Recently, I watched an excellent programme, from the BBC, on the Renaissance period, entitled “Renaissance: The Blood and the Beauty”, featuring the artists Da Vinci, Michelangelo, and Raphael. And what struck me was how many initial sketches artist’s make before putting brush to canvas. And then what struck me was how similar this was to my method of creating a large piece of work.
Da Vinci was renowned for his study of anatomy (including dissection) and repeated visual studies of parts of the body. Raphael’s sketches indicate more detail (and, arguably, greater artistic talent) than his paintings. [ https://news.artnet.com/art-world/raphael-drawings-ashmolean-991430 ] Michelangelo produced numerous preparatory sketches for his Last Judgement, covering the wall behind the altar in the Sistene chapel. [ https://www.theartnewspaper.com/2024/02/27/michelangelo-s-last-decades-british-museum ]
Interesting discussion here: [ https://www.florenceinferno.com/the-last-judgement-michelangelo ]
When Michelangelo received the commission from Pope Julius, he didn’t immediately put up his scaffolding and mixed his paints and plaster (the work on the Sistene was in the form of frescos). He thought about what he wanted to depict. The main work is divided into 3 sections (3 acts, maybe?) – the Creation, the Creation and Downfall of Adam and Eve, and three stories of Noah. All around the main work are smaller pieces, identified in the following diagram:
[ https://smarthistory.org/michelangelo-ceiling-of-the-sistine-chapel-3 ]
Coming back to the point – from way back in the 15th and 16th centuries, and almost certainly before that, creatives have been preparing small ‘sketches’ for their work before applying paint to a canvas. Composers will ‘noodle’ on instruments before sitting down to compose. Very few people can approach a large blank canvas (real or metaphorical) and begin creating immediately without any planning.
One of the biggest causes of writers’ block is fear of the blank page.
My process involves levels of design, beginning with simple, overall statements, and then breaking the story of the story into smaller and small pieces. I’ll talk about this more next time.
One thing I want to say about my novel writing process up front:
I AM A PLOTTER
Us writers love to see how other writers do things – the writing. What is the secret to their success? What hours do they work? What’s their writing room look like?
And in this world of the right way and the wrong way to do things, writers are (apparently) either plotters (otherwise known as planners) or pantsers (otherwise known as a discovery writer). A pantser, by the way, writes the book by the seat of their pants – they sit down in front of a blank page, and begin writing. I know, weird, huh?
I have been accused of ‘over planning’ – creating a shorthand version of the story, scene by scene. To me, that makes sense. On the other side of things, writers talk loftily of “just seeing where the characters and the creativity takes me.” I don’t mean to criticise, but if that works for them, then great. But I don’t like to spend month after month rewriting and rewriting, trying to knock the thing into some shape. I know, I’ve been there.
So, on occasion, my friends and colleagues like to have a laugh at my expense, to which I shrug and smile. For me, my process is perfect.
And the fact that, over 500 years ago, creatives were using a similar process – to break down a major project into small, manageable pieces, – might indicate that I’m in good company.
More next time.