CHLOE ALLEN| BA3a

Research & Development

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Project Summary | BA3a

I would best describe this term to be one of Process and Development. I’ve been incredibly uncertain of what kind of Illustrator I am, however, through my research and practical explorations I feel a lot more confident. Overall, it’s been a very challenging term, however, I feel I’ve learned a lot from it. I now have a clearer understanding that my interests lay within the traditional avenue of responding to written narratives, with a particular interest in the format of the picture book. This has been greatly supported and encouraged by my research report. I feel that I’ve gone an incredibly long winded way around getting to the core of my revelations, however, I think that each avenue was vital to the eventual discovery and learning.

I’ve explored many different visual approaches: sculpture, framed sequential narrative, abstract painting, etching, watercolour, digital design, animation and sublimation printing. At times, this felt like a lack of focus and seemed to present a multitude of different ideas followed by incomplete projects, which resulted in a lot of uncertainty and stress. However, upon reflection, I feel like it was a necessary part of developing my understanding of how I make work, and what I enjoy and feel strongest at. I’m proud of my developed technological skills, however, I feel that my strengths and enjoyment lays within water based media and printmaking approaches. The print making process was something that really resonated with me and I’m interested in pursuing further development, as well as exploring the other techniques that are possible within the process. I’m proud of my developed technological skills, however, I feel that my strengths and enjoyment lays within water based media and printmaking approaches. The print making process was something that really resonated with me and I’m interested in pursuing further development, as well as exploring the other techniques that are possible within the process.

My approach to creating imagery for the picture book was with watercolour and chalk, which came as a source of relief after working intensely with digital. It was an enjoyable process and I feel like it’s my strength, which I’d like to develop further. I’ve felt a lot of hesitancy and insecurity in using traditional media, due to a concern of regressing in terms of my practical development. In reflection of the term, I realise that I should strive to make work that I love and enjoy making. My focus of The Yellow Wallpaper has enabled me to practically examine narrative and has led to the development of a larger project focus for next term. In my report, I’ve investigated challenging and controversial picture books, and I think that it has provided a firm support to further my practice. My main area of improvement is to make more practical work that is focused and rigorous. I feel that this will be possible now that I have a clearer project focus to work on next term. 

I’ve done rigorous research for both my report and my practice, which I feel is one of my main strengths. This was conducted through reading, online searches and visits to different locations. Communication with people was a vital form of research, which also enabled me to start thinking about my work and interests in a context outside of university. Working at Waterstones provided me with a network of wonderful people with lots of knowledge on books, as well as an insight into the industry of bookselling, which relates to my interests in book publishing and illustration. I also got to speak with people at The Norfolk Picture Book Centre, and the founder of Little Parachutes, which is an organisation related to darker books aimed at providing help and support for children in the face of difficulties. 

I enjoyed the period of working individually, because I felt that it allowed more freedom to explore different avenues and think about where my interests were. At times, however, I found it overwhelming. It’s definitely taught me the importance of planning- setting goals and having a focus is something that I feel will definitely help, both in the next term and after graduation. I think that having a structure to my projects will benefit my productivity, quality of work and mental health. Now that I have a focus on what I’d like to do, I think that I’ll have better clarity in the approaches I take to respond to projects in the future. It’ll also help a more efficient research/work balance. 

The collaboration was a challenge, however I think that as a group, we demonstrated resilience and persistence in the face of difficulty. Translating our work into a new environment allowed the opportunity to consider our practice from a different perspective. It also presented the opportunity to develop work using Sublimation Printing, which I would like to experiment with further in the future as a way to introduce materiality into my work. The collaboration also provided us to gain a greater understanding of our developing practices as a collective and how we can transition into the world outside of university. We’ve spoken of visiting the Bologna Book Fair together and the potential it has to access a network of relevant people.

Overall, I think that there are definite areas of improvement to be made, however, I’m proud of the progress I’ve made as a practitioner. This term has enabled me to combine skills gathered from the past two years to create a solid ground work that I can build my final work upon. With regards to BA3b, I want to have a braver approach to my image making, in order to create a final body of work that I’m proud of. In this way, I think that I will be able to move into graduation with confidence and a clear sense of direction after university.

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BA3b Plan of Action

In reflection of this term, I thought it would be helpful to organise my thoughts on how to get the most of BA3b. I’ve found the past few months to be challenging and intense, however, I feel that it’s helped me gain a greater, overall, understanding of how I am developing as an Illustrator.

