Category: Creative Writing

The cinema of my dreams – I always wanted to go on a treasure hunt – Episode 30

Here’s the thing…

Every time I close my eyes, I see something different.

I’d like to think the cinema of my dreams is playing a double feature but it’s a bit like a comedy cartoon night on Fox.

But these dreams are nothing to laugh about.

Once again there’s a new instalment of an old feature, and we’re back on the treasure hunt.

 

Was this going to be the very definition of dining with the devil?

Or was my curiosity going to be the death of me?

It was just one of a dozen questions I asked myself on that trip back to Nadia’s room.  One reason I was going there was not in the expectation of a romantic interlude.  No, this was something else.  I kept reminding myself that Nadia was, first and foremost, a Cossatino, and the Cossatino’s were not people you wanted to be friends with.

When we arrived, she asked for a few minutes so she could change, so I stayed out on the balcony.  It was a coolish night, a clear sky, and just a hint of salt in the air.  We were not far from the ocean, and it reminded me of another lifetime, one where I was young enough not to have to worry about all that grown-up stuff.

I heard the door open behind me.

“Thanks for waiting.”

I turned, not sure what I was expecting.  Certainly not a statuesque woman in training gear.  She looked to me ready to go for a training run.

I walked past her into the room, faintly smelling of some perfume, and sat in one of the two chairs in the room.  I watched her close the door, go over to the mini bar, get two bottles of beer out, and hand one to me.

It was an odd thought, being in a hotel room with Nadia, the last thing I’d ever be doing with her, let alone any other woman.  My choices had always been limited, or so I had thought.

“I had this thought,” she said, leaning against the desk on the opposite side of the room, “that we should try and beat Vince at his own game.”

An interesting thought, was Nadia thinking of joining in Boggs’s treasure hunt, take it over, or was this a ruse, and had she been working with Vince all this time, and using us to get to the prize by another route.  Or was it a rivalry with Vince that she wanted to win?  Wasn’t it Boggs’s call who joined the expedition?

“We as in you and me, or we as in Boggs and you, or…”

“You’re overthinking it Smidge.”

“A word of advice, Nadia, if you’re trying to appeal to my good side, you might consider dropping the nickname.  Only the people I hate use it, and I’m sure you don’t want me to add you to the list.”

Not necessarily warranted, and in my younger days I’d never dare to speak to her like that, but I felt I had the upper hand, at least for a short time.

“OK.  Note to self, call Smidge Sam.  Old habits are hard to break.”

In more ways than one, I thought. 

“Well, overthinking it or not, it’s not my call to make.  I’m assuming you want to join in on Boggs’s treasure hunt?”

“That was the idea.”

“You’re assuming that Boggs actually has the real map, or, in fact, there is such a thing.  You have to remember that his father created all those maps, and it wouldn’t be hard to make one look more authentic than another, just to get a better price.  Everything to do with the treasure seems to me like it’s one big hoax.”

“If that was the case, why do you think Vince is so wound up about it?  My point is, Vince is simply all muscle and no brains.  He always has been, so you have to assume that my grandfather has decided there’s something in the rumours.  Granted he may have been working in league with Boogs senior, but don’t you think that in order to create forgeries, there had to be some sort of map to work from.”

An interesting premise.

“If it led to treasure on an island in the Wast Indies, I’d be more likely to believe in it, but here, a million miles from any of the pirate trading routes, and having a deep abiding disbelieve in hidden treasure still not recovered in this day and age, what do you think?”

“Does Boggs’s know about your scepticism?”

“I’ve told him enough times, but he has this bee in his bonnet, and I’m his best friend, probably his only friend.  I humour him.  And I doubt seriously if he’ll ever go through with it, because he’s never finished anything in his life.  He gave me a copy of the map, but I suspect that was a copy of the one he gave Vince in the end.

“So, you think it’s not a worthwhile exercise?”

“What I think doesn’t matter.  But I’ve got a question for you.  Why have you come back here?”

“What if I told you it’s possible that the treasure is real.”

“I’d say you’ve been indulging in the drugs your family pedals.”

“What if I said I had proof?”

OK, where is this going?  Did that mean she had proof, or that the Cossatino’s had proof, and was she about to open a can of worms?

“I’m listening.”

