A simple spinning on a stick demo for shows

In my previous rant about the student spindle, I pointed out you’d be better off showing people to spin with a CD spindle, and showing them how simple it is to make one, than giving them a way-too-heavy spindle.

You really can spin with anything, and you don’t have to spend a lot of money.

And spinning with a stick is a great way to teach anyone the power of twist.

How to give a simple handspinning demo with a stick

I did this demo when we went with my guildies to the Rare Breeds Show & Sale recently. This is basically a very condensed version of Abby Franquemont’s Make yarn with a pencil demo. I found I could make it shorter, because you I had lots of takers coming over and waiting to have a go!

Probably all of the terminology will go over someone’s head when you demo this. But the idea of adding twist to keep fibres together will be clearly understood at the end. It looks long, but takes about 7 mins do the demo with groups of 3-4.

Supplies: Good combed top. I used BFL, and it was nice and not compacted. Very important. Sticks. I used sticks from cat toys, chop sticks, etc. Stick should be somewhat smooth if possible?

  1. Set up the challenge: Using combed top, show how to take the very end of the tip and pull a tiny bit out from your fibre supply. Everyone gets a tiny floating piece, which they pull out from the end.
    • Explain this grew from a sheep.
    • Staple length: You can’t pull it apart if you keep your hands close, but if you put your hands at the ends, you can slowly draft out, and pull it apart. Let them see how gently they pull it until it comes apart.
    • OK now we have a challenge! We don’t want it to pull apart. We need twist.
    • At this point they understand that the top is made of fibres that would come apart if you pulled them.
  2. The fibre: Using combed top, rip down a thumb’s width strip about 16 inches long. Give one to each kid, and one for you! (this will come in handy later.)
    • Drafting: Show how you can gently pull the fibre again, but don’t pull too hard because you will pull it apart. Move along the length, and show how you can draft.
    • If someone breaks theirs, hand them yours.
  3. The stick: Now add the stick.
    • With your thumb holding down on the end of the fibre, show how you take the other end and wind it around the stick.
    • If they run our of space they can push it down.
  4. The magic reveal: Check the twist!
    • Take someone’s example, and unroll it. Show how the twist was added when they wrapped around the stick, and it’s not lost when you unroll it.
    • Show you can tug it and it won’t come apart.
    • Ask: Why is that? At this point they can see they added twist and the fibres won’t come apart.
    • You might need to add a little twist as you unwind, to help it along!
  5. Plying and tying
    • You hold both ends and ask them to hold the centre point. Then you bring two ends together to fold it. You can explain this is “plying” which means to fold.
    • And you tie the two ends together to lock the twist.
    • Then they can see their little fibre strip now looks like yarn!
  6. Let them take it home. They are delighted to have something they can take with them. So simple 🙂

Below you can see all the lovely new yarn they made. Usually, the kids were automatically comparing and could see some were better than others.  If they start comparing, you could ask what they think they could do to improve – and they can usually figure it out!


In this example, where mum is helping, they are wrapping it the wrong way, letting the fibres slip so they wrap flat.  She was leading the fibre to wrap around the stick without adding twist. You can see the fibre is flat against the stick. We spotted that and then the kid got set up and was able to do this on her own. She was 4!

Handspinning with a pencil

Abby Franquemont breaks down a demo of teaching spinning on a pencil. You can learn enough in this demo to understand staple length, drafting and the power of twist.

Handspinning from the tip of a stick

This technique is an upgrade from that would be to spin off the tip from a stick. This is nearly how the Navajo Spindle works, except without the whorl. It would work if you had people sitting down, so they could get to their lap easier.




The scourge of the heavy “student spindle”

For the third time in as many weeks, on Saturday a would-be spinner told me of her woes trying to spin on a spindle. I diagnosed her problem: a way-too-heavy spindle.

I have been delighted recently to demo spinning and learn more about how to break down the steps and condense my tutorials down to get people spinning happily as quickly as possible.

I’ve learned that giving students the right tools can make this much faster and easier. I also do think the beauty of a spindle is part of the joy of the craft. I’m delighted to share handmade tools with beginners. I don’t think they should be relegated to using something brutally plain.

So why, please tell me, is the first spinning experience most people have (including me!) with ugly, heavy, lumbering spindles that take two twirls before they conk out?

Why so HEAVY?

I remember teaching someone spindle spinning at a show, and an hour later she came back with the dreaded Student Spindle. That brute is 85 grams? Apparently it’s not just Ashford, because Kromski also makes a heavy student spindle at 80 grams. It spins reluctantly, and the weight means it’s physically limited in the size of yarn it can spin.

Can someone explain this to me?? Great for plying, I guess? Yes, I wish they sold it as a plying spindle. Does anyone actually use this beast of a student spindle?  Even the “Maxi”plying  spindles sold by Bosworth top out at 56g. I assume it’s for making bulky yarns?

I think it’s a terrible shame to give learners such as HEAVY spindle. These heavy spindles seem to be the only spindle on offer when someone is looking for an inexpensive spindle to learn on. If a vendor is going to only carry a few spindles to help people get started, they will tend to veer towards the only “student spindle” option out there.