Statement I feel that my core interest is in exploring psychological undertones within fictional narratives. My practice is heavily led by intense research, which I feel serves to allow for more effective visual responses. In particular, I’m interested in the format of the Picture Book, which I intend to explore more thoroughly within my work.

Outcomes My focus project will be to continue developing a picture book adaptation of The Yellow Wallpaper, with a consideration of the Macmillan Book Prize as a contextual restraint. Through this, I want to push more practical making of imagery, design and publishing. I have a lot of knowledge and thought in relation to the narrative after my research in BA3a, so my aim is to push more visual explorations. 

 I really want to push myself with the amount of visual work I produce, now that I feel more confident in what sort of Illustrator I’d like to be. Therefore, I want to challenge myself to create lots of visual work in response to other narratives alongside my main project. These will include:
 - The Penguin Student Design Award 2017 : Cover design- To Kill A Mockingbird, by Harper Lee. [Deadline: 7th March]

- YCN Award : Roald Dahl Literary Estate- ‘to illustrate iconic characters and scenes from Roald Dahl’s children’s stories.’
 [Deadline: 23rd March]

- The UEA Creative Writing Collaboration

These will form a framework in which to create visual work.

In addition to this, I would also like to work on developing my ‘public identity’ as an Illustrator by creating a professional website and business cards, as well as continuing to build a network of connections.

Public With the Degree Show and graduation in mind, I need to carefully consider how I present my work to an external audience. 
I also have the intention of visiting the Bologna Book Fair [3rd-6th April 2017] which will be an immersion into a relevant and desired ‘public’.

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Reflection

I think that our Publish Exhibition was definitely one of Process.  

Things that went well

I really enjoyed the sublimation printing. I think it’s something I’d be interested in exploring further for sequential narratives. I’m interested in the potential of using fabric as ‘pages’ and the effect of a larger series of prints together.

As a group, we were incredibly persistent. We definitely had difficult moments in figuring out our display, however, we managed to find a solution by continuously questioning what we were doing and how we could improve it. 

The text-based activity was effective. It served to engage people with the display, which I think signified the importance of an interactive element. People can easily observe imagery, however, the element of interaction enables immersion and engagement, which is what we wanted. My practice is heavily image-based so this activity also brought to my attention how text can be incorporated. The playful nature of altering texts is something that is significant to remember in regards to constructing the narrative for What’s In The Walls. 

From this collaboration, we’ve also recognised similar interests and ideas of how we’re developing as Illustrators. We’ve spoken about potentially arranging a trip together to visit The Bologna Book Fair 2017. I think it’d definitely be beneficial for each of our developing practices. Some of us are also considering The Macmillan Book Prize 2017, so we thought that it could be effective to support one another in the development of our work aimed towards that. 

I feel like I’ve learned a lot about how I work within collaborations, not just from this experience, but from previous collaborations as well. It’s helped me to have an insight into what aspects I enjoy, areas I personally need to develop, and what I think is important when collaborating.  - The value of in-person conversations - The importance of designating roles and knowing what role, in particular, I would be most helpful in  - Having the courage to dispute ideas, or offer up my own, in a way that could move developments forward - Not settling for the first idea and pushing for how things could be the best they possibly can be  - Recognising my value as a contributor in a collaboration: know what I’m good at, what I can improve on, and what I have to offer - Spend as much time as possible thinking about and solidifying ideas and plans of action at the start of a project to try and reduce the potential for stress and panic nearer deadlines

Things that could be improved

In reflection of the fabric prints we did and our initial intentions of wanting to immerse people, it could have been effective to make more of the textural aspect. Our display was quiet amongst the buzz of the exhibition space, so perhaps we could have used that to our advantage?   Exploring the displays and work of other groups, I noticed a thread of living environment- the space in which we live and interact and perceive the world. Whether it be the architecture, outside space, or bringing natural elements to an indoor space.  It seemed to be a landscape of “home” environments in some ways through different themes. In this way, it could have been effective to emphasise our idea of the childhood bedroom space. An idea of incorporating comfy chairs, bedside lamps, fairylights, cushions- things which create a “safe” and “cozy” environment. To incorporate immersion, it could have been effective to sew our fabric prints together to create a blanket of narrative that the individual can become physically immersed in. There could be opportunities to push further textural elements, such as crafting characters or cushions. A bedside table or even a shelf could provide an effective display for printed books. Perhaps even an environment reflective of the Norfolk Children’s Book Centre could have been effective. They’re definite considerations for future explorations of our work in an exhibition space. 