“That man that you found dead on Rico’s boat.  His name was Jacob Stravinsky.  He was an authority on pirates and their lost treasure, and had over the years, uncovered evidence that pirates had come here supposedly fleeing from the authorities, and that at least two of them could have hidden some of their treasure somewhere along this coastline.  News of the discovery of several gold coins off the coast, not ten miles from here somehow caught Ales Benderby’s ear and he went to visit him.

“No one is sure what happened at that meeting, but I know Alex was there because that’s where I ran into him.  And, the fool that he is, got drunk and told me, no bragged about how he was going to find the treasure and prove his worth to his father.”

“Then how did this Stravinsky end up dead on Rico’s boat.”

“Because Alex got what he wanted and made sure no one else found out.”

 

© Charles Heath 2019

The 2am Rant: There are so many things I haven’t done

Does it really matter, you ask?

Perhaps not, but now seems to be an appropriate time, nearing the age of 72, to take stock.

We have achieved a lot in the last twenty or so years once the children have grown up and can look after themselves.

Unlike a lot of more modern couples who are travelling in their 20s and 30s and then having children, we chose to do it the other way around.

To me, it seemed easier to deal with teenagers when we were in our 40s rather than our 60s.  With the benefit of hindsight, I can truthfully say we were right.

We were older and wiser when we travelled and more aware of the dangers around us, sometimes overlooked or ignored by a youthful devil-may-care attitude.

But, in saying that ….

No, I don’t think I’ll be getting to see Mt Kilimanjaro, observing the wild animals in the Serengeti, climbing Mt Everest, or seeing the ancient pyramids.

But, if it is ever possible before I die, I still want to go to the Greek Islands, and, Santorini is at the top of my travel bucket list.

We’ve been to London.  We’ve been to Paris and Euro Disney.  We’ve been to Rome and seen the ancient ruins.  We’ve been to Vienna, Schönbrunn Palace, and, particularly for us, a visit to Swarovski crystal world, near Innsbruck, we’ve been to Salzburg, and been on the Sound of Music tour.

We’ve been to Florence and loved it, we’ve been to Venice and loved that too, and we’ve spent a few days in the heart of Tuscany, and want to go back for longer, much longer.

In fact, that’s the second item on the travel bucket list.

We’ve also been to Singapore and Hong Kong, at first out of necessity as an airline stopover, but then we went back to see the city and tourist, and non-tourist attractions.

I will not forget staying at the Hong Kong Conrad Hotel as a Diamond Hilton Honors member.  Oh, the memories.

We’ve also stayed on the French Riviera, in a timeshare apartment in Antibes where every morning when out back you had a view of the shimmering Mediterranean if the sun was out.

Nice, Cannes, Monte Carlo, the billionaire’s yachts in Antibes harbour, Monte Carlo, and ‘that’ casino, taking the same drive along the coast as Grace Kelly did in To Catch a Thief, and feeling like James Bond arriving for a new adventure, minus the half-million-dollar sports car.

But now, crashing back to earth with an extremely hard thump ….

Travel in the future is looking difficult for both of us, not only financially but from a health aspect.  We are both not as sprightly as we used to be.

Yet given the restraints and if it is at all possible, aside from the Greek Islands and Tuscany, the next items on the list are:

Germany, visiting both Berlin, from a Cold War aspect, the Brandenburg gate springs to mind, and Munich at the time of the Octoberfest.  As a beer drinker that is also high on my bucket list.

Scotland, more so since we’ve started watching Outlander, and besides being a beer drinker, I am also partial to a good Single Malt, the Whiskey Trail.

Ireland, because my wife’s previous name was Murphy and at some point, in the long distant past some relatives emigrated to Australia, and she would like to visit the country of her forebears.

But with the current state of the world, our health issues, and that all-important requisite money, or the lack of it, perhaps it’s time to visit other parts of our own country.

Perhaps it’s time to do a culinary trip, particularly down south.  It’s practical, achievable, and safe.

And it’s a big country.

What I learned about writing – The happy ending debate

The Happy Ending Debate: Is It All About Where You Stop the Story?

We’ve all been there. Lost in a book, glued to a screen, investing our emotions in characters and their journeys. As the story nears its end, a quiet hope stirs within us: Please, let them be happy. We crave resolution, comfort, and the satisfaction of knowing that, in this fictional world at least, good triumphs and love prevails.

