h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

I was a bit bothered by that attic. Most attics of my experience have only one way in. It sounds as if Mrs Fairfax has shut Jane in the attic! Now I don't think that was what is meant, but it's a long time since I read the book. Are there two openings to the attic?

I might be able to describe attics from personal experience. (Our attic is one of those where you can't step very far without bumping into a beam.) Suppose I wanted to set my story in ancient Rome. The experiences I can call on are: the ruins I've seen in various places, and the reconstructions I've seen in books, films etc.

I remember reading 'Pompei' by Robert Harries, and being impressed by his descriptions of Pompei. I could almost smell the sulphur.
Of course, he did lots of research, both into the Roman way of life (the book includes a most horrible description of a feast that goes wrong ) and into volcanoes.

My feeling is that you can't write very much without having to do some research. How much research depends on what you want to write. If I set a romcom in modern Brighton, I wouldn't have to do much research; but if I wanted to place a thriller in modern Pakistan, or in Shakespear's England, I would have to do lots.

You would, indeed - and boy, would you need visualisation.

I do like to be able to see my scenes.

Our creative writing tutor set us the task of writing a scene, starting with the dialogue and then adding gestures, setting, internal thought etc. She thought we might find it easier that way. But I didn't follow the instructions. (Typical!)
I wanted to know where my people were - inside or outside, standing or sitting.

And, being very English, I want to talk about the weather.

We used to have so much trouble explaining that to the Germans.

They'd want to start a conversation with a serious political topic. We'd say, no, talk about the weather.

Germans, 'Why?'

Well, of course. We German speaking people only talk about the weather when we can't think of anything else to say. Because talking about the weather is usually boring.

I drew lots of maps and plans of imagined countries and planets and cities when I was a child. I wonder where they all ended up. Also drew quite a few pictures of phantasy towns and houses.

Perhaps English people don't mind being boring! Because talking about the weather is safe.

You can say "Isn't the weather awful?" to a perfect stranger and you've opened a conversation.

If you say something like "I think the Government's policy on Europe is stupid", you risk getting into a flaming row.

But I put the weather into my writing because it gives a greater richness to the scene.

If it's relevant of course. I wouldn't write a scene where two men are staring at each other in a bar, just about to come to blows and suddenly add "Outside, the sun was glaring down on the little town, and even the dogs were staying in the shade."

On the other hand, a story about two guys staring each other down in a bar that continues with, 'Lovely weather we're having' would be quite funny......

Tav, that's exactly what our Bundeswehr students did - they wanted to start a conversation with 'I think you should get rid of your Queen.'