Overall, I think our display, publications and exhibition served as understanding our work more in the more interactive and busy space of an exhibition.  While I don’t think it was necessarily the strongest display, I think that it still has a value. By things going wrong, or not necessarily working as intended, it provided the opportunity to learn and think about how things could be improved on in the future. 

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Twitter Tales

As a form of documentation and to make our display “live” and “public”, we thought that Twitter would be an appropriate platform to use. It enables both image and short amounts of text, which suited our work. Each time someone completed the activity, a new narrative was formed. In our posts, we selected what we thought was the most intriguing part and the image that we felt they’d drawn from.  It was fascinating to see the variations. Some of them were very dark, some were amusing and others were poetically beautiful.   #TalesAndTwine

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Poetry and Pictures

We felt that our display was very static, so we thought that it was important for an element of initial interaction to be encouraged.  Kate’s work in particular has had a focus on responding to limerick and nursery rhymes. Sing a Song of Sixpence came to her attention, and we considered how we could incorporate it into an activity.  Written narratives are important within our work, so the idea of playing with text in response to image felt appropriate.  It was a lot of fun constructing the text. Using elements from the imagery, we altered the rhyme by adding our own words.   The aim is for people to decide what words, from our selection, they felt fit in with the rhyme and create their own “nonsense narrative”.  It created a cohesion between our imagery that enabled an extra layer of narrative to emerge, which I think was really effective.  Being sat in front of the display to interact with the activity also enabled more engagement with the publication and printed imagery. 

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Display 2.0

As a group, we addressed the issues with our initial idea and considered how we could improve it to make the work at the focus, rather than the structure.  By turning the framework on its side, we were able to gain a display are for our publications, which worked really well. 

Feeling that the pegs were a distraction, we sewed our fabrics onto the string. Displayed in this way, I think that it allows a greater consideration of the imagery more so than when they were hung up.  We tried to communicate a concept of being drawn into a narrative through our placement of the fabrics. They are arranged to guide the eye into the display.  Due to my height, I found that the display is most effective when looking at it sat down, or further away. Being stood far back doesn’t invite someone to interact with the display, so we considered how the option to sit in front of the display could invite a sense of quiet contemplation. It could offer an opportunity to take in the imagery and construct an understanding of the narratives, whilst investigating the publication. Publication I think the publications were effective in inviting intrigue. There’s a sense of appeal, which I think is aided by Kim’s hand stitched wolf. This led to consideration of how a potential avenue of interaction could involve some kind of “make your own” character kit. A concern was that perhaps people would feel like they couldn’t unwrap and explore the publications, however, we found that after an initial hesitation, people were excited and interested to unravel them.  In the printing process, we discovered problems with alignment for the postcards. initially, we had the intention of printing the logo and a quote from our narratives on the back, but this wasn’t applicable when printing multiples onto one sheet. If we were to send out postcards of mailers, it’d be important to find an alternative solution. A possibility is creating a stamp for a logo or name, which would create more consistency. For our collective name, we felt that ‘Tales & Twine’ related to both our connecting theme and our use of materiality in the display and publication. 

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Display 1.1 | Walkthrough

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Display 1.0

We pegged up our fabric prints to create our Pay White inspired walkway. We considered the cohesion of colour and how the images could flow on from one another effectively. Our visual work is very different, so we looked carefully to find elements that would create a connection. We distributed the lighter and darker pieces so that there wasn’t a block of suddenly darker images to create more balance.  It was brilliant to see all of the fabrics prints together. We really loved the concept of the walkway and how by travelling through the imagery, one is being immersed and invited to make their own visual connections.  There seems to be potential for this to have been a really effective display.

However, it just didn’t seem to work. There seemed to be too much structure and it drowned the imagery. They seemed small, insignificant. We had an idea in mind of what it could look like, but it didn’t translate into the display. 

I think this comes from a potential lack of consideration of how we would actually construct the display.  I think we had too much of a focus on the prints and publication, which resulted in us missing the aspect of how it could be constructed in the space. For example, where would we attach the strings to suspend our prints? We thought that it would be possible using the framework available in the studio, however by putting it up, we realised that it wasn’t as effective as we’d hoped.

