Leni Wiener

Inspiration can come from the strangest (and most unexpected) places.  Readers of this blog know that for the past few months I have been trying to figure out where to go with my art quilts, and not finding a direction that made me happy.  In addition, you will remember that I am working on a book for which I must make quite a few new quilts.

As the quilts progress for the book, I am happier with some than I am with others.  In fact, at 3 AM the other night I woke up thinking that two of them did not work at all.  For two hours I lied in bed trying to convince myself that they were fine, only to get up at 5 AM and start them over.  What a day that was.  But the ultimate decision was that I would rather do the work over again than to put something out there that wasn’t right.

So in re-evaluating the remaining quilts, I had some doubts about two of them, and decided to redesign them before I started to cut and sew.  But that old nemesis, creative block, reared it’s ugly head.  No time for blockages, I needed to clear my brain and find two new solutions.

The inspiration for these two final quilts for the book came from the strangest places.  Watching TV one night I saw two things that unexpectedly brought me the answers.  The first came from something in the background of the newsroom while watching ABC Nightly News (I only watch ABC, as my son is an associate producer on the show).  Something I had never noticed before (I watch the news every night) caught my eye and started a chain reaction in my head.  It became a quilt design that I think will work very well.

The second quilt design also came from an unexpected source, the same night watching TV.  It was a sitcom (embarrassed enough to tell you I watch them, I won’t embarrass myself further to tell you which one!) one of the characters was wearing a shirt that sparked another idea.  That is the second quilt design I needed.

Finally, and it will be a while before I can implement it, is the beginning of a direction for the art quilts in my future, once the book is done and I can go back to working just for myself.  “Make it art” has been ringing in my head, and something else I saw–some shadows on curtains–looked interesting to me when I saw them, and crystallized while driving in the car into a new direction I want to pursue.  Odd, so often while driving, things that I could not wrap my head around anywhere else become so clear to me.

I guess it is important to remember to always keep your eyes opened, and your brain clear of the stress and minutia of every day life, in order to absorb creative ideas that are all around.  Three creative solutions from three unexpected places, all came to me when I was not looking so hard for them.  Sitting and watching TV, relaxed and disengaged from anything else, the visual cues that surround us made it through.

So keep your eyes opened and your brain clear, so that you can take in all the amazing influences and inspirations from the most surprising and unexpected places!

I haven’t posted for the past several days as I am now in full book mode.  I love the process, and when I hit my stride I work a full day, usually six days a week.  I was one of those kids who would do a long term assignment in the first weekend, and I haven’t changed.  I am always ahead of my deadline, because I am always worried I am underestimating the time things will take.  My son kids me that when we drive somewhere, I always want to leave so early that we end up with enough time to go to dinner and a movie once we get there!

So many other quilters tell me that they dream of writing a book that I though I would give you my top ten misconceptions about publishing a book.

1.  All you need is a good idea

I thought all I needed was a new idea or a new technique and publishers would be fighting over me to publish my first book.  What I found out was that publishers are looking for a book they can sell, based on their successful books and what they see developing in the market.  They don’t really want just a good idea from you, they want a business plan with a book attached.

2.  Your book should be finished when you begin proposing it

When I started proposing my first book (and collecting rejection letters) I found I had to reevaluate and rework the proposal three times before it finally resonated with my current publisher.  Even for the book I am currently writing (my third with the same publisher), the idea was reworked, reviewed by their committee and adjusted several times before it was accepted.

Most publishers will ask that you supply them with a table of contents, a sample chapter and a set of instructions for a project.  Yes, you write the instructions, you figure out the yardage requirements, you do all of that.

3.  You can take your time and get it done when the mood strikes you

No one has the luxury of writer’s block once they get a contract for a book.  Publishers are not in the business of making your dreams come true, they are in the business of selling a product–and that product needs to be ready in time or they can’t make their sales projections.  Most books are in the publisher’s upcoming catalogs before the manuscript is even due.

