a highly relevant part of the setting, for darkness is traditionally an appropriate cover doe deeds of conspiracy and violence.
In much the same way, certain seasons of the year lend themselves more to certain kinds of events that others. Poe’s narrator arrives at the House of Usher on “a dull, dark and soundless day in the autumn”, a period we normally associate with the coming of winter and death. Authors will often use the cycle of the year and the cycle of the day to establish setting precisely because of the traditional association with the successive cycles in human life: spring – morning – youth; summer – noon – maturity; fall – evening – old age; winter – night – death.
Analyzing Setting

1. 
   What is the work’s setting in space and time?
   
2. 
   How does the author go about establishing setting? Does the author want the reader to see or feel the setting, or does the author want the reader both see and feel? What details of the setting does the author isolate and describe?
   
3. 
   Is the setting important? If so, what is its function? Is it used to reveal, reinforce, or influence character, plot or theme?
   
4. 
   Is the setting an appropriate one?
   

POINT OF VIEW
A story must have a plot, characters and a setting. It must also have a storyteller: a narrative voice, real or implied, that presents the story to the reader. When we talk about narrative voice, we are talking about point of view, the method of narration that determines the position, or angle of vision from which the story is told. The nature of the relationship between the narrator and the story, the teller and the tale, is always crucial to the art of fiction. It governs the reader’s access to the story and determines how much he can know at any given moment about what is taking place. So crucial point of view that, once having been chosen, it will colour and shape the way in which everything else is presented and perceived, including plot, character and setting. Alter or change the point of view, and you alter and change the story.
The choice of point of view is the choice of who is to tell the story, who talks to the reader. It may be a narrator outside the work (omniscient point of view); a narrator inside the work, telling the story from a limited omniscient or first-person point of view; or apparently no one (dramatic point of view). As we will see in the subsequent discussion, these four basic points of view, and their variations, involve the distance that the author is wishing to maintain between the reader and the story and the extent to which the author is willing to involve the reader in its interpretation. As the author moves away from omniscience along this spectrum of choices, he progressively surrenders the ability to see into the minds of his characters.