Category: The Stick Chair Book

After writing a few books, I figured how best to keep track of the hundreds of small details necessary to write a single chapter of a woodworking book.

This lesson came from failure. As all good lessons do.

When writing my first workbench book, I built all the projects, did all the research, then wrote the whole book in one go. The problem with that approach was that I had forgotten many details about the construction process because it the construction process had occurred two years earlier. So I had to basically rebuild the projects in SketchUp with the help of my step photos to prod my 2005 brain into answering questions posed by my 2007 brain.

For a later book, I wrote the chapters in real time as I built the projects. Every evening I wrote the text that described that day’s activities. This created scintillating, technical-manual-like reading – tab A into slot B. It was boring because I had no perspective on the project. My point of view was that of a diarist – not someone who was trying to explain what’s important to the reader. I didn’t yet fully know what was important. When you are in the moment, everything is important. And so my chapters were about three times too long.

With both approaches I had to rewrite vast swaths of text. I don’t mind doing that. But I’d get a book done faster if I could skip a rewrite.

I now use a third approach, and it works. I have a clipboard filled with all the construction drawings for each project in the book. Plus about 10 pages of blank paper. As I build, I write notes to myself.

“Legs ended up 2° off from the plan but look nice.” 

“Saddle begins as 5/8″ deep after scorping and ended up at 3/4″ after the travisher.” 

“Don’t forget to mention the trick about the medullary rays and the sticks.”

So when I write the chapter for that project, I have the plan I was supposed to follow in hand, plus my thought process for each day. Writing chapters with both kinds of information is a breeze. 

Well, “breeze” is an optimistic word. More like “less of a fart.”

— Christopher Schwarz

Read other posts from the “Making Book” series here.

For me, it is easier to launch a book-writing project than begin a big woodworking job. That’s because with a book, I can begin by writing a chapter at any point in the narrative. 

That doesn’t work in woodworking. You shouldn’t build a dresser by first sanding and finishing all the rough lumber.

I’ve tried to start a book by writing chapter one several times. The swarf in the mutton tallow here is that by the time you write your final chapter, your book has wandered in a different (probably better) direction than your TOC. So you have to throw out the first few chapters and rewrite them.

Here’s how I do it now. I write a chapter somewhere in the middle of the book – one that I have a handle on. If it’s a woodworking book, maybe it’s the chapter on how the hardware is made, or the one that compares several historical workbench forms. It’s something that I know forward and backward and can knock out.

We ask our new authors to do this, too. This is for two reasons: One, it gives the authors confidence that they can write a book. That first chapter is a significant step.

Then we edit this sample chapter and give the author a list of ways to improve the writing. Some authors ignore the advice (which makes more work for me) and some take it to heart. They tape notes to their computers to remind them of their weaknesses.

Here are the most common problems. (If you want to improve your writing, buy a used copy of “On Writing Well” by William Zinsser. There are millions of extant copies. I sometimes buy a bunch at Half-price Books for $2 each and send them to authors who request help.)

1. Too wordy. Many people write like they talk. And they talk too much. After you write a paragraph, try to remove as many words as you can and not change the sentence’s meaning. Sometimes you can remove 25 percent.
2. Use active voice instead of passive. Most sentences should be: subject, verb, predicate. Example: John handplaned the cherry. A passive construction is: The cherry was handplaned by John. Passive voice is weak and wordy. (But sometimes you should throw in a passive sentence to break things up.)
3. Avoid -ly adverbs and -ing words. Most of them are stupid anyway. Banish the word “very” from your vocabulary.
4. Avoid semicolons. Most people have no idea how to use them.
5. Use the dash as little as you would use an exclamation mark. What comes after a dash should be something that you are shouting.
6. Three short sentences are better than one long-ass briar patch of mouth oatmeal.
7. Write a chapter, then leave it alone for eight weeks. Then edit it. You will be amazed at how you can improve your writing this way.

I could go on with this list for about nine weeks, like when I taught news writing classes at Ohio State and the University of Kentucky.