4.  You will make a lot of money from your book

When I was shopping around for my first book, I came close with a different publisher.  They had their committee meeting and decided to pass since sales and production were a dollar apart (the cost of producing the book and what they felt they could sell it for).  I said “is that it?  Take the dollar out of my royalty.”  There was silence for about 30 seconds and the acquisitions director said to me “how much do you think you make on a book?”  Let’s just say that if I had given up a dollar per book, it wouldn’t have been worth the time and energy it took to write it.

5.  You will have complete control over your book

Your publisher will have very specific ideas about what they want in the book and how they want it.  Yes, the idea is yours, the words are yours, and the work is yours; but by the time you get your contract, you will have a fairly tight table of contents, a word count, number of pages, number of photos, and what and how many “projects” will be included.

The publisher will also design the cover and the look of the interior of your book–and they won’t ask for your opinion.

6.  The word count/page count, etc is only a rough suggestion

When you get your book contract it will contain a particular number of words and pages.  Books are produced in groups of pages (signatures) and priced based on how many of those signatures will be included.  That means you can’t go a few pages over or a few pages under–they can’t just add or subtract a single page.  Your book has to fit the number of pages they have priced.  Their retail price and sales plan depends on that production price.

7.  Your editor keeps you on track

While you are working on your book, your editor is working on another book.  She (in my case they have all been shes) doesn’t check in with you, tell you to finish something by next week, or review your work as you go.  You have to finish according to the dates outlined in your contract.  Yes, if questions come up along the way you can ask her, but nothing too specific, since she has no idea what you are working on and is fully entrenched elsewhere.

8.  Writing a book is easy

Writing a book takes organization and self discipline.  You have to enjoy the process or you will spending a lot of time doing something you don’t enjoy.  I love the process.  I begin my day in the studio working on the quilts for the book.  After a few hours I work on writing for a while and then back to sewing.  I end the day by editing what I wrote earlier in the day.  When I am working on a book I put in anywhere from eight to ten hours a day, five or six days a week.

The samples for the book aren’t just produced, they are produced in “steps” that can be photographed at the same time.  So you aren’t just making the quilt once, sometimes you are making it up to ten times.  There simply isn’t time at the photo shoot to complete the next step as you go.

9. Once you finish the book the publisher does all the work

You need to spend time and energy promoting your book by teaching workshops, giving talks, and traveling to places like Quilt Market.  Your publisher isn’t going to book your world promotion tour (too bad) unless you are Stephen King.

10.  Writing a book is a good idea for anyone who wants to do it.

Well, yes and no.  You have to really want to do it, and you have to be motivated.  But you also have to really enjoy the process of writing and stay on track.  It will take over your life during the time you are working on the book–your family, your house, and your other “art” will have to take a back seat to your writing and sample quilts.  Writing a book is a very solitary activity, like making art.

There is nothing cooler than seeing your book in a shop, or online, or when people stand in line for you to sign it.  Overnight you go from being a nobody to being an expert.  But the process is a long road, and you have to enjoy the trip.

Something has been on my mind for a while now, and I am only just getting to the point of crystallizing it into coherent thought.  It comes from several different directions, all with the same conclusion.  What to do about it, I am not sure.

I will start with the goal I had set for this year–to get gallery representation.  Many people don’t understand why this is so important to me, but it seems like the next level of recognition.  In the beginning, it was enough that I was happy with what I was doing.  Then I needed to get into exhibitions to feel that others recognized something in my work.  After that, invitational shows.  Once I had achieved all those levels of recognition, i wanted (and needed) the feedback that comes from selling my work.  That meant I needed gallery representation.

Towards that end I joined the SAQA “visioning project” which was developed to help SAQA members meet their individual goals but, it now seems to me, is only a vehicle for working towards your goal on your own and journaling about it.  This doesn’t help me one bit.  Perhaps all these journals will help others who follow with the same goals, but it isn’t doing squat for me.

So I began where it seemed logical–looking at the websites of galleries to determine where my work might fit in.  It didn’t.  Indication #1 that I need to re-evaluate who I am as an artist.  Although I did send images and letters of introduction to at least 50 galleries, not one replied.  I even applied to a suburban gallery who was actively looking for fiber artists–and got a response that although my work is well known and very nice, they were going in a different direction.  Indication #2.