But should every story culminate in a neat, tidy, and unequivocally happy ending? And more profoundly, is the ‘happiness’ of an ending simply a matter of where the author chooses to draw the final curtain?

The Allure of the Sunny Conclusion

There’s no denying the power and appeal of a happy ending. They offer:

  • Escapism: Life is often messy and unpredictable. Stories with joyous resolutions provide a much-needed mental break, a reminder that things can turn out well.
  • Hope: They validate our belief in perseverance, the triumph of good over evil, and the idea that our own struggles might eventually lead to brighter days.
  • Satisfaction: A happy ending can feel like a reward for the emotional investment we’ve made, a pleasant closure to a captivating experience.

From classic fairy tales to blockbuster rom-coms, these endings serve a vital purpose, leaving us with a warm feeling and a sense that balance has been restored.

The Unflinching Gaze of Reality

However, limiting all narratives to happy conclusions would be a disservice to the vast spectrum of human experience. Sometimes, stories need to:

  • Reflect Reality: Life isn’t always fair, and not every conflict resolves harmoniously. Stories that acknowledge pain, loss, and unresolved tension can be incredibly powerful and resonant.
  • Provoke Thought: Tragic or ambiguous endings often linger longer in the mind, prompting deeper reflection on themes, choices, and consequences.
  • Offer Catharsis: Witnessing a character’s journey through suffering, even if it doesn’t end happily, can be a form of emotional release and understanding for the audience.
  • Teach and Warn: Some stories serve as cautionary tales or explorations of the darker sides of humanity, and a happy ending would undermine their core message.

Think of literary classics, historical dramas, or poignant independent films – their power often lies in their refusal to sugarcoat the human condition.

The Art of the Final Frame: Where Do You Stop?

This brings us to the most intriguing part of the debate: Is a happy ending simply a matter of narrative framing?

Consider this: Is a character’s failure truly the end, or is it merely the lowest point before a potential rise? Is a bittersweet goodbye truly sad, or is it a necessary step towards individual growth and new beginnings?

  • Life is Continuous: In reality, our stories don’t stop. A “happy ending” might just be a moment of respite before the next challenge, and a “tragic ending” could be the catalyst for profound change in others.
  • The Power of Hope: An ending doesn’t have to be happy to be hopeful. A character might face immense loss, but the final scene could show them finding a glimmer of purpose, taking a first step towards healing, or inspiring others to carry on. This isn’t happiness in the traditional sense, but it offers forward momentum.
  • The Reader’s Imagination: Sometimes, an author intentionally leaves an ending open, trusting the audience to imagine what comes next. What feels unresolved to one person might feel like an invitation for possibility to another. The “end” of the story is merely where the author stops narrating; the characters’ lives, in our minds, continue.
  • Satisfying vs. Happy: A story can have a satisfying ending without being strictly happy. It can be satisfying because it feels earned, logical, and true to the characters and themes, even if it’s painful or melancholic.

Crafting the Right Conclusion

Ultimately, whether a story should have a happy ending isn’t a universal rule, but a deliberate choice. It depends on:

  • The Genre: Rom-coms and fairytales thrive on happiness; noir and tragedies demand a different tone.
  • The Story’s Purpose: Is it meant to uplift, entertain, challenge, or reflect?
  • The Characters’ Journeys: Does a happy ending feel organic and earned, or forced and unrealistic, given what the characters have endured and become?

So, should every story have a happy ending? Probably not. But should every story offer some form of resolution, be it hopeful, cathartic, or thought-provoking? Absolutely.

The true magic lies in the storyteller’s ability to know precisely where to stop, leaving us not necessarily with boundless joy, but with a feeling that the journey was complete, meaningful, and true – even if the sun isn’t shining quite so brightly in that final frame.

What do you think? Do you prefer happy endings, or do you find more satisfaction in realistic or even tragic conclusions? Share your thoughts in the comments below!

365 Days of writing, 2026 – 184

Day 184 – Show, don’t tell

…

The Art of the Landscape: What Thomas Hardy Taught Ursula K. Le Guin About “Showing, Not Telling”

Every writer has heard the golden rule: “Show, don’t tell.”

It is the advice that launches a thousand creative writing workshops, yet it remains one of the most misunderstood concepts in literature. Does it mean you can never state an emotion? Does it mean your prose must be purely cinematic?

To find the true essence of this rule, we can look to a master of the craft, Ursula K. Le Guin. In her legendary essays on writing, Le Guin often pointed to a specific, masterful example of environmental storytelling: the opening chapter of Thomas Hardy’s The Return of the Native.

Here is how Hardy uses the landscape of Egdon Heath to redefine what it meant to “show” an entire world before a single character ever speaks.

The Trap of “Telling”

When beginners are told to “show,” they often interpret it as a directive to describe every micro-movement—“She clenched her fist, her knuckles turning white, showing her anger.”

While this is “showing,” it is literal and often clunky. True “showing” is about atmosphere, mood, and implication. It is about placing the reader in a space where they can feel the truth of the situation without being lectured by the author.

The Lesson from Egdon Heath

In the first chapter of The Return of the Native, Thomas Hardy does something radical. He doesn’t introduce a hero, a villain, or a dialogue-driven incident. Instead, he introduces the heath itself.

As Ursula K. Le Guin noted in her workshops, Hardy treats Egdon Heath not as a backdrop, but as a living, breathing participant in the story. He writes:

“The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen.”

Hardy is doing something extraordinary here. He is “showing” the reader the tone of the entire novel before the plot begins. He doesn’t tell us, “The setting is oppressive, ancient, and indifferent to human suffering.” Instead, he describes the heath as a creature that “awaits” and “listens.”

Why Le Guin Admired This Approach

Le Guin championed this passage because it teaches writers that environment is character.

By spending pages describing the soil, the colours of the heath, the shadows, and the way the light dies over the horizon, Hardy creates a sense of foreboding. He shows the reader that the human lives within this book will be small, fragile, and ultimately at the mercy of this vast, prehistoric landscape.

If Hardy had simply told us, “The story takes place in a lonely, haunting part of England where people struggle against nature,” the reader would have accepted it as a fact. But by showing it—by making the heath look, act, and “feel”—the reader experiences that loneliness in their own bones.

Three Ways to Apply the “Hardy-Le Guin” Method

If you want to move beyond the surface-level interpretation of “show, don’t tell,” try these three strategies:

1. Use the Setting to Establish Stakes

Don’t just have your characters walk through a room. Have the room reflect the state of the story. If a marriage is failing, show the dust on the mantle or the way the light doesn’t quite reach the chairs. Make your setting a reflection of your underlying themes.

2. Let the Landscape “Listen”

Hardy gave the heath a sense of “watchful intentness.” What is your setting doing? Is the city you are writing in hostile? Does the forest feel like it’s holding its breath? Giving your setting semi-sentient traits can anchor your reader in the mood of the piece instantly.

3. Trust the Reader’s Intelligence

Hardy didn’t need to summarise the history of Egdon Heath. He trusted the reader to pick up the vibe of the place through the sensory language he used. When you write, pull back on the adjectives and lean into the gestures of your environment.

The Takeaway

“Show, don’t tell” isn’t about avoiding exposition; it’s about making your exposition experiential.

As Ursula K. Le Guin taught, the best writers don’t just dump information on the reader. They build a world so tactile and evocative that the “meaning” of the story is felt long before it is understood. Take a page from Hardy: ignore the plot for a moment, look at the world you’ve built, and ask yourself—is my setting just a stage, or is it alive?

…

Top 5 sights on the road less travelled – Malta

That’s a fantastic way to explore Malta! While the island nation is small, it hides numerous incredible spots away from the main tourist crowds.

Here are five places and activities off the well-trodden path in Malta and Gozo:

1. The Three Cities (Vittoriosa, Senglea, and Cospicua)

While not exactly “unknown,” the Three Cities are often overshadowed by Valletta and Mdina, making them a more authentic and less crowded alternative.

  • Vittoriosa (Birgu): As the oldest of the three, it was the first home of the Knights of St. John in Malta. Wander its narrow, ancient streets, and visit Fort St. Angelo for stunning views across the Grand Harbour back to Valletta.
  • Senglea (L-Isla): Walk through the charming backstreets and find your way to the Gardjola Gardens for one of the most iconic views of Valletta. The watchtower here has an eye and ear carved into its stone, symbolising vigilance.

2. Wied il-Għasri (Gozo)

For a secluded and unique swimming spot, head to the island of Gozo to find this hidden gem.

  • The Place: Wied il-Għasri is a spectacular sea gorge, or “fjord,” with crystal-clear turquoise waters. It cuts inland between dramatic cliffs, ending in a tiny pebbly beach.
  • The Activity: It’s perfect for a quiet swim, snorkelling, or simply enjoying the serenity away from the more crowded beaches. For the adventurous, you can rent a kayak to paddle through the gorge and out into the open sea.

3. Coral Lagoon (Malta)

The Coral Lagoon, also known as the Bilblija Cave, is a stunning natural sea cave located in the north of the main island, near Armier.

  • The Place: It’s an open-air cave with a large hole in the roof, allowing light to pour into the azure water below. The opening to the sea is small, making the lagoon feel like a massive, natural swimming pool.
  • The Activity: You can carefully climb down into the water for a unique swim. Many locals also use the surrounding cliff face as a jumping-off point. It requires a short hike to reach and is best visited on a calm day.

4. Il-Majjistral Nature and History Park (Malta)

If you’re looking for a dedicated nature escape, this park on the northwestern coast offers beautiful hiking trails, historical sites, and untouched coastlines.

  • The Place: The park stretches along the coast from Golden Bay up to Popeye Village. It’s Malta’s only natural park, protecting the area’s geology, archaeology, and ecology.
  • The Activity: Go for a walk or hike to explore the rural landscape, see the clay cliffs, and discover abandoned military and historical structures. It offers views that are completely different from the fortified cities and coastal resorts.

5. Ta’ Ċenċ Cliffs (Gozo)

While the Dingli Cliffs on the main island of Malta are famous for sunsets, the Ta’ Ċenċ Cliffs on Gozo offer a similar dramatic clifftop experience with far fewer people.

  • The Place: Located on the southern coast of Gozo, these cliffs are less accessible by major roads, ensuring a peaceful experience. The area is also a designated bird sanctuary.
  • The Activity: Take a sunset stroll along the top of the cliffs. The vast, uninterrupted views of the Mediterranean Sea are breathtaking, and it’s a perfect spot for nature photography or a picnic. You can also hike along the coastal path toward Xlendi or Mgarr Ix-Xini.

In a word: Angle

We all know this to be an intersection of two lines like a crossroad is at a 90-degree angle

But…

It’s an angle bracket that keeps the shelf up, hopefully with books on it.

Did you know that it was something someone did in order to get something?

She began to angle for an invitation to a party that she would not normally be invited to, or he has angled his answers to the prospective employer in a bid to be more likely to be selected for the position.

It can also refer to a position, or judgement, so that someone might say, try and see it from my angle, or another angle.

Or that it refers to fishing, and the fisherman or woman is known as an angler.

It can be a position from which something is viewed, or in crime parlance, the CSI people will work out the angle of the bullet’s entry do they can locate the position of the shooter.

Angle can refer to people of Germanic origin, such as an Anglo Saxon

And, here’s something even I didn’t know, in Astrology, it is each of the four cardinal points of a chart, from which the first, fourth, seventh, and tenth houses extend anticlockwise respectively.

Skeletons in the closet, and doppelgangers

A story called “Mistaken Identity”

…

How many of us have skeletons in the closet that we know nothing about? The skeletons we know about generally stay there, but those we do not, well, they have a habit of coming out of left field when we least expect them.

In this case, when you see your photo on a TV screen with the accompanying text that says you are wanted by every law enforcement agency in Europe, you’re in a state of shock, only to be compounded by those same police, armed and menacing, kicking the door down.

I’d been thinking about this premise for a while after I discovered my mother had a boyfriend before she married my father, a boyfriend who was, by all accounts, the man who was the love of her life.

Then, in terms of coming up with an idea for a story, what if she had a child by him that we didn’t know about, which might mean I had a half-brother or sister I knew nothing about. It’s not an uncommon occurrence from what I’ve been researching.

There are many ways of putting a spin on this story.

Then, in the back of my mind, I remembered a story an acquaintance at work was once telling us over morning tea, that a friend of a friend had a mother who had a twin sister and that each of the sisters had a son by the same father, without each knowing of the father’s actions, both growing up without the other having any knowledge of their half brother, only to meet by accident on the other side of the world.

It was an encounter that in the scheme of things might never have happened, and each would have remained oblivious of the other.

For one sister, the relationship was over before she discovered she was pregnant, and therefore had not told the man he was a father. It was no surprise the relationship foundered when she discovered he was also having a relationship with her sister, a discovery that caused her to cut all ties with both of them and never speak to either from that day.

It’s a story with more twists and turns than a country lane!

And a great idea for a story.

That story is called ‘Mistaken Identity’.

Top 5 sights on the road less travelled – Sicily

That’s an excellent choice! While the major sites like Taormina and the Valley of the Temples are stunning, Sicily’s true soul often lies in its quieter villages, ancient ruins, and dramatic nature reserves.

Here are five places or activities to explore on the road less travelled in Sicily:

1. Cycle and Swim the Egadi Islands (Favignana/Levanzo)

  • What it is: A small archipelago off the western coast near Trapani. Favignana is the largest and most accessible, and Levanzo is even smaller and more remote.
  • Why it’s less travelled: While popular with Italian vacationers, they remain largely car-free (especially Levanzo), promoting a slow, relaxed pace of travel that’s rare on the mainland.
  • Activity: Rent a bicycle upon arriving at Favignana’s port and spend the day cycling to the gorgeous turquoise coves like Cala Rossa and Cala Azzurra. On Levanzo, you can hike to the prehistoric Grotta del Genovese cave, featuring ancient Paleolithic rock carvings.

2. Explore the Labyrinthine Town of Erice

  • What it is: A beautifully preserved medieval hilltop town perched 750 meters above sea level, overlooking the city of Trapani and the western coast.
  • Why it’s less travelled: Many tourists bypass it for coastal towns. It’s famous for its atmospheric, narrow, cobbled streets and the frequent, dramatic mist that engulfs the town, making it feel completely isolated and otherworldly.
  • Activity: Wander the maze-like stone streets, visit the Norman Castello di Venere (Castle of Venus) built on the site of an ancient temple, and taste the famous local almond pastries from the historic Pasticceria Maria Grammatico.

3. Hike or Canyon the Gole dell’Alcantara

  • What it is: A spectacular series of gorges and canyons carved by the cold Alcantara River, located on the northern slopes of Mount Etna. The walls are made of dark, columnar basalt lava rock.
  • Why it’s less travelled: This is a nature and adventure destination that requires active participation, pulling visitors away from the historic towns.
  • Activity: Walk along the floor of the icy river (wetsuits/boots are highly recommended in the cooler months and often available for rent) or descend into the gorge for a dramatic, up-close view of the unique vertical lava formations.

4. Visit the Carved Cave Village of Sperlinga

  • What it is: A truly remote medieval village in the mountainous heart of Sicily, dominated by a Norman castle carved directly into the rock. The town’s name, Sperlinga, comes from the Greek word for “cave.”
  • Why it’s less travelled: Located deep in the rugged Sicilian interior, it is far from major tourist routes. It offers an incredible look at ancient rural life.
  • Activity: Explore the castle with its massive staircase carved from a single piece of rock, and wander through the small network of ancient cave dwellings (grottos) below the main structure that once housed the peasant community.

5. Discover the Hidden Baroque of Scicli

  • What it is: One of the spectacular Baroque towns of the Val di Noto (a UNESCO area), but significantly quieter and less visited than its neighbours, Noto and Ragusa Ibla.
  • Why it’s less travelled: It feels genuinely lived-in and has fewer large hotels, offering a relaxed and authentic glimpse of Sicilian life. It’s built into the cliffs of a canyon, giving it a unique layered appearance.
  • Activity: Stroll the main street, Via Francesco Mormino Penna, admire the honey-colored Baroque palaces and churches, and climb the hill to the top of San Matteo for a panoramic view of the town nestled in the valley.

365 Days of writing, 2026 – 184

Day 184 – Show, don’t tell

…

The Art of the Landscape: What Thomas Hardy Taught Ursula K. Le Guin About “Showing, Not Telling”

Every writer has heard the golden rule: “Show, don’t tell.”

It is the advice that launches a thousand creative writing workshops, yet it remains one of the most misunderstood concepts in literature. Does it mean you can never state an emotion? Does it mean your prose must be purely cinematic?

To find the true essence of this rule, we can look to a master of the craft, Ursula K. Le Guin. In her legendary essays on writing, Le Guin often pointed to a specific, masterful example of environmental storytelling: the opening chapter of Thomas Hardy’s The Return of the Native.

Here is how Hardy uses the landscape of Egdon Heath to redefine what it meant to “show” an entire world before a single character ever speaks.

The Trap of “Telling”

When beginners are told to “show,” they often interpret it as a directive to describe every micro-movement—“She clenched her fist, her knuckles turning white, showing her anger.”

While this is “showing,” it is literal and often clunky. True “showing” is about atmosphere, mood, and implication. It is about placing the reader in a space where they can feel the truth of the situation without being lectured by the author.

The Lesson from Egdon Heath

In the first chapter of The Return of the Native, Thomas Hardy does something radical. He doesn’t introduce a hero, a villain, or a dialogue-driven incident. Instead, he introduces the heath itself.

As Ursula K. Le Guin noted in her workshops, Hardy treats Egdon Heath not as a backdrop, but as a living, breathing participant in the story. He writes:

“The place became full of a watchful intentness now; for when other things sank brooding to sleep the heath appeared slowly to awake and listen.”

Hardy is doing something extraordinary here. He is “showing” the reader the tone of the entire novel before the plot begins. He doesn’t tell us, “The setting is oppressive, ancient, and indifferent to human suffering.” Instead, he describes the heath as a creature that “awaits” and “listens.”

Why Le Guin Admired This Approach

Le Guin championed this passage because it teaches writers that environment is character.

By spending pages describing the soil, the colours of the heath, the shadows, and the way the light dies over the horizon, Hardy creates a sense of foreboding. He shows the reader that the human lives within this book will be small, fragile, and ultimately at the mercy of this vast, prehistoric landscape.

If Hardy had simply told us, “The story takes place in a lonely, haunting part of England where people struggle against nature,” the reader would have accepted it as a fact. But by showing it—by making the heath look, act, and “feel”—the reader experiences that loneliness in their own bones.

Three Ways to Apply the “Hardy-Le Guin” Method

If you want to move beyond the surface-level interpretation of “show, don’t tell,” try these three strategies:

1. Use the Setting to Establish Stakes

Don’t just have your characters walk through a room. Have the room reflect the state of the story. If a marriage is failing, show the dust on the mantle or the way the light doesn’t quite reach the chairs. Make your setting a reflection of your underlying themes.

2. Let the Landscape “Listen”

Hardy gave the heath a sense of “watchful intentness.” What is your setting doing? Is the city you are writing in hostile? Does the forest feel like it’s holding its breath? Giving your setting semi-sentient traits can anchor your reader in the mood of the piece instantly.

3. Trust the Reader’s Intelligence

Hardy didn’t need to summarise the history of Egdon Heath. He trusted the reader to pick up the vibe of the place through the sensory language he used. When you write, pull back on the adjectives and lean into the gestures of your environment.

The Takeaway

“Show, don’t tell” isn’t about avoiding exposition; it’s about making your exposition experiential.

As Ursula K. Le Guin taught, the best writers don’t just dump information on the reader. They build a world so tactile and evocative that the “meaning” of the story is felt long before it is understood. Take a page from Hardy: ignore the plot for a moment, look at the world you’ve built, and ask yourself—is my setting just a stage, or is it alive?

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“The Devil You Don’t”, she was the girl you would not take home to your mother!

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John Pennington’s life is in the doldrums. Looking for new opportunities and prevaricating about getting married, the only joy on the horizon was an upcoming visit to his grandmother in Sorrento, Italy.

Suddenly, he is left at the check-in counter with a message on his phone telling him the marriage is off, and the relationship is over.

If only he hadn’t promised a friend he would do a favour for him in Rome.

At the first stop, Geneva, he has a chance encounter with Zoe, an intriguing woman who captures his imagination from the moment she boards the Savoire, and his life ventures into uncharted territory in more ways than one.

That ‘favour’ for his friend suddenly becomes a life-changing event, and when Zoe, the woman who he knows is too good to be true, reappears, danger and death follow.

Shot at, lied to, seduced, and drawn into a world where nothing is what it seems, John is dragged into an adrenaline-charged undertaking, where he may have been wiser to stay with the ‘devil you know’ rather than opt for the ‘devil you don’t’.

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