The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.
Sentiment: NEGATIVE
I never do a full outline, and if I did, I would not feel bound to it, because the view from inside a scene can be different from the view outside it. But neither do I just start writing and see what happens; I am far more disciplined than that.
Successful writers say you should never work from a desk with a view, and the view I have from this one is a huge distraction. There's a garden bursting with fresh vegetation, and just beyond the high wall at the end of it, I can see the sign of the local pub across the road. Distractions, eh? I'm so easily led.
As a writer I've learned certain lessons. One of them is to be careful about how you put a view, and to bear in mind how easily and readily you'll be misinterpreted.
I try not to picture a reader when I'm writing. It's like trying to make a great table but not picturing anybody sitting at it.
I write my books in my head, and not in a specific study with a view. The view is from my inner eyes.
Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.
I think writers need windows on a view to remind them that a whole world is out there, not the minutiae with which they might be dealing on a close scale.
Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.
I can't write a scene unless I've visualized it. Unless I can actually see it, and that's why a lot of reviewers have said my books are very cinematic, because I actually do see them before I write them.
Don't bother looking at the view - I have already composed it.