So this left me thinking that if my work didn’t fit into the “look” of any gallery, the problem is that my work is not cutting edge enough, or modern enough, it isn’t “art” enough.  After all, galleries are like any other retail establishments–they sell stuff that people want.  If something sells well they look for variations on that item in order to serve the needs of their particular customer base–I know how this works, I was a retail buyer and product development manager for years.  If my work didn’t fit anywhere, that was an indication that it wasn’t sale-able.

There are many who will be hurt or insulted by what I am about to say, and will not agree with me.  But the truth is that as art quilters we live in an insulated bubble that has no relationship to art in the larger art world.  We admire, laud, and even worship art quilters who are doing beautiful work for the art quilt world. And don’t get me wrong, it is beautiful work.  But it only appeals to other art quilters.  Only a few are producing work that holds its own in the real art world–and none of them are doing the kind of work I do–they are working in multi media, abstracts, and what seems to me to be paintings on fabric.  I don’t paint–what I do–representational art quilts–has no place in a galllery, it is not “art” as the greater art world sees it.

Tough nut to crack, I can’t change what I do any more than I can change who I am.  My voice is my voice, if I try to do work that I think will fit into the look of the galleries from whom I seek representation, then it will be hollow and no longer MY art.   What I need to do is to modify it so that it is “art” that is sale-able in the real art world.  This is probably why I haven’t produced much of anything in months.

This creative block and introspection was further supported by a discussion I had with a friend of my mother’s recently at my mother’s memorial.  This friend, a woman whose opinion I value, once had a gallery and looked at my portfolio (I carry it in my ipod).  She looked thoughtfully and thoroughly, and then said to me “this looks good, now make it art.”  Some of my friends have said to me on hearing this story, “how insulting” but I wasn’t insulted–because she had hit on exactly what I had been feeling, and grappling with, for months.  What I am doing is competent, it is interesting, but in the realm of the real art world, it isn’t art.

Don’t get me wrong, it pleases me and makes me proud that many in the art quilt community like my work.  But now I need to have the same recognition from the greater art world, from galleries, and ultimately, by people who purchase art.

In the weeks since I heard the words that really hit on exactly what I was feeling, “now make it art” rings in my head.  The real question, and the real challenge, is HOW?

A new show premiered last night, I watched it today when I had time.  It is called Work of Art: the next great artist. HA!  I guess I should have had low expectations, after all, this is a show that appeals to the average American who probably knows nothing about art and would actually believe the work produced on this show is art.  But I am getting ahead of myself.

An interesting idea, on the heels of shows like project runway and top chef, and others that pit talented people (or purportedly talented people) against each other for recognition.  Too bad, that in NYC the producers just couldn’t find ten truly talented undiscovered artists.  Too bad they went for the schlock-mongers instead.

Don’t get me wrong, some of these artists do seem to have talent and potential, but most were probably chosen because the viewing public would think they were controversial and oh-so artsy.  I have seen high school art that is as good as, or better than some of the art on this show so far.

Interesting, that in this seemingly diverse group of artists (or what should be diverse so that we can see the same challenge from different points of view) were mostly representational painters.  Don’t get me wrong, who am I to criticize representational art!!??  But why no sculptors, no abstract impressionists, no one with a different perspective?  With so many kinds of art, so many genres, so much potential, they took the low road.  I can hear the meeting–”Let’s assume that the average viewer is completely ignorant, has never set foot in a museum or gallery, and never will.  What should we give this viewer?”  And what did they give us–clown paintings and “pussy portraits”  How banal.  I guess they decided to give this viewer representational art because otherwise they would be sitting in their living rooms asking “what the hell is that?!”  Why not raise the bar and educate?  But like all TV instead they LOWER the bar to appease the beer guzzling coach potato who says “hey look, this must be art ‘cuz I don’t understand it.”

The most artistic aspect of this show was the photography of the artists as they addressed the camera.  Beautifully lit and expressively capturing the faces against interesting backgrounds.  The highpoint for me.