Ways it could be improved

Larger scale printed fabrics

Printing more of them. We stuck to 3 A4 images each due to a consideration of the printing costs.

Better communication within the group. Unfortunately, there was difficulty getting everyone together as a group due to illness or work. While everyone could be kept in the loop online, our most effective conversations were made in person. It’s a lot easier for ideas to be communicated and developed more effectively in face to face discussions. I found that our intended roles were not applicable due to absences or unavailability, so there was an added pressure to complete the printing tasks. This resulted in less thought into the practicality of constructing the display. 

Blacking out the sides (possibly with the wallpaper pattern design, to be reminiscent of a hallway) to create a more immersive walkway.

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Sublimation Printing | Display

A strong sense of character was evident with all of our imagery. I chose these three images because I felt like they conveyed an insight into the narrative of my project. Initially, I was going to focus on just character, however, I decided to incorporate an element of text to see how it would transfer onto fabric. It was surprising how much detail was transferred in the print. Lauren introduced us to the process and it’s something that I would definitely be interested in working with in future. The materiality is cohesive of the narrative in What’s In the Wall. I also thought that the leftover prints after the images have been transferred onto fabric in the heat press have a really beautiful quality.  We printed on two different types of fabric. One was incredibly soft to the touch, which absorbed the ink incredibly well to create a rich print. The other was a more textural linen, which I prefer the aesthetic of. I think they’re interesting together because they each invite touch and the textural difference is appealing. 

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Sublimation Printing | Publication

As part of our publication, we thought that incorporating a more material, tactile element would be effective. Printing on fabric allowed us to create a series of print runs to transform into patches.  The materiality provides a contrast to the postcards, which we thought would invite curiosity and the desire to touch and explore the publications.  They’re reminiscent of the patches children can achieve, or earn, and with that comes a sense of delight. Perhaps, by including collectible, or tactile elements to traditional books, it could serve as a way to engage children with the stories.  They also serve as a material connection with the images we intend to print on fabric- creating a union of display and publication. 

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Collaboration

As a reader group, we discussed how our work could come together to form the Publish event. The commonality between us is our focus on written narrative- rhyme, fairytales, fiction and poems. 

Initial Thoughts and Planning

Printing & Publication 

Discussing how we could present our work in an exhibition environment, we thought about referencing the idea of ‘bedtime’. Picture books, lullabies, nursery rhymes are all aspects of storytelling that can occur between parent and child at bedtime. It’s an intimate moment that can encourage peacefulness, intrigue, and comfort. We could create a space that feels reminiscent of childhood. We felt that printing our imagery onto different textured fabrics could have the aesthetic reference to this idea. Through a sense of touch, it encourages an interaction with the imagery and is suggestive of the way in which children understand and learn in sensory ways.

For the publication, we thought that postcards would be an effective way to bundle our imagery. We felt that the postcard format would also be a good size to send out mailers to various publishing houses as a way to get our work out to people/places we would be interested in being in contact with.

Display

We had lots of different ideas about how we could display our work. We considered creating a bedroom space, incorporating a bed frame, shelving, nightstand, and lighting. We played with the idea of our display being a place where people can relax and be immersed amongst the stories and imagery.

This developed into creating a den. Through the use of fabric, we could create an intimate space referencing the childhood delight of creating a den- somewhere to tell tales in the dark. By inviting people to go inside the fabric, it would create this sense of immersion. There was the potential to project my wallpaper pattern onto the fabric, as well as stitch pockets and flaps that would reveal our imagery and some text.

We reflected upon this and came to the conclusion that this would perhaps not be the most practical way of revealing our ideas. Last year, we visited an exhibition at the Sainsbury Centre and one of the pieces was an immersive display by Pay White. It featured hundreds of scarves hung up in an arrangement of beautiful colours and patterns. We felt that this would be a good way to bring our work off the floor, but still maintain the sense of immersion. By hanging our printed fabrics over head, people would walk through the narratives.

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What’s In The Wall | Larger Scale Print 

To form a more conclusive element this term of my developing picture book, I wanted to test out the print on different paper. I chose papers that had the textural feel of wallpaper (felt eco card/paper), which I think added a sense of weight and significance to the overall aesthetic of the book. Something I’d like to improve on is my accuracy, to ensure that the pages are cut to the exact same size and are bound more precisely.  I think the yellow pattern serves well as endpapers, and I like the overlay of it throughout the book.  At a larger scale, I think the book is getting closer to feeling more authentic.  Something I’m uncertain of is the binding. I hand stitched it with thread, which I think looks appealing externally, however it could be too distracting in the center of the book on a double page spread.  Overall, I’m pleased with this publication, but I still consider it an initial point from which I can continue to develop ideas. 

