I write fairly complex books set in&nbsp; a country that, for most of my readers, is foreign. I have rules about trying not to overburden them with details they might find puzzling. I use foreign words sparingly, for example, try to avoid mystifying phrases as much as possible, and hope no one ever feels the need to buy a dictionary in order to understand my work.

Even so there are always going to be things you can't do in the text itself. Should we make fiction easier to read by adding informational material too? Possibly. Here are some that can work.

<!--more-->Firstly, a map. My UK editions usually have maps now. Overseas ones vary according to the policy of the publisher. I wish they all had maps but that’s out of my hands. If publishers asked readers 'map or no map?' I know what the answer would be: 'Yes, <em>please</em>!' The absence of maps in some editions is one reason we've brought on line the new <a target="_blank" title="Places" href="http://places.davidhewson.com">Places section</a> which lets you see locations, photos and maps in one place.
If you're writing a story set in a real city, one that is tightly integrated into its geography and buildings, as many of mine are, a map really helps. Not all of my books need one. But when they do I hope they'll appear. The same goes for fictional landscapes that use invented places as if they were real. Oddly enough fantasy fiction often attracts maps when stories set in the real world don't. Maps for the <em>Rings</em> have been around for decades. And quite rightly too.

Second, a cast list. I've only ever done this once, for <em>The Seventh Sacrament</em> which has a fairly big list of players, and takes place in two different eras too. I'm less sure about this one. No reader's ever come back to and said anything good or bad about them. Perhaps they're useful to some and not to others. I simply don't know. If you're writing a dynastic saga set in Imperial Rome they're doubtless essential. In a modern story where people have different names I'm not so sure.

Thirdly, a glossary. When would you need one in a work of fiction? When the writer wants to use the right words to give you a local flavour or inside knowledge, but knows that, while you may have heard of them, you probably are a little hazy on detail.

This is exactly the situation with the present work in progress. It's set in Venice. I want it to be absolutely soaking in Venetian atmosphere. I can't but help using words that will bring that... carnival words such as 'frittelle'... gondola terms such as 'forcola'... architectural descriptions such as 'salizada'. If I use 'doughnut', 'rowlock' and 'paved street' instead it just won't work. In order to drag you to Venice I have to adopt the local vernacular.

So there will be a short glossary at the front of this book, and it will, I hope, contain every word that may raise doubts in the reader's mind. Not a custom I'll make a habit of but when it's needed it's going to be there.

Finally, an author's note. I started writing these with <em>The Seventh Sacrament</em> and people seem to appreciate them. They're principally there to separate fact from fiction and to give some historical and cultural background to the stories. I always place them at the end so they won't spoil anything. And unless they add something -- like all other extras -- they will be avoided altogether. This book won't require one, I don't think, though I may change my mind before it's done.

The first task I have with this new manuscript is to sort out those prelims. Next week I will get round to the book itself.