Maybe they will surprise us, maybe the artists will be given some feedback that will really enlighten viewers with some art education, and maybe a real artist will actually emerge.  The idea of the first challenge was a good one–produce a portrait of one of the other artists in 12 hours (why do all these shows think that we want to see what they can accomplish if they rush?  I would like to see what they can do if they have  a little time to plan and execute–I don’t mean give them a week, but give them ample time to execute something worth executing).  But rushing around all stressed and panicked seems to make better TV, as does the conflict of difficult personalities, which the opening episode promises for the future with a cast of basket cases.

One thing that struck me is the arrogance of youth.  Art quilters, and other artists I know of about my age (I am not giving anything away, but I remember the Beatles when they were new and they were young!) are filled with self-loathing and self-doubt.  They never think their work is good enough (despite the fact that it often is).  But the young “artists” on this show were overflowing with confidence, even arrogance, about their work and their artistic careers.  (I have underwear older than some of their “careers”.)  I guess actually working as an artist sucks all the arrogance and confidence out of you, and what is left is the raw uncertainty about what you do and whether it has value.  Perhaps it is this very nakedness that allows a real artist to express their inner feelings and create art that is either vulnerable or powerful–or both.

Many of these artists talked the talk, but when we saw the work it just didn’t match the promise of the description (reminds me of some artists I have met).  We shall see what future episodes of this wishy washy show have in store for us.

So ends my rant for today!  Tell me what you thought…

I decided to share with you the mess of stuff that lives in the studio and inspires me on a daily basis.  This may look like a jumble of nonsense to someone else, but these are the things that inspire me.  And what and why they inspire may not always be what they appear to be.

Antique textiles and clothing (the more ethnic, the better.)  This is just one example.  It is an antique Greek vest that my Aunt Myrna bought me for my birthday while the whole family was in Greece many years ago.  I used to actually be small enough to wear it (it looked fabulous over a long black gown) but those days are long gone.  I also have a hand embroidered wedding coat from Turkmenistan that is lined in a variety of mismatched cotton floral fabrics; a handmade crewel piece made by my friend’s mother in law (who she would rather forget so I got the crewel), what was probably meant to be a table runner from somewhere in Eastern Europe (it, like so many of my treasures, came from a tag sale from people who had no idea what it was) and a hand embroidered apron (also from a tag sale) from Portugal that looks like it was meant for the tourist trade around the 1920’s.

I love antique hand work–not because it inspires me to do like work, but because it reminds me of the enormous creative talent and drive to create that exists in all cultures, whether or not the women who created it consider it art, or consider themselves artists.

Below it there is a painting by my son aged about seven.  Children’s art (and I have lots in my house and in the studio) is so free, so unencumbered by notions of what looks good, what will get into a show or what will sell.  That reminds me that great art need not be over worked or over thought and should be spontaneous and expressive.

Here is jumble #1.  Click on it to see it larger and therefore in greater detail.  There is a wealth of stuff in here, much of it fashion photography.  I love fashion photography for two reasons–either I want to copy the clothing (but rarely have the time) or I like the way the model is standing or the way the light is on her.  But mostly I just like the clothing.

There are also photos of other things that I really like, landscapes and cityscapes, and pictures of artwork.  The artwork pictures are not because they are things I want to copy–they are things like the group at the top right of abstracts that remind me about composition, or the one next to it that reminds me to have more fun with color, instead of always working with my usual palatte.

Mixed in are bits and pieces of ribbon, of fancy trims, all things that I love to look at but don’t use in my work.  There is also the first leaf I ever thread painted (not my best, but my first) and a little challenge quilt I made with my Monday Art Quilt Group of a cupcake with the cream center showing.  Just ‘cuz it is fun, and I didn’t know what else to do with it!