Bottom line: Write as if your audience is a bunch of 8th graders. If you can explain complex ideas to 8th graders, you have achieved something few writers do.

I haven’t decided where to begin with “The Stick Chair Book.” Perhaps the chapter on how to make stretchers. It’s shorter than other chapters about the seat, the legs and the arms. That’s because I don’t have as many tricks to make stretchers as I do for the other components.

Or perhaps I need to figure out some new stretcher tricks. 

Let the self-doubt commence.

— Christopher Schwarz

Read other posts from the “Making Book” series here.

If you’re really into photography, this might be the last blog entry you ever voluntarily read with my name on it. 

I’ve always been into taking pictures. When I was in junior high I took classes at Westark, our local community college, about darkroom processes. I built several pinhole cameras. And I was a lab technician with T.P. Davis Studios. All that happened before I entered high school.

Since the beginning I’ve always eschewed fancy equipment. At first that was because I couldn’t afford anything but basic, used gear. My first camera was my dad’s Vietnam-era Yashika. The first SLR I bought was a Pentax K1000, a completely manual and bulletproof camera. 

I haven’t progressed much past that. I still shoot in full manual. I dislike using auto-anything – auto-focus, auto-exposure. Hell, I didn’t even want auto film advance. It’s not because I don’t like technology; this stuff just gets in my way and can break in the field. It’s the same way I feel about dovetail jigs for routers. I have a saw, so I don’t need that headache.

My camera skills have always helped me get jobs as a writer. So I’ve pretty much shot hundreds (sometimes thousands) of frames a month since I was 13. But my photography skills are admittedly down-and-dirty. I’m not trying to make art. I’m trying to convey information as I see it.

With that (lengthy, sorry) preamble, here’s the point: You don’t need fancy equipment, lights or training to make book-quality photos. In fact, the expensive gear will absolutely get in the way of learning to shoot good photos.

Until recently, I shot every frame with the cheapest Canon Rebel I could get. My lights were a cheap compact fluorescent system (less than $100). When we work with authors, I still recommend a entry-level Canon Rebel and a cheap LED lighting system (still less than $100). Plus a used high-quality tripod. I have a Bogen that I bought used 20 years ago. I don’t know how old it is, but it is rock-solid. Honestly, you can get everything you need to be a book author for less than $700. Less if you buy a used camera.

Once you get the gear, stop reading about gear. Just work with what you have and don’t think about new gear. Don’t listen to podcasts about gear. If you think tool junkies are a problem in woodworking, just spend five minutes in any photography forum.

Guidelines for Good Photos

When I train people to take workshop photos, here are the principles I emphasize.

1. Lighting. Color temperature is important. Don’t mix a bunch of different lighting sources – lamps, daylight, overhead lights and your shop lights. That will confuse your camera. I recommend two different kinds of lights at most. I use the daylight from the windows and my LED lights. All other lights are turned off.
2. Lighting, part two. Keep it simple. I use two artificial lighting sources for workshop photos: a keylight and a backlight. Backlighting your subject (even if the subject is an electric drill) improves almost every photo (try it and you can convince yourself). The keylight is used to illuminate and isolate the subject. Move the keylight to produce highlights (like bouncing a billiard ball from the light, to the subject and into the lens). The above paragraph could be expanded to be a book. Move your lights and observe the results.
3. Lighting, part three. Sometimes removing a light from the setup is the answer. The more light sources you are juggling, the more difficult it is to control the result.
4. Shutter speed and f-stop. Learn the relationship between shutter speed and your aperture (the f-stop). The aperture controls how much of the frame is in focus (called the “depth of field”). Because you are shooting with a tripod, choose an aperture that shows exactly what you want with the background blurry. You can use any shutter speed – even slow ones – because the tripod holds the camera steady. I regularly use shutter speeds that are 1/2 second and slower. You just have to hold still. Use the timer on the camera (or a remote shutter release) to prevent camera shake.
5. Set your camera to shoot RAW files. These are easier to manipulate in Photoshop and don’t degrade like jpegs do. 
6. Composition. Avoid taking photos that are like construction drawings: straight-on elevation views, for example. The eye likes diagonal lines. If you can compose objects in the frame, you can use them to guide the viewer to what is important. A chisel can guide the eye to a joint, for example. This takes some patience and relates to the next principle.
7. Composition, part two. Do your cropping in the frame. Don’t assume you can “zoom in” on an image in Photoshop and get good results. That said, I crop tight and then back up just a little to give myself a little background to play with. 
8. Never stop with one image. After you take a photo, force yourself to move the camera, move the objects in the frame (or both) and try another setup. I almost never use my first frame. It’s usually my second or third (at least). When shooting a finished piece, I might do 10 setups.

