A book is not a simple creation. Beginning with the conception of the idea till the words are composed in the form of a tangible object, ready to be placed on the readers’ shelves, the works are edited constantly by their writers. Or so is the assumption.

The cohesiveness of a book of fiction is inherent in the way all the elements -- plot, characters, incidents and the setting -- interact with each other. A setting is one factor which could be used as a tool to build an entire narrative around. For instance, one reason behind the gigantic popularity of Khaled Hosseni’s novels is the fact that they are set in Afghanistan. According to Shanzea Shahid, the young, vibrant author of Interference, setting has an integral role to play. "It answers the ‘where?’ and ‘when?’ of a story." As far as works of nonfiction are concerned, there is no denying that setting has to be an accurate portrayal of the location and the era the book deals with.

Alyzah Sultan Ali, a book enthusiast, lecturer and a student of contemporary design, believes that, "a book’s setting could be an important factor in many cases but assuming that it holds true for all would be a rash generalisation". It would not be unjust to state that a setting matters only in setting-oriented pieces of work. The Dancing Girls of Lahore by Louise Brown is one example where the setting, the backdrop, is unveiled through the title itself. The setting in this case is evidently Lahore but the idea of a book being about the Dancing Girls solidifies the fact the work is set in the ‘inner’ sanctum of the city.

However, it cannot be denied that making setting the hero is no easy task. According to Mujahid Barelvi, the writer of Life of a Poet: Jalib, Jalib: "writers have to research immensely while working especially on nonfiction if they want to ensure that their work is credible." Undoubtedly, credibility of the setting is of extreme importance. Albeit, it is an equally challenging task to determine how many writers actually make an effort to delve deeper into their subject matter.

There exists a dichotomy between fictional and nonfictional settings. The subliminal perception can also differ since a fictional setting takes an imaginative stance whereas real settings, if they deviate from realistic depiction, could become questionable. Barelvi claims that, "to label a fictional setting as completely a work of imagination would be rash".

The journalist turned writer believes that, "writers are often influenced by the happenings, past or present. A writer’s socialisation is often reflected in their work." Bapsi Sidhwa’s The Ice-Candy Man is one such book in which the story is set in pre-partition Lahore, and revolves around a young, disabled female protagonist. It is often assumed that the story is a product of Sidhwa’s own experiences that she has penned down in form of a fictional novel.

Barelvi understands the inclusion of unconscious subjectivity in a book. Nonetheless, he argues that "if a writer assumes that it is ‘their’ story which readers would be interested in, then reading that is more of a fantastical notion."

Saeed ur Rehman, a professor of literature, tries to explore the changing ideals of fictional settings. "There was a time when the books were set in more natural settings," says Rehman. He explains that in Renaissance, for instance, communities were centered around pastoral locations. As the world experienced shifts -- modernity to its present postmodern phase of transition and transformation -- settings had to transform, too. Therefore, fiction is now set in urban centres.

Shahid corroborates by saying, "writers nowadays are inclined towards catering to a particular niche created by the period they live in. It is justified since social dynamics and happenings often entice the writers".

The setting’s significance is reflected by the fact that it can establish a particular image of a place in the readers’ mind. Therefore, understanding readership demographic is crucial for a writer. Unfortunately, "some writers tend to forego the notion of preemptive research. There are writers out there who have not visited Afghanistan and have written about it," says Barelvi.

The same question arose when Hosseni’s first novel, The Kite Runner came out. The writer who is an American of Afghan origin had not visited the country since the beginning of Soviet War. Thus, the question about the writer’s understanding of Afghan turmoil seemed to be a logical critique.