Jumble #2 is the board over the sewing machine, more mishmash, but look closer.  More photos that I love–that one in the center with the view through three beautiful windows is a postcard I purchased in England when we lived there more than 30 years ago–I don’t throw anything out if it inspires me!  I just noticed that the fashion photo postcard at the top is also on my other wall-I guess I really liked it, I bought it twice.  Mostly I think I would like to be able to wear it, or even have somewhere to wear it to.  You can also see a photo of my favorite door in Montreal (used in my stairs piece) and some postcards of mid century modern artwork that also remind me to let loose, free myself and create more spontaneously.

Also mixed in are some organic shapes that I drew in pencil (years ago) that I use as inspiration when I do quilting; a “necklace” of wooden beads that my son made me when he was five; my pass from the Taiwan Quilt Exhibit (come on, that is too cool to throw out); and at the bottom is a little pin cushion from somewhere (don’t remember) that is hand embroidered and I received as a gift when I was a young child.  If it is hand embroidered, I don’t let it go–ever!

Just to the side of the sewing machine, some sketches that I wanted to save; Modigliani–who reminds me to be more creative and less structured and tied to photo-realism; a self portrait by my son to remind me to lighten up and loosen up, and a pencil sketch of my favorite childhood teddy bear.  Next to it (cut off in the photo) is the poster from my show last year in Boston “Clay Cloth Connection.”

So, what inspires you?

A topic came up on the SAQA (Studio Art Quilt Associates) discussion board this morning that I think is worthy of a blog post.  That question is what constitutes original art?

There are many who believe that using a pattern, a photo, clip art or a computerized embroidery are still creating original art if they make a few changes to the colors, or another interpretation.  This is not original, it is derivative.

Original, by definition, means that all aspects of the artwork originate with the artist.  Derivative means derived from something else–either wholly or in part.  Interpretation of another artwork (like a modern take on a classic work of art like the Mona Lisa, the Birth of Venus or the Girl with a Pearl Earring) is derivative and not original.  That the components of the art work were created by another person takes all “originality” out of the work, regardless of how creative or well executed it may be.

In my book, in the section on portraits, I chose to use this famous face of the Girl with the Pearl Earring as an exercise in learning to depict faces.  I decided that people would rather spend their time re-creating a well known and pretty face than the face of a stranger.  That I interpreted this face, cropped it and chose fabrics that may or may not have been like the original does not make this in any way “original;” it is simply a derivation or interpretation of another artist’s original work of art.

On the other hand, if this face from my original work “An Outstretched Hand” (which I teach in workshops so that students can learn technique) were to show up in an exhibition labeled as an original work of art, I would be pretty miffed (and would take legal action).  I allow students to copy it in order to learn, if someone wants to show it in their local guild show–that is fine–as long as it isn’t called original.  Only I can do that.

There are many people who still believe that anything that comes from the internet is free to use with no regard to copyright.  This is simply not true.  In the past several years, more and more sites of artists and photographers have added a notice that the works cannot be used without permission of the artist.  This notice alone does not make it wrong (or illegal) to use their work in your own.  But even if you COULD use whatever you wanted without regard to copyright, your resulting work would still not be original.  The two are mutually exclusive.  (There is no longer any copyright on the Mona Lisa, for example–which doesn’t mean that making her in shades of blue or with a mustache makes your work original.)

Often, art quilters in particular, will credit a photographer in their work.  “title of work, from an original photograph by name of photographer” which covers any legal issues of copyright, but still makes the work derivative rather than completely original.

The issue of originality is more prevalent in the traditional quilt world than it is in the art quilt world.  Traditional quilts are made of traditional patterns–most of which have been around for a very long time.  In my mind, that means no matter how masterfully the quilt is made, it cannot be called “original” unless the designs and patterns were truly created by the quilter.  I know a lot of traditional quilters will take offense to that comment, but a log cabin or a lone star is not original.  It may be magnificent, but that doesn’t make it original.   Where traditional “patterns” can be original is in the case of, say, a Baltimore Album or a Hawaiian quilt that may appear to be similar to the traditional, but where the designs themselves have been created by the quilter and not copied from somewhere else.

This very issue came up recently when a well known quilt exhibition gave an award to a gorgeous quilt that contained applique designs obviously taken from a book written by someone else.  In this case, “original” was not a requirement, although there was a lot of stirring amongst quilters about whether the award was justified.

