Canadian Smocking...and Writing

Canadian Smocking



Does the mention of smocking bring to mind the complicated stitches and pleats that look so beautiful when finished? How about the other equipment: ‘plates’, pleating tool, and various other things needed in English Smocking?

Not for me. Much as I admired the skill this is one needle and thread activity I didn’t attempt. Then I stumbled on a video on YouTube on Canadian Smocking. WOW! This wasn’t new! According to sources, this was a popular art along the time I was in college so I would have been focused on studies…and um…the male population. Not another needle craft.

Texture...aka Character

The video I found was by a British TV presenter, Debbie Shore. With fabric, a ruler, marking pen, needle and thread, you can create a beautiful pillow or other project. I was fascinated. Think…distraction activity…as mentioned in another post. But how does Canadian Smocking relate to writing except to take you away from your work?

Design...aka Plot

With a few tools you can draw a grid [or use gingham fabric] and create a pillow. Same as in writing when you start with an idea or premise and create a story. Also your project is simple as in KISS…keep it simple, says the experts. Keep your goal in focus.

Wrong side...aka...inner journey

And here’s another fact that caught my attention. Many of the designs are as beautiful on the inside as on the outside. Are you thinking story goal and inner journey? Look at this perfectly plain piece of gingham. Add a few stitches and you have these flowers on the backside. With a few pearls sewn in the center, or using Satin fabric, the flower is beautiful. And on the front side…simple red and white checks become dramatic. Makes me think of Christmas and peppermint candy, and gives us another reminder that characters should always change.

Right side...aka...story goal

One of my favorite designs was on a video by a Brazilian TV presenter. The guest on multiple shows was the same talented artist.  I don’t speak the language but after watching the British TV host multiple times I was able to mute the sound and pick up the design by watching. This too relates to our writing. Our stories should have a Universal Theme…a message that reaches across language barriers.

Canadian Smocking can add texture and design to an ordinary piece of fabric. Let your story turn ordinary characters into people we want to spend time with and get to know.

Do you remember seeing pillows made by Canadian Smocking or North American Smocking as some sources label it?





Romance and Television

by Sierra Donovan

I'm not a weekly-TV-series type of viewer. My husband and I are much more likely to pop in a movie when we settle in on the couch at night. But with the growth of Netflix and the phenomenon of “binge watching” – largely by my two kids who live at home – I've gotten familiar with some recent series.

I've found that situation comedies have changed a lot since the days of “The Mary Tyler Moore Show,” when the situations and characters changed very slowly over the course of seasons, if they changed at all. Now there's a lot more story progress over the course of even a single season. It's a great opportunity for character and relationship development.

Surprise! Romance figures into this, because a lot of central plots have to do with romantic relationships. Will this couple end up together … or not?

SPOILER ALERT for Netflix viewers: shield your eyes if you haven't seen all of “The Office” or the first six seasons of “Parks and Recreation.”

These two series get it right. There's a lot of anticipation and expectation built on key relationships. Then the writers go on to affirm what they've made us believe in our bones: Jim and Pam belong together. Ben and Leslie belong together. The characters are written consistently and believably, even through moments of doubt. And ultimately, and the writers deliver on our expectations.

Now, let's talk for a minute about “How I Met Your Mother,” and why I think this one gets it wrong.

I haven't seen how this series ends. But I do know last year's season finale had viewers screaming. Even without having seen it, I'm pretty sure I can tell you why.

If ever a series was built on expectation, it's this one. It's in the very title. We're teased from Day One that we're building toward the revelation of Ted finding his true love.

Writers, you set your audience up for disappointment.

You promised a payoff, but we keep being told Mom is NOT any of the characters we're watching now. She's going to be someone we haven't invested in. What are the odds that the viewers are NOT going to be disappointed in the outcome?

An even worse sin, in my opinion: time and again, the series set us up to anticipate a relationship between one couple or another. Usually the buildup is very well done. The characters spend months out of a season yearning for each other, longing for each other, just missing each other. And then, when the two people do get together, it's usually – PFFFT! – over within a couple of episodes. After that, the much-anticipated couple goes back to interacting pretty much the same way they did before all that longing ever started. What is this, partial amnesia?

No, it's inconsistency. I think the series tried to break ground by flying in the face of viewers' expectations. I think what it did, instead, was tease the viewers, then contradict what it had told us about the characters. I can't address the finale, but from season to season, the series repeatedly went back on its promises.

Romance fiction is often criticized for being predictable. Yes, the couple gets together, as promised. Just as, in a murder mystery, the killer is discovered. As promised.

In real life, we're not promised happy resolutions. In fact, we're not promised resolutions at all. This is where fiction is different. We go in expecting that the story will reach a satisfying resolution. Depending on the genre, that ending may or may not be happy, but it needs to satisfy. It needs to be consistent with the author has told us. It needs to keep its promise.