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Email Response

I contacted the founder of Little Parachutes, Claire Ward-Dutton.  “Claire has twenty years' experience as a web designer and developer, and has produced work for many diverse organisations including The National Maritime Museum, UpMyStreet.com, Hampshire Dance, The Southbank Centre, Illustrated London News and NHS Careers. She lives in West Sussex with her husband Neil, her son Oscar and daughter Alice. Claire began Little Parachutes when she realised how difficult it can be to find suitable picture books to help young children in challenging situations.”

http://www.littleparachutes.com

I think the concept of 'darker' picture books is a fascinating one, and I personally would be very intrigued to see more of these. I think children are very drawn to stories which are dark and a little bit gruesome and frightening, and while these concepts often come up in text they more rarely appear in illustrations. I'm no expert in child psychology, but my gut feeling would be that some children facing fears may feel that an 'optimistic, bright, colourful' book may jar a little with what they are actually feeling, and they may find comfort in a more realistic portrayal of their fears. I suspect darker subject matter would appeal to some children more than others, of course, and I do think it is important to provide reassurance and balance in the story.

I think in the more difficult subjects such as bereavement, the most important aspect that needs to be addressed is honesty. For me, the most powerful picture books are quite surprising in their honesty, they don't mask or prettify the emotions they describe, but they always conclude with a positive message of hope, of how things will get better. I love 'The Scar' by Charlotte Mondlic, 'Cry Heart but Never Break' by Glenn Ringtved, and 'The Sad Book' by Michael Rosen.

I wish more illustrators used darker and unconventional palettes in their work, it seems to be a knee-jerk response to use bright colours because the perceived wisdom is that children's books are 'supposed' to be colourful. I know my own children enjoy unusual and more sombre colours in their bedtime stories.

As far as how the books are reviewed is concerned, they are usually 'tried out' on a few children, and we're always careful to get their honest opinions and reactions (this can be surprising too - I have complete dismissed books that the child has enjoyed, and vice-versa). We try to include a full synopsis from start to end (lots of book reviewers omit this, again the perceived wisdom seems to be that you will 'spoil the ending' if you tell people what happens, but we think it's important for parents to know the full synopsis so they can judge if the book matches their own/their child's unique situation). We get lots of requests for books which cover fairly obscure subject matter, as parents and carers in often desperate circumstances fail to find something appropriate. We are considering starting to publish our own books in 2017 to fill in some of the subject gaps we have found, so if you would be interested in submitting work or ideas for this project, please do let me know!

I'm in the process of re-designing the website (bringing it up to date really, it's showing its age a bit and is not very mobile friendly) but once this is launched (Feb), I'm planning on expanding the reviews and providing a lot more content for parents and carers.

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Norfolk Children’s Book Centre

To get some more inspiration and research relating to picture books, I visited the Norfolk Children’s Book Centre. It’s a tranquil and beautiful place, where people are welcome to browse through the books and purchase them if you wish.  I spoke to one of the staff members, Chris, who was incredibly helpful and collected a variety of picture books he thought might help with my research. It was interesting to see the different approaches artists have made in communicating difficult themes, such as bereavement and xenophobia for example. 

He also spoke to me about the significance picture books have to teach. Frequently, staff visit primary schools and discuss with teachers different picture books that could be significant to children’s learning. Sometimes, readings with groups of children take place in the book center. 

http://www.ncbc.co.uk/new/index.html

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What’s in the Wall | Draft Print

To re-familiarise myself with InDesign, I created a draft version of the picture book to print. I wanted to get a better understanding of how the images could work in the format of the book and found that stretching the dramatic moments into double page spreads had great impact.

Initially, I was going to apply my pattern design (’Poppy’ from the copper plate etching) onto the walls, however, I decided to lay it on top of the imagery and text. 

I think this works really well to suggest an idea of the wallpaper being all-consuming and contaminating everything it touches, as in TYW. The faded quality it adds to the images, I think, create a hazy- more dreamlike effect. The pattern is subtle, but ever present in the images.  

