Layering
When I’ve been concentrating on writing and get to the point where I’m not sure how to develop a character or plot twist, I often find it refreshing to take a break and set up my watercolors. The truth is, I write with a painter’s eye, and paint from a writer’s perspective, and so one activity is never entirely separate from the other. The more I write, the more parallels I find in both pursuits—the only difference is, when I paint, I have a photograph to work from very clear vision of what I will produce, whereas I’m never certain just how a story will develop. Nevertheless, layering is a constant.
I begin with a vague outline, just a sketch. Perhaps it’s only a brief scenario: Shipwreck on an uninhabited island; a conversation: Two men gossiping about a new arrival in town; a What If?: A repressed memory is recalled. Whether it’s painting or writing, even a compelling face or expression might spark my imagination.
By adding a wash of color, I identify my major plot points and characters. With the composition laid out, I know the direction the story is taking. Someone unexpectedly shows up and becomes a catalyst for change. A family member confronts dysfunction. Basic tropes. As for my characters, initially, a lot of this has to do with the setting. For instance, if most of the story takes place in Maine, USA, I need to know the cultural ‘colors’ I’m likely to encounter. At first, the occupation, activities and preferences may also appear generic and cliché in this unformed stage.
Little by little, I subtly shade a scene or chapter, providing my protagonist with clearer attributes, backstory and motivation. I ask: What makes me (and my readers) care about this shipwright? How is this peculiar waif more than just a pretty face? Who are these people and how will they play together when things get complicated?
There are even times, once I’m well into a project when something goes wrong—when a plot point doesn’t add up or a character behaves ‘out of character.’ Then I might have to scrub out the errant feature (see 2nd row, 1st image) and hope I’ve expunged any reference to the offense.
The closer I get to completion, the better I know my characters. My plot is well-defined. Now I add lots of the little details. The personality quirks, foreshadowing, enhancing the emotional intensity of certain scenes. Lot of those bits make up the whole but don’t jump out at first glance. Sometimes they aren’t even seen unless scrutinized. Perhaps a reader will go back and say, “I didn’t pick up on that clever subtlety first time around!” or a viewer will adjust the light and their glasses and exclaim, “Look at the text on that page! Is that actual prose?”
(I’m not going to elaborate on how I overwork a project and don’t quite know when to put the paintbrush down or back away from the keyboard—that’s for a whole ‘nother post!)
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Thanks for sharing your thoughts on this. It seems that being versed in more than one art enhances our abilities in both. The eye for detail and tone and connection really seems more developed than if only utilizing one art.
Yes, I think that’s true! And I would speculate that musicians, actors, painters, sculptors, culinary artists, etc seem to have a finely tuned sense of subtleties that can be applied in writing.
Thanks for sharing your thoughts!
So well said Bridget. It’s a thoughtful process when done “write”.
Oh, there’s a lovely pun, Liza! I think I’ll catalog that one.
And thanks so much for coming on over!
I guess we all go through layering, even if we don’t realize it. I also begin my first draft with a cool premise and develop from there. It’s much easier to see where the plot and characters are thin and improve with each rewrite.
My art however, cannot seem to get past the first stage. I’m an accomplished stick-figure drawer!
PS. @ Rhemalda. Maybe it’s my computer, my eyes or a combination, but I cannot see a single word I type.
Charlie, stick figures are a perfectly legitimate place to start! Besides, you are also a musician, so you definitely grasp the concept!
Isn’t music kind of like layering also?
Thanks for coming by!
Hey Charlie, I think I can answer for Rhemalda. Rhemalda, or one of their authors, has to approve comments. Otherwise they get inundated with spam. That’s why you don’t see it right away. I just approved it for you, so you should see it now.
BTW, I can draw stick figures with the best of them.
Thanks Doug–I guess I’m not even sure how to ‘approve’ comments–must be something on the dashboard…
Thank you Douglas. I’m aware of comments awaiting moderation. I should’ve clarified that I cannot see things I type AS I’m typing them. The font if too faint. I thought there may be some adjustment made in the template. No biggie. It seems I’m the only one with this issue.
JB, I love hearing how different the creative process is for different authors. Personally, I don’t use this method, either for novel writing or for songs, but I can certainly see how it would work. Maybe the next time I begin a new project I’ll try it this way and see what happens. You never know – I might evolve a whole new style!
Thanks for sharing.
Cas, Isn’t the creative process a wonder! So unique to each individual and yet so receptive to variation. I love to hear how it works for others, and like you, I look for new approaches. I do my best when I experiment, but I often find myself veering toward comfortable ways.
I’m an artist too, and I often find parallels between what happens on the canvas and the way I write. Seems like the creative process works the same for me in both places. Start with a sketch, build from there. I have to tip my hat, because I feel like watercolor (especially the excellent way you do it) is the most challenging of all the mediums, in part because there is little-to-no margin for error. Your work is truly gorgeous.
Annie, Gosh, thanks! Tell me, what medium do you work in?
While it’s true, there is less room for error with watercolor, I have been known to ‘scrub out’ some pretty big bothches. I tried oil and acrylic, but it just feels so heavy and smeary, lol. My dad gave me my first set of real watercolors for high school graduation and I figured I should use them up before I moved on to another medium. Those Grumbacher tubes dried up long ago, but now I have a stash of paper that threatens me if I don’t give it all a chance at a life!
…and welcome to Rhemalda!
With physical art I work mostly with ink, charcoal, pastel and acrylic (you know, the messy stuff that gets everywhere), but I spend the majority of my time doing digital art now. Easier to lasso and hit delete than chuck a canvas.
Oil can be a bit unwieldy (and I have asthma so the fumes kill me), but I like the impasto I can get with acrylic. Plus, it dries so fast that it keeps me from constantly trying to “fix it.” I totally know what you mean though. Both very smeary mediums. 
I’m not an artist, but I can relate to this process for writing. I usually just sit down and start writing whatever comes to me, but I’m trying to be a little more thoughtful about the process.
Susan, I admit that when I write, I’m more of a ‘pantser’ and sometimes unexpected things happen to my characters and with my plots–I kind of like winging it! With painting–not so much. I find that if I slow down and think about how to proceed, I get a better result. Like you, I’m also trying to be a little more thoughtful about my writing process.
This post was better than a course I once took on layering.
Stina, Since you’re both artistic and a writer, I’m not sure which course you might have take, but either way, thanks! I’m sure some of what I learned about layering in writing I gleaned from reading your blog
I’m so sorry it has taken me forever to come over here and read your post. It’s beautiful! I love how you describe this, and I’m thinking it is just as hard to change some things in a draft as it is to scrub something out in a watercolor. Sometimes, I imagine, you just have to start completely over. I had to do that with MONARCH. Thanks for sharing this!