The abundance of programmable embroidery designs for computerized sewing machines (mine doesn’t do anything so fancy!) makes it tempting for quilters and art quilters to add these embellishments to their work.  But the designs themselves began with an artist who not only created the design, but who figured out all the technical aspects–like where the jump threads go and how the design moves from one area to another.  I know, because at one time I took workshops with Viking to learn to design these embroideries thinking it might be a good career direction.  (Ultimately, I decided that if I don’t like to use them, that designing them as a career was a stupid move).  These designs are therefore very much the creative output of another artist, and using them in your art (not matter how well it fits or if you change the colors) renders your art work NOT original.

Originality is not a gray area, the definition is pretty clearly black and white.  If you designed it, created it, drew it, photographed it, or dreamed it up then it is original.  Otherwise, it could be anything from derivative to plagiarized.  Unfortunately, in the art world in general (not just the art quilt world) much of what is shown under the guise of original is not completely original.  These are pieces that may sell for high prices, and if copyright is not an issue, often no one seems to care.  (Heck, even when copyright IS an issue, many people don’t seem to care!).   But original means completely original, don’t fall into the trap of thinking something you didn’t create can still be part of an original work of art.  If all aspects of your work come from you, you don’t ever have to think about the issue of whether or not your work is original–it will be.

Some things just go together naturally:  Fred and Ginger, cheese and crackers, thunder and lightening.  Yesterday we went to the Storm King Art Center to enjoy two other things that go beautifully together–sculpture and landscape.

Storm King is a 500 acres site that is home to about 150 sculptures at any given time (the collection changes) and takes full advantage of the interplay of environment and art.

Many of the pieces are large scale, metal sculptures (hard to see but there is a man and child in the right side of this frame) and some are more intimately integrated into the landscape:

There are hills:

and meadows.

some of the work is environmental, like Maya Lin’s wavefield, a mesmerizing work of waves created in man-made (or should I say woman-made) hills and grass:

and the beautiful Storm King wall constructed of stone that meanders in and out of a pond, and around the trees along the hill overlooking the water.

Some of the pieces work with the landscape:

and others make the landscape part of the art.

Art in an outdoor environment is more intimate than art in a gallery or museum, as it invites involvement and interaction from the viewer:

The other nice thing about outdoor sculpture is the unexpected visions as the art interacts with the environment:

In the case of Storm King Art Center, even the grass is artfully mowed to create interesting vistas and changes of height and color:
Unlike art indoors, the art in sculpture gardens is constantly changed by the weather and season.  Many of the pieces at Storm King are kinetic (my favorite) and in yesterday’s steady breeze they put on a beautiful show.

I took lots more pictures, but as some are destined to become art of mine, I won’t share them with you just yet.

Go look at a sculpture garden near you.  A wonderful way to enjoy a beautiful day, get some exercise and see some art.  Win win win!

Today was the day I set out to really clean up and organize the studio so I could start work on the book.  But yesterday, after an enlightening lunch with a friend, and emails with another, I decided to get back into the studio again and try to do some work.  I had a great idea in my head (and it looked great in my head) to try and rely more on my brain and intuition than the photos I start with.  So unable to sleep, I was up early and in the studio.

First of all, I decided to revisit the UFOs that were plaguing me.  I don’t usually have UFOs, I either finish, rework until I like it, or throw away and start fresh each time.  But the last series I started of the close-up faces was frustrating me, as was the very large piece I was going to make that would be my work in progress for a month or more.  It turned out to be the snooze that kept me out of the studio for almost two months.

So clean up or shut up, or something.  When revisiting and recropping, I decided that I really did like two of the three chose-up faces (sometimes all you need is time away from each other!) and here they are now:

on a background and cropped in close, I like this piece now.

all this one needed was a crop at the top and bottom, and I like this, too.

