09-09-2009, 10:10 PM
In most cases, we don't have room to model prototypical distances, so are forced to resort to all sorts of modelling "trickery". This includes selective compression (removing the dull bits between the interesting scenes which we attempt to create) 
, cramming stuff in closer than it would really be (my telegraph poles are generally only about 10" apart, and whistle posts are perhaps 2' or 3' from crossings). The flanger signs get planted where they look reasonably appropriate, even though that's closer to obstacles than it should be. View blocks or scene separators are other useful ploys: most of my rivers are scene separators, even though most of them are (I think) more interesting than the scenes which they separate. 
My layout is designed for fairly short trains (a dozen cars or less), with most trains performing switching in each town through which they pass. So, while you're busy switching in Elfrida, you tend to not notice that Lowbanks, the next town, is only 12' (1/5 of a mile) down the line. (And if you turned around, while switching, and looked across the aisle, it's only 42" away!)
Speed limits are low (the highest is 45mph, on uphill grades which are usually too short or too steep to allow such speeds by most trains), so running time is increased. In most areas, it's under 25 or 30mph.
I also like to add operating restrictions, such as limiting some equipment to certain tracks, or prohibiting certain equipment from some tracks. With lots of curves and steep grades, operators have to pay attention on those short stretches of open road between towns, too, as most trains are run close to their tonnage limits - careless train handling can result in a stall, or even a derailment. Forcing the operator to actual operate, rather than simply watching the train, takes attention away from the condensed distances. What you notice is where the train is, rather than where it's been, or where it's going.
Wayne
, cramming stuff in closer than it would really be (my telegraph poles are generally only about 10" apart, and whistle posts are perhaps 2' or 3' from crossings). The flanger signs get planted where they look reasonably appropriate, even though that's closer to obstacles than it should be. View blocks or scene separators are other useful ploys: most of my rivers are scene separators, even though most of them are (I think) more interesting than the scenes which they separate. My layout is designed for fairly short trains (a dozen cars or less), with most trains performing switching in each town through which they pass. So, while you're busy switching in Elfrida, you tend to not notice that Lowbanks, the next town, is only 12' (1/5 of a mile) down the line. (And if you turned around, while switching, and looked across the aisle, it's only 42" away!)
Speed limits are low (the highest is 45mph, on uphill grades which are usually too short or too steep to allow such speeds by most trains), so running time is increased. In most areas, it's under 25 or 30mph. I also like to add operating restrictions, such as limiting some equipment to certain tracks, or prohibiting certain equipment from some tracks. With lots of curves and steep grades, operators have to pay attention on those short stretches of open road between towns, too, as most trains are run close to their tonnage limits - careless train handling can result in a stall, or even a derailment. Forcing the operator to actual operate, rather than simply watching the train, takes attention away from the condensed distances. What you notice is where the train is, rather than where it's been, or where it's going.
Wayne