When I shoot photos for a book, I record every process at the bench, even if I don’t think it will make it in the book. When I move images from my camera to my computer, I also delete anything that is unpublishable (to save disk space) and give my photos meaningful file names that reflect what is going on in the image.

These actions have saved my butter many times in the last 24 years. Recording all the woodworking processes helps me remember construction details while I’m writing the text for an article or book. And having meaningful file names makes it easy to find the photos years later when I might need them for another book, magazine article or blog entry. 

— Christopher Schwarz

Note: This is the first of several posts on photography, though they aren’t all going to run one after the other. The next post on photography (in September) will show some lighting setups and what happens in the frame.

Read other posts from the “Making Book” series here.

On July 13, we sent the final corrections for “The Anarchist’s Workbench” to the printing plant. When I woke up on July 14, I couldn’t get out of bed.

Like a lot of writers and artists I know, I deal with clinical depression. I am open about it, but it doesn’t define my work or factor into my personality much (plus depressedwoodworker.com seemed too, well, depressing). In fact, I doubt I’ll ever mention my diagnosis on the blog again. I don’t want this disease to become my calling card. (Norm has his tool belt, Marc Spagnuolo has tattoos and Schwarz is like Eeyore, lol.)

But it’s part of the story of this book.

Two years ago I weaned myself off antidepressants (I hate taking pills), but after lying in bed for two hours that Tuesday morning I knew I should call my doctor. He put me back on medication, but the stuff usually needs to float about my brain for about four weeks before I feel relief.

(I suspect there are well-meaning people out there who want to give me advice about depression. Thanks, but really I’m fine. My health is my problem alone. I’ve been through the wringer and around the horn during the last 14 years. My doctor and I know what works for me. But I do sincerely appreciate your good intentions.)

The next step to get my head working right is to push myself into building things. Once I get moving, my body can handle the rest. Plus, working on a project helps speed up the time. When I’m depressed, every day feels 40 hours long. If I’m deep in a project, time passes normally.

Luckily I have a backlog of commission work. I knocked out a couple small pieces, and then looked at the next customer on the list: Two Scottish Darvel chairs.

Hmm, I thought, I could start taking photos of the chairs’ construction process for “The Stick Chair Book.” This serendipity seemed like a gift. I could build a couple chairs (which I love doing) plus feel like I was moving forward on a book project.

The next day I got in my truck and headed for the lumberyard. It was too early for the drugs to start working, but I was already starting to feel more like myself.

— Christopher Schwarz

Note: The last few entries in this series have been pretty touchy-feely. Next up I shift gears into a discussion of photography and lighting and how we produce photos for Lost Art Press books.

Read other posts from the “Making Book” series here.

Before I talk to an author about writing a book for Lost Art Press, I ask them to perform a short exercise beforehand. The exercise helps me understand the real thrust of their book idea. 

This is important because we have received book proposals from authors that read “I’d like to write something about doors.”