The only two figures I liked from the abandoned “big project” were put together, and here they are:

still needs some work, but not the worst thing I have ever done;

These two didn’t make the cut on sightlines, but I thought they were so cute, they got set onto a background, and don’t pretend to be anything but kitch…

So on to that piece that looked so good in my head at 4 AM.  I wanted to amp up the color, and rely less on realism and more on just “feeling it” :

ARGH!! This is NOT how she looked in my head, maybe part of the problem was that it was 4 AM.  She looks like a raccoon hooker.

But I share it with you so you can see that everyone has failures, and everyone needs to keep at it (or toss it) before they decide it is done.

I thought she needed more color!  Too cartoonish for me.

in an attempt to make her less of a cartoon and more “serious” I only made matters worse!

So I decided to scrap all the pieces and do the face in thread…

Better, but disturbing (and not in a good way).  But on the road to something more like art and less like the Sunday funnies.

I think I was on the right track with the close-up faces.  Guess I should stick with what I do well, and forget trying to be “intuitive!”  My intuition just isn’t what I thought it would be…..

This has been a busy month for me, some bad stuff, some good.  But among the good is a new book contract.  I can’t share too many details, only that the book is scheduled to be released by Houston Market of 2011.  Seems strange to be working on a book so far in advance, but that is how it works.

Writing a book is an interesting experience, and like making a quilt, you have to enjoy the process.  Like a quilt, the result has to be something you are proud to put your name on, but if the process isn’t something you enjoy, then it is just another source of stress in your life.

I really do enjoy the process.  It is creative, and requires organization and self motivation.  It is a project that has to be planned so that all the pieces come together by the due date.  For this book I have a nice long lead time, not the case with the last two.  So time management isn’t going to be an issue this time.

Writing a book is a very solitary activity–like working on a quilt.  There is contact with an editor when needed, but for the most part, a book is a personal expression that must be accomplished alone.  For some people, working alone is hard.  I have to say I enjoy my alone time, when the house is quiet and I don’t have to answer to anyone else.

I like to write in the morning, then I work on the samples and steps, and end the day editing what I wrote that morning.  Obviously, like making a quilt, everyone has a method and a system that works for them.

Most people don’t realize how much work goes into the proposal for a book before it is even approved.  This book has been in development and has gone through several incarnations for almost a year.  By the time a book is approved (at least with my publisher–Krause/F&W) the table of contents is set; the number of quilts; the number of words and photos is determined.  Sample chapters have been written, sample projects produced and sales and marketing have already had their say.  So when I sit down to work on the book, I just fill in the TC one section at a time.

Working on a book pre-computer was clearly a more difficult experience.  Now, nothing is printed out, all the work is done on the computer, which makes it very easy to edit and change, move things around, and send off electronically.  This is faster and more efficient than working with a typewriter, making changes in pencil and retyping.  For the second book Photo-inspired Art Quilts the editor dropped each photo into the book as it was shot, allowing for decisions on the fly about horizontal or vertical format, and the progression of color from one page to another.  Too cool.

My part of the book is only the beginning of the publishing time frame, once I have sent it all to the publisher, they start the process of designing the look of the book, the cover, the editing, photography and printing.  It is a long time from proposal to production.  This is not for the impatient!

The only downside of working on a book is that it conflicts with studio time.  I find it hard to focus on both a book and developing new pieces at the same time.  But given the long lead time, I am going to try to spend at least one day a week on new work while I produce the pieces for the book.  That is my personal challenge this time around.

There seems to be a strong connection between quilting and gardening; most quilters are lovers of flowers who joyfully spend hours digging in the dirt planting and weeding.  I am not one of those quilters.  Don’t get me wrong, I love the tranquility of nature, am awed by the many varieties of plants and flowers, but I am not a get down in the dirt kind of girl!  For me there are two types of plants in the world–those that make me sneeze and those that don’t.

However, in an attempt to rescue the outside of our house from looking like an outpost in the Tunisian desert, we hired a landscape designer, a very talented man named Robert Welsh (Westover Landscaping) who transformed our yard into a spectacular oasis.  The work was done last summer, but the real results are showing off this year with everything blooming and exploding in size.

So for those of you who love the beauty and tranquility of nature, here is my garden: