A view of Gillette castle from the path.

I’ve just finished stage managing a production of Ken Ludwig’s The Game’s Afoot or Holmes for the Holidays at Theatreworks New Milford in Connecticut. This murder mystery is set in Gillette Castle, which was the real-life home of William Gillette (who brought Sherlock Holmes to the stage) in nearby East Haddam.

It’s open to the public, so some of the cast and crew field tripped it. Our experience walking through the rooms brought a new level of realism to our performance; at the castle, we could see where the scenes take place; on the set, we could imagine the true backdrop as we worked.

Writers want to do the same for readers — we want to bring the world alive for them; make it three-dimensional and real. While it’s often noted the secret to success in this area is the use of the five senses, I find it’s more specific than that. Here are the five keys to creating a vivid setting (in no particular order):

Door to the greenhouse – a fine example of something to describe which is location-specific. You’re not going to find one of these just anywhere!

Location-Specific Visual

Describe the most interesting visual facet of the environment — usually this is an element specific to that location and that location alone. In Gillette’s Castle, I could focus on the stones, the intricate door locks/handles — that’s a place that has, quite literally, an boundless selection. Flora is great, too — what types of flowers/trees are exclusive to that environment? Are the lawns manicured or is everything covered with a thorny thicket? In what condition are the roads? What types of houses are about? What kinds of animals live in the woods or alleys? The possibilities are endless.

All of the different plants in this room in Gillette’s time would create an interesting smell in this area of the castle. (On another note, SO JEALOUS OF THIS DESERT PALM! It’s old — they take a long time to get this big. I have two in my house that are doing well, but they’re small. It’ll be ages before they’re this size).

Smell

So few writers remember to use smell, and yet it’s the most powerful of the senses — researchers have linked it to the strongest trigger for memories and emotions (layman’s explanation of that here). Every place has its own smell — a person’s home, a gas station, deep woods, a mildewed basement. The best way to describe specific smells with which the reader may not be familiar is to combine two familiar ones — for example, “rotten bananas and oatmeal,” “raw onions and gasoline.” Taking that one step further, we’ve all smelled things that are so pungent we can taste them as well. What does the air taste like to your character?

What would touching this banister feel like under the hand? The stairs leading up to the entrance to the grand hall.

Corporealism

Yes, I totally MADE UP THIS WORD (there simply wasn’t one to express what I wanted). This is another one that’s overlooked. Instead of using blanket words like cold or hot, ask how yourself how the character’s body feels. Are the sharp chunks of gravel causing dull aches through the bottoms of his thin sandals? Does the tree bark feel like something else familiar to him? Is there a smell which bothers him, making him nauseous or dizzy?

How would a human voice sound at the base of this stairwell as opposed to in a smaller room in the house? Would the person’s voice take on a different quality when he enters this room? This stairwell ascends to Gillette’s tower, which is closed to the public, probably for insurance reasons (or maybe it’s not in good shape).

Sound

Just as in real life, sound plays a vital role in establishing a specific setting. Down by the ocean, you might hear one set of sounds (waves, laughing children, seagulls); in the mountains, you hear another (mourning doves, the crunch of leaves underfoot, the running water of streams). Using location-specific sounds can give your setting a three-dimensional feel.

How would this light color the walls around it? How different would it look if it were in a room with windows as to opposed to a room without? How would the light change in a large room as opposed to a closet?

 Lighting

How the light falls in a specific environment adds to atmosphere. What color is the sunlight (dusky, pale, golden) — if there’s any at all? What color is the sky (ashen, cerulean, violet)? Are there certain corners of a room that are lit at certain times of day? What types of lamps are lit and how do they color the room?

An immersive setting leaves the reader with a strong impression. For fun, here are photos of our recent trip to the castle — what are some of its unique visual features? How do you think the place would smell? How would the massive wooden staircase feel under your feet? What are some of the sounds you can imagine? How would you describe the winter light?

The castle is closed for the season now, but will reopen on Memorial Day. You can learn more about it here.

The stage manager needs coffee. Lots of it.

Charles Shoenfeld, who plays Gillette in our production of The Game’s Afoot, in the parking lot.

I know I take pictures of hotel bathrooms. This isn’t the same deal. This is a composting toilet, and using it is a strange experience. See the next photo for an explanation.

…no elaboration needed!

Charles poses with the bust of Gillette as Holmes in the new Castle Visitor’s Center.

A reproduced fan letter (when letters were really letters! I had a typewriter that printed like this!)

Several fan letters were reproduced and hung on the wall large enough for visitors to enjoy.

I loved this “Faces in the Smoke” drawing because it was just…well, creepy.

A brief history of Gillette and his Holmes play.

A playboard for Gillette’s SHERLOCK HOLMES: THE STRANGE CASE OF ALICE FAULKNER. Charles Schoenfeld played the title role in last year’s production of this play at The Town Theater of Rocky Hill.

One of the passenger cars from Gillette’s railroad, which looped for three miles around his estate, is available for picture taking. Makes for a cute shot! From left foreground, counterclockwise: Michele Ingram (running crew), Charles Schoenfeld (Gillette), Susan Aziz (costume design), MJ Hartel (Madge), and me (stage manager).

A view of the valley from the porch behind the Visitor’s Center.

A view of the castle from the porch behind the Visitor’s Center.

The castle is normally open from May – October; these are special hours for the Holiday Season, and it was a smart decision: the place was packed.

A view of the castle from the path.

A nice surprise! Hot cider and hot chocolate are offered for an optional donation.

We wait on line in the cider hut. It was a lovely day — mild for December — but it was cold enough to warrant a hot drink.

This building off the path to the castle has a “stage” of sorts in front of it; Charles noted that during the summer they perform Gillette’s plays on the small lawn. I’ll be looking into that!

