31 Days In October
To be entirely honest, my default thinking is always improvisational. However, I know that following instructions will make the process simpler and more successful.
October 7-
In both writing fiction and knitting you must choose to grow something from raw materials.
My daughter taught me about making a swatch with my choice of yarn and practicing the stitch pattern I intend to use. I wasn't convinced at first. It seemed like unnecessary work. But when I made my first sweater I used a yarn made by Woolfolk called Luft which had a cotton core with Merino Wool blown around that core. Getting the right gauge was important if I wanted a garment that fit. And it did!
Here is what my daughter says about swatching. You can find her knitting helps at Victorious Wool.
"I often see the advice that you will be saving time by being more precise in your preparations and won’t hit major problems if you swatch first, then knit. That’s always been the case in my experience. I think a bigger issue is that somehow our knitting community has a collective feeling that knitting is suppose to be easy and fun. That its a pleasure based experience and shouldn’t be frustrating or difficult. But you’re taking string and making it into a fabric while often shaping it to a body, expecting it to fit just so. That’s not a simple thing, made more complicated by the unique shapes of all of our bodies."
So, how do we liken this to writing a novel?
To me the swatch is like a character sketch; string made into fabric and characters made into a story.
To write a sketch I had to think of a back story and motivational outline for the character's thoughts and actions. I was surprised how this exercise revealed things I had never considered. My favorite character sketch is the one I wrote for an object. The original music of a Franz Liszt Rhapsody was found by my character Judith in Budapest, Hungary. The autograph manuscript, as it is called, was a catalyst to the whole story. It was an object but nonetheless a character.
My daughter taught me about making a swatch with my choice of yarn and practicing the stitch pattern I intend to use. I wasn't convinced at first. It seemed like unnecessary work. But when I made my first sweater I used a yarn made by Woolfolk called Luft which had a cotton core with Merino Wool blown around that core. Getting the right gauge was important if I wanted a garment that fit. And it did!
Here is what my daughter says about swatching. You can find her knitting helps at Victorious Wool.
"I often see the advice that you will be saving time by being more precise in your preparations and won’t hit major problems if you swatch first, then knit. That’s always been the case in my experience. I think a bigger issue is that somehow our knitting community has a collective feeling that knitting is suppose to be easy and fun. That its a pleasure based experience and shouldn’t be frustrating or difficult. But you’re taking string and making it into a fabric while often shaping it to a body, expecting it to fit just so. That’s not a simple thing, made more complicated by the unique shapes of all of our bodies."
So, how do we liken this to writing a novel?
To me the swatch is like a character sketch; string made into fabric and characters made into a story.
To write a sketch I had to think of a back story and motivational outline for the character's thoughts and actions. I was surprised how this exercise revealed things I had never considered. My favorite character sketch is the one I wrote for an object. The original music of a Franz Liszt Rhapsody was found by my character Judith in Budapest, Hungary. The autograph manuscript, as it is called, was a catalyst to the whole story. It was an object but nonetheless a character.
The Manuscript As a Character
The Hungarian Rhapsody No. 8 in F# minor 172 Years Old
Goal- An Autograph manuscript is very valuable because it holds information about how a composer truly intended their music to be played and felt, no editor marks or suggestions, just the original notation.
Physical Description- When Judith first finds the manuscript it has adhered to the back of a booklet of Chopin music. Judith protects it by putting it into an archival clear, plastic sleeve. It looked like a very old, yellowed piece of parchment, somewhat marked and soiled. Groups of blackish, brown musical notes ascended and turned back down on the musical staff. These were the notes of a master composer. Liszt’s handwriting leaned a slight bit to the right. His treble clef’s extended far below the last line of the staff. The eighth rests seemed to be more like a grace note in shape.
Habits/Mannerisms It was nicknamed Capriccio which is a name given music that has a lively, free form. The word is also used to describe a work of art that represents fantasy or a mixture of real or imagined features.
Background- Composed in 1847 and published in 1853. Dedicated to Anton Augusz, Baron of Szegzard a friend and patron. It utilizes a melody of a Hungarian folk song, Káka Tövén Költ a Ruca in the slow section.
Internal Conflicts- Finding this manuscript creates a deep internal conflict in Judith. She understands immediately that she will not reveal what she has found. Roland Kémeny is the logical recipient but Judith abhors his need for status and sees him using the manuscript to further his own prestige. She chooses to steal the treasure herself but stealing must be rationalized inside her head and inside her heart.
External Conflicts- The knowledge of the autograph manuscript sets in motion greed and jealousy in many of the characters in the book. It splinters Dominik and Judith’s marriage. The lack of honesty about the manuscript creates a desperate struggle to protect their own motivations and deep desires. These desires are in conflict and ultimately force both parties to lie and plot against each other.
The preparatory work often saves time and frustration.
The Next Day
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The Next Day
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I love these examples of how laying the groundwork first can help in the process. It may take longer at the start but it's worthwhile in the end.
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