How does a landscape painter who is preparing to paint a new opera? First, choose an image to portray: it may have been sudden inspiration to convince him of the subject, or there has long meditated, or even been to bring the case where the landscape, for its beauty or for a particular , hit him so that he dangled the idea of \u200b\u200ba new framework.
Anyway, now has its own theme. It sketches the design on paper or take a photo, but this second case involves a technological shift that distorts the whole of his work and makes an interpretation rather than an imitation. Now is the painter in front of the white canvas, Virgin, placed on a tripod. Grab a piece of charcoal and shows the design that has splashed on the paper. Here and there adds or subtracts something, depending on how the memory suggests, maybe sometimes closes his eyes to review the landscape in his mind.
Now is the time to make the palette and brushes: it begins to roll out the background colors, the blue sky, green grass in the foreground, the gray-purple of the mountains. It is probably the most tedious part of work, this preparation, but already on the canvas begins to appear in the soul of the landscape. The beauty is afterwards, when it passes to the finest brushes, and outlines figures that give depth to the picture: a bunch of edelweiss, a fence, two cows grazing, a group of larches. Now move to even smaller brushes and paints the most minute details: the embroidery on the leather band of cow bells, the cones of coniferous trees, the seeds of the edelweiss, the movement of a waterfall in the background there, veins wood of the fence, a snowfield on the far mountain, a hidden refuge, tufts of grass ...
When I write a story, I often act like that landscape painter: it can be sudden inspiration to hit, as news or read the newspaper or a memory out of oblivion by a conversation between friends, read a passage in some book. Or I racking their brains for something that we can tell, review the events of which I was the protagonist in the recent past or even date back to periods further away to friends and people I met, events I witnessed. Or fantastic, I venture into the territories of the absurd, I suppose that time is spent differently or not the past or even transportation facts now in the past or the future, always taking a look at Buzz, the author of my favorite stories .
is the time to make a sketch, not drawing, I write. And generally I write a poem in heroic verse, to be used as a track, more rarely a small stylus on the key points in the story that needs to happen. At this point the painter shows the sketch on the canvas. I turn on the computer, open a word processing program and start to put words - once I took a blank sheet of paper, a pen and began to leave traces of ink in the form of sentences. In this case I would probably have written: "How does a landscape painter who is preparing to paint a new opera?". Sounds easy, but it takes time to compose the opening words: it is one of the most important, especially in a short story, is the key with which they read or the business card that people writes extends to those who will read. And this is a difference between the narrator and the painter.
Then the work proceeds, however, parallel: if there is preparing the background, you write the whole story here. If you go beyond the figures, here they are introduced and re-read sentences and entire paragraphs. When the painter goes to finishing, painting the details, the narrator does the same filing and correcting, changing a word, choosing a different noun. When the last brush stroke and the last point are placed at work, painter and storyteller look as satisfied as they have produced.
Photo © Moritz