This scenic overlook is called “Grand Central Station” — I think this is where Gillette’s railroad loaded and unloaded, although that’s an assumption on my part.

Charles before the stunning view of the Connecticut River. This is just below the castle’s entrance.

Gillette has as many as 15 cats living at the castle at one time, and, in fact, many of his knick-knacks are of the feline variety. These statues grace the top of the train depot.

At first I thought these were icicles (it is winter, after all), but now that I look at the photo I’m not sure they’re not part of the castle. Interesting.

I’m not sure if this is something the castle does all the time, but it’s neat to have the experience of knocking on the front door as though you are a real guest visiting Gillette himself.

In the play, Gillette has a “call box” which allows him to talk to his guests — forward and inventive in the 1930’s, when the play is set. We imagined this might have been that very “call box.”

The entrance door to the Castle features one of the many intricate lock mechanisms. I think only some are the originals. Either way, they’re fascinating to examine.

The group in front of the tree in the castle’s entrance hall — thanks to the guide for taking this! From left, Michele (lights and sound running crew), M.J. (Madge), Susan (costume design), me (stage manager) and Charles (Gillette).

The windows also feature their fair share of interesting mechanisms.

What would touching this banister feel like under the hand? The stairs leading up to the entrance to the grand hall.

The stairs leading up to the main entrance to the grand hall.

Gillette was known for his grand entrances. The castle has passages that would allow him to move through it unseen and show up in the most unexpected places.

MJ and I marveled at the fact that these aren’t sold in the gift shop — they’d make a fortune. I hate nutcrackers with a passion, but I’d buy this one for sure.

The stained glass window in the main foyer.

The fireplace.

I believe these are meant to represent Twain’s 1865 classic short story “The Celebrated Jumping Frog of Calaveras County.” (Read it here: http://twain.lib.virginia.edu/projects/price/frog.htm). Twain was integral in getting Gillette started in the theatre by “hooking him up” with roles in regional theatres. Hey, it’s who you know…

Costume designer for our show, Susan, talks with one of the castle guides. Apparently, the castle did much to promote our show (which sold out every night and broke all records for most attended show in the theatre’s history). We heard so many of our patrons mentioning a rekindled interest in visiting the castle because of our play we hope we’ve returned the favor!

The grand staircase.

The man himself.

Wishing well in the castle’s attached greenhouse. If I lived there, that would be my writing room. It’s full of light and overlooks the Connecticut River.

Door to the greenhouse – a fine example of something to describe which is location-specific. You’re not going to find one of these just anywhere!

All of the different plants in this room in Gillette’s time would create an interesting smell in this area of the castle. (On another note, SO JEALOUS OF THIS DESERT PALM! It’s old — they take a long time to get this big. I have two in my house that are doing well, but they’re small. It’ll be ages before they’re this size).

Christmas tree between the greenhouse and the dining room.

Dining room fireplace.

Loving those owls!! My sister, who’s into owls, would freak out to own that even though she doesn’t have a fireplace. On a more somber note, in many religions, owls represent the souls of the departed.

Ah, New Englanders! We love to use dried out fruits and vegetables OF ANY KIND as decoration!

My cats don’t need a dinner bell. They hear me open the cabinet and it’s all over.

A guide told us this is a “mock” kitchen half the size of the original…in order to meet code for the public, half the kitchen space had to be used for an exit.

This cracked us up, because in our play the dead body is covered up with a fur blanket — that looks exactly like this one.

Before building the castle, Gillette lived on a private yacht; his castle was also built by shipbuilders. Here, we see that influence in the bookshelves.

Gillette’s private office.

Gillette put up many guests, but never more than a few at a time, according to the guides. Each of his bedrooms had a bathroom off of it. This is called “The Green Room.”

In the play (in which, by the way, there’s actually very little that isn’t fiction — it’s not what you’d call based on Gillette’s life at all), Gillette is shot and has a sling on his arm. Therefore, we loved this kitty!

Another guest room, called “The Blue Room.”

Gillette’s bedroom.

Gillette’s bedroom.

Gillette’s bathroom.

This is a mirror posted at one end of the grand hall. Its whole purpose was for Gillette to spy on guests so that he’d know when he could make a “grand entrance” from the opposite stairwell.

Another mirror, this one so that Gillette could see, from a hidden space, his guests getting frustrated trying to figure out how to open his wet bar. When he’d felt he’d tortured them enough, he’d appear and open it for them.

How would this light color the walls around it? How different would it look if it were in a room with windows as to opposed to a room without? How would the light change in a large room as opposed to a closet?

How would a human voice sound at the base of this stairwell as opposed to in a smaller room in the house? This stairwell ascends to Gillette’s tower, which is closed to the public, probably for insurance reasons (or maybe it’s not in good shape).

A view out a high window. My camera doesn’t do well with vistas in windows, but you get the idea.

MJ and Michele check out the tower stairwell. It does make you dizzy when you look up.

The library.

The art gallery was quite full. MJ and Susan check it out.

This is the only novel Gillette ever wrote — it is, of course, a murder mystery. Unfortunately, THE ASTOUNDING CRIME ON TORRINGTON ROAD isn’t easy to get (if somebody knows where this is available, please do leave a comment. I had no luck, but things change all the time).

The collection of ephemera is quite massive.

This birthday note he sent to a niece (I think) is a fine example of his wit.

CREEPY.

Gillette’s personal assistant used this bag to retrieve his mail every day from the post office.

In the play, there is a seance, and probably one of the true references in the play is Gillette’s interest in seances and the afterlife. Here is a “seance” scene in one of Gillette’s many plays (he wrote others besides Holmes).

The outside of the greenhouse.

A stunning view of the Connecticut River from near the greenhouse.

Charles on the balcony.

Charles clowns around on the balcony.