Here is the exercise we send to potential authors:

1. Come up with a book title and (if necessary) a secondary title. Book titles should be short – usually no more than five words. And they must relate to the entire book. They should use simple and strong words – no -ing or -ly forms. We will help you with the final title, but it will help you think about your book if you can develop a working title. It helps set the tone for your work. A secondary title can help explain the main title. For example, the secondary title for “Cut & Dried” is “A Woodworker’s Guide to Timber Technology.” You might need a secondary title. You might not. 
2. Write a “high concept.” The “high concept” is a 35-word (or so) pitch that explains the content of the book to someone who is not a woodworker and who has never heard of your work. I imagine it’s how I would explain a book at a dinner party to the person next to me. The “high concept” for “The Anarchist’s Tool Chest” was: “You can build almost anything with about 45 tools. This book shows you how to choose good tools, helps you build a chest to protect them and contends that furniture making is a radical act in today’s society.”
3. Create a table of contents (TOC). A good TOC is an outline for your book. It is the skeleton, and it charts your narrative arc (all good books tell a story). The more detail and thought you put into your TOC, the easier the writing will be. Also good to note: You might rip up a few TOCs before it’s over. 

When I start in on a book, I also perform this exercise. But with the vernacular chair book, I wasn’t ready to answer these questions. I had to first figure out if I had an idea that was worth working on for two years. 

So for the first half of 2020 I worked on other people’s books and “The Anarchist’s Workbench,” and I didn’t think much about chairs at all.

I did sign up a few new authors for future books, such as getting Megan Fitzpatrick to write a book on Dutch tool chests for a 2021 release. One day we talked about her upcoming book, and I asked how she planned to deal with the different possible construction strategies for the chest’s lid, back and interior.

She replied that she was going to use a “Choose Your Own Adventure” approach, where she would show all of the typical methods and let the reader pick.

And that was when my book on vernacular chairs snapped into focus.

Of all the books I’ve written, my favorites are the ones that I wish I’d had when I was 11 years old. If I’d had “The Anarchist’s Tool Chest” or “The Anarchist’s Design Book” when I was a kid, I would have been thrilled.

When I first contracted the chair-building disease in the 1990s – after encountering John Brown’s writing – I bought every book I could find on chairs, even the crappy ones. I read them all once, and most of them twice.

They all left me disheartened. Here’s why: Each author explained how he built his chairs. But they were (mostly) from the tradition that involved green wood, a froe, a shavehorse, a drawknife, a steambox and a bunch of specialty tapering and reaming tools. 

Plus the geometry hurt my head.

I didn’t own any of those tools or easy access to green wood. After years of building furniture with dovetails, mortises and tenons, it seemed like few of my skills or tools carried over to chairmaking. That’s when I decided to take a class with David Fleming in Cobden, Ontario, to see if there was any hope for me as a chairmaker.

With Dave’s help I got through the construction of my first chair. Then I came home and – within days – began to build another chair so I wouldn’t forget what I’d learned. I decided that I would just use whatever wood and tools I had on hand and make it work. The chair would probably suck, fall apart or break. But that would be OK. It was just a flammable vessel to help me retain the geometry lessons and the hand skills.

The chair I made was damn ugly, but it didn’t fall apart.

After 20 years of studying vernacular chairs, I have concluded that “use what you have” is a valid way to make a good chair. It’s the strategy that’s been employed all over the world for centuries. You don’t need special tools or skills to make a chair. You just have to really want to build a dang chair.

Megan’s simple phrase, “Choose Your Own Adventure,” is the crux of my next book. 

The working title: “The Stick Chair Book.”

The high concept: “Build chairs with the wood and tools around you. Learn to make all the components of a chair – legs, stretchers, arms, sticks, crest – with a wide variety of materials, tools and methods. Then combine these parts however you like into a pleasing, comfortable and sturdy chair.”

That’s 46 words and a little long. Oh well.

Then I vomited out the book’s TOC in less than an hour. 

There are a dozen ways to make each chair component, from using a band saw down to a block plane. You don’t need riven wood. Straight grain is straight grain, no matter how you find it. You don’t need any special equipment to make a good chair. These disparate components can be combined in 1,000 ways to make 1,000 different chairs. And the geometry is easy once you realize that it’s the numbers and math that are holding you back.

I knew in a second that this book is something I’d gladly devote two years (or more) to. It’s the chair book I wish I’d owned in 1998.

— Christopher Schwarz

Read other posts from the “Making Book” series here.