For the draft print, I reduced the scale to reduce cost. 

I thought it could have been effective to eventually print on wallpaper, however, upon inquiry, it is not possible to print on wallpaper in the Design Studio.

Considerations for future printing

Remember to use layers. When looking at submission details for some competitions, there’s a request for text to be on separate layers. It’ll be a good habit to get into, as well as make the editing process simpler. 

The printers struggled with large image sizes- reduce them to 300ppi in photoshop

What papers would be most effective?

What is the most appropriate binding method?

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Roughs and Thumbnails 

Character With a thought to how I’d been drawing the adult female protagonist of TYW, I adapted her into a child. While anthropomorphism can be an effective method of allowing all children to identify with a character (e.g. the character of a fox isn’t suggestive of skin colour, hair colour, ethnicity etc, so it becomes universally relatable to some extent), however, I didn’t feel it was appropriate for this narrative. I think that the overall narrative is already relatable. In TYW, the protagonist being female is a significant aspect, which I wanted to continue through for the adaptation. 

Something I found challenging was maintaining a consistency in appearance. By using constants (materials, colours, clothing, hair style/colour etc) it helped maintain a recognisability. The more I drew her, the more I got familiar with her face. The little things like how long her nose is, the overall face shape, began to get clearer. I think that by making her in sculptural form, it would support this even further, because there’d be a physical object to observe at various angles. 

Materials and Colour I wanted to return to a more painterly route, which I feel is my stronger skill. It’s something I’ve missed after focusing on digital. I used pencil, watercolour and chalk. The paper is a thicker cartridge that absorbed the material really well and allowed for lots of layering to create deeper colours. 

“roughly textured paper seems to invite our touch and in that way supports an atmosphere of involvement and intimacy, even sometimes of claustrophobia”



“rougher stock can be more easily worked into various levels of light and darkness…” as well as “exaggerated perspective” -Words About Pictures, Nodelman

To create a sense of intimacy, I wanted the colours to feel mysterious and warm. Using dark blues, purples and browns and black, I wanted it to reflect nighttime. The quiet coziness of sleep. 

Pacing and Layout I did a lot of really rough thumbnails to try and gain a better insight into the visual narrative and its pace. I considered how close ups could pull the viewer into the image, while also create a sense of concealment. When the uncertainty and fear are dissipated after the discovery of the bird, I wanted the viewpoint to be more open. Longer shots would allow for a sense of freedom, for both the bird and from the fears.  I considered how the turning of the page could be significant- for example, the pulling away of the wallpaper matching the turning of the page from right to left, or unfolding a page to reveal a monster.  In the roughs, I tried to be aware of how the text could be integrated most effectively into the imagery. 

Monsters I knew I wanted to visualise some of the imagined monsters. Uncertainty is what generates a lot of fear. The imagination runs wild and conjures up them most terrifying things. Within my research, I found that one of the most common fears in children is of animals and the dark. Therefore, I wanted there to be a perpetual area of darkness in the images to create a sense of atmosphere and be suggestive of ‘the unknown’. I felt that the monsters would be most effective if they had an aspect of the familiar and a connection with animal forms. (Spiders, wolves, rats etc). Ideas that followed a more mythical route (goblins and bogeymen for example) seemed to be too unsettling. 

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Creating the Text

Usually, picture books fit a 32 page format with no more than 300 words. I thought the best way to approach the imagery would be to have a rough idea of the written text to work with for the adapted story.

With the intention of it being a work in progress, I felt more liberated with getting started. I set myself rules in order to follow a pattern and rhythm, which I think helped the flow of the narrative. To check this, I would read it aloud and see if there were any jarring moments.

I wanted to try and convey a sense of mystery and discovery that would guide the imagery. I think the overall flow of the text works well, however, I would definitely like to pursue different variations. I tried to reference TYW through words (”creepy”, “yellow”) and through the emphasis on the bedroom as the location. Through the questions, I wanted to reflect the uncertainty within the protagonist of TYW. 

I’m uncertain of whether the loose rhyme scheme is effective, so I’d like to create an alternative style and format of text.

Is there a way I can reference TYW more effectively? The “Cosy Classics” books simply use a significant word in relation to scenes within the narrative, which I thought was interesting.  Reflecting on Graham Rawle’s work, I’m curious to try chopping up the text of TYW so that I can move the words around and play with the narrative further.