In fact it is the one that was sold to me on the first spinning workshop I went on.  I tried to spin when I got home without a teacher’s help, and I created some horribly over spun heavy yarn. It was awful and I didn’t touch spinning again until years later.

This great article on Knitty.com about selecting spindles gives a helpful table. They recommend you would spin a worsted weight yarn on a 70 gram spindle.  Making a worsted weight single is a challenge on its own. Mechanically this means you need to draft out more fibre to make your yarn. You need a thicker fibre supply. If you have a compacted hand-dyed fibre, then you can’t do much pre-drafting. From my experience a lighter weight spindle will mean you have to draft less fibre and you can use a looser fibre supply, and even do some pre-drafting.

I would say you want to stay in the range of 28-50 grams for a beginner spindle. This will be in the range of spinning fingering, sport and DK weight yarns.

Trying to save money?

OK I can understand if people want to give learners a chance to learning spinning without having to make a major investment. Paying £10 or so for a spindle *seems* better than buying a handmade spindle for £30. But to me, that is money wasted.

If the cost is the main issue, I think a much better student spindle is one made of materials lying about the house. Handmade and simple.

Don’t have a spindle but you have a pencil handy? Yes you can spin wool with a pencil. Abby Franquemont has proven you can pretty much spin wool with anything. But the mechanics of a spindle with a whorl makes spinning much faster and more efficient.

There are some great tutorials about making spindles. Such as with CD and a dowel or toy-wheel spindles in this Spin Off free guide on DIY spinning equipment. Though even these requires a trip to the hardware store.  (oh! here you can make a CD spindle without the grommets if you have some blu-tac!)

How about making one out of a door knob and a chopstick! Or just whip a turkish spindle together with some twigs! These homemade spindles show that you can spin with anything, and if someone is inspired they can see this can be done with a low-cost and easily with what they have lying around.

Affordable spindles

I’m so keen on getting people to spin, I’ve given away some of my spindles in the past. Now I need to get new ones specifically for teaching and demoing spindle spinning, and I want something affordable but still really beautiful.

You don’t have to get a gem-studded Golding spindle for over $150 USD. (Though if you’re trying to figure out what to get my for me birthday, the  “BLACK EYED SUSAN” would be lovely, thanks!) There are lots of really nice affordable spindles.

My search is focused on spindles in the UK. Woodland Turnery has hand-turned bottom (approx 45-60grms) and top whorl spindles (approx 30-50grms) for £13.95. Kevin Rhodes has a beginner spindle at 35-40g and it’s only £13.95. Most of Adelaide Walker’s spindles are under £20.

Luckily, the UK Spinners for sale board on Ravelry  has come through.  Buying secondhand equipment can save you about 10-25%. The nice thing is, if you keep your equipment in good condition it holds its value better than most things you buy!

I got a great deal on two Kerry spindles. Even still, brand new, they are great value. Look at this one, a beautiful wood, and a cool 30g for £20. I think that is a great spindle.

In a search on Etsy for sellers in the UK with spindles £25 and under I found several vendors. ThomasWoodandWool has a 40g hand turned beeswax finished spindle for £8.50.

You can also check out the UK Spindlers group on Ravelry for some good deals.

Find a special spindle

The best place to choose a special spindle would be at a fibre festival. Ideally you could hold the spindle in your hands to choose it.

Pro-tip: Make sure to check the vendors at the shows you’re thinking about attending. I was disappointed after trawling all over Edinburgh Yarn Fest that few vendors were selling spindles, and of course there were no specialist spindle makers. The spindles available were too heavy, poorly made or uninspiring mass produced spindles. (Nothing wrong with mass-produced, but I’m talking about finding that beautiful spindle.)  But EYF aren’t claiming to be a fibre fest per se, it’s more of a knitting fest with a few bits of other things.

So check and make sure you’re headed to a fibre fest!

I had the best experience at Fibre East with all the spindle vendors. I remember seeing these crafts people’s hands all gnarly from woodwork. They also let you have a go! I felt a bit shy about trying them, but Ian of IST encouraged me to give a tiny Turkish spindle a try. It went on spinning and spinning and spinning. And I fell in love. SOLD!

The Interweave Guide to choosing a drop spindle mentions the option of getting either a low or high whorl spindle. I’ve noticed some actually have both possibilities. With hooks to spin high-whorl and notches to spend low-whorl on the other end. To me that seems like the best option, since you won’t know until you try which suits you best. I really liked a high-whorl spindle when started, but now that I have the half-hitch down, I find it’s easier to slide my hand along the thread, and flick the top of the spindle.

However if you can’t try it in person stick to some tried and true highly recommended spindle makers:

Conclusion: Stop the spread of The Student Spindle

OK my rant is OVER. If you can explain to me why student spindles are so heavy, please enlighten me.

If you know of some great, affordable spindles, I’d also love to hear!

Crafts in the UK will be disproportionately affected by Brexit

The first time I realised craft related businesses were going to be disproportionately affected by Brexit was on Hilltop Cloud’s recent newsletter, Katie assured customers that they shouldn’t feel “guilty” about the sudden discount they were going to receive due to the pound crashing. Afterall, she is getting paid the same…

Problem is, soon her suppliers, and her supplier’s suppliers are going to make increases, and soon small business margins will be further squeezed. This will happen across the entire market.

The next sign, Artesano today announced on facebook they are ceasing trading.

“We have made our best efforts to get stock moving and to fulfil all orders, but once the Brexit was announced last week, our main suppliers took the view not to continue delivering to us.”

We’re not even OUT of the EU yet technically, and it’s starting already.

Small businesses struggle, that is a given. I don’t think this supplier issue was the only factor in their closing up today. Artesano was working on changing their business model, they were trying something new with online sales and new distribution.

Small businesses have to be nimble and take chances to adapt. They have to deal with smaller margins, and smaller scales. There isn’t a lot of “wiggle room.” Running a small business is a risky business on the best days…. but this is going to be like nothing else.

All the businesses we love are at risk right now. Small businesses are often labours of love, and sweat equity, and don’t benefit from big investment. They don’t have the wherewithal to weather this crisis.

As crafters we’re going to notice this most quickly. These businesses rely on other small businesses, they have smaller, niche markets, and they rely on international supply chains.


Vultures may delight in picking among the discounted detritus of crashed businesses. I just feel like saying, I hope you’re happy now. It’s positively infuriating.

I’m going to a local meeting tonight to see what is being planned, how we can advocate for our communities, and work towards solutions. I have to do something, because it’s all looking a bit hopeless right now.



I decorate with sound

This post was inspired by listening to A Playful Day’s interview with Felicity Ford of Knitsonik. I recommend it highly! What a great adventure in sound, something I didn’t realize was so important. I am funny about sound, and I didn’t even know it.

I decorate with sound. I have certain bells on different doors in my home.  We’ve moved a lot. I’ve moved a lot. Since I lived in Taiwan I’ve had this little black bell. This to me is the sound of home. I hear the bell and I know I’m home.

I have small “noisy” decorations on other doors too. These mark going through rooms. They announce if someone is coming. They remind you that you’re home.


Sound is actually far more important to me than I thought. My husband’s voice is very important to me, and I am very sensitive to “ticking” and “drips” kinds of sounds others find innocuous. Anywho! After listening to the episode, I think I can’t “unhear it,” amazing.
So do listen to this episode of A Playful Day – an interview with Knitsonik. As the host rightly points out you may have to listen to it in two sittings, but it’s worth it! I will likely listen again, to be honest.
Felicity spoke about the soundscape around us. She prompted the listener to remember a sound, and explore sound memory. I paused the podcast and got the most amazing memories. They were mixed up with remembering smells. I can rarely remember smells. Try it!
She also spoke about the connection to knitting. The title “Knitsonik” describes her focus. The connection is about marking time in sound, and marking time in stitches. I really never understood the connection until then.
 Great stuff!

How much scaffolding does your creative class or workshop need?

I’ve been very lucky to have gone to a few creative knitting and spinning workshops. Apparently, I’m obsessed with colour work, hence I’ve taken TWO classes on it! This of course led me to compare the experiences and reflect on the differences.


Samples by Karie Bookish

I love learning, but I can’t help myself also paying attention to how the workshops or classes are run. As an experienced trainer I tend to be critical of teaching approaches. I’m always looking at how instructors address a topic and what that experience is like for the learners. Even though my experience is in technical training, it turns out the most important concepts are the same.

  • Let the learners be the heroes. Give them ways to personalize the content and express themselves.
  • Create a context for learning and problem solving. An obstacle course of problems to solve is better than a cable car with a specific path and outcome.
  • Demonstrate steps, provide instructional supports. They need to see what you are doing. Scaffolds and support helps!
  • Give increasing independence over to learners. I do, we do, you do.

Learning can be scary and frustrating at times. The amazing thing is right at the point someone is confused they have a chance for a pivotal learning experience. As a teacher you need to give learners space to get confused and generate problems and good questions. Sometimes you have to let the students make mistakes, so they experience it for themselves. It’s a leap of faith.

For example, I was teaching spindle spinning the other day.  Though I had explained and demonstrated that the “leader” (helping you spin and anchor the new yarn) should be coming from behind the hook (else it might slip). The learner had hooked it from the side, and I knew it was going to slip. Instead of correcting her, I stopped myself and let her make the mistake. The leader slipped and then I called her attention to how she had it hooked. From then on, she certainly knew how to hook the leader on.

Of course, if you have a classroom full of people making lots of interesting mistakes like that you will get some chaos. Structure can help. The more novice learners are, the more structure they need.

What is scaffolding?

When you’re teaching skills you need to give the learners just enough support so they can work on a task without feeling lost. If I’m doing what I’m already capable of, then I’m not learning anything new. There is a  “Zone of Proximal Development” in which I can do tasks just beyond my reach- with some help.

Public domain image

With support, I can extend what I’m able to do, and develop new skills and understanding. In teaching theory, this is called “scaffolding.” Scaffolding could be samples, a demonstration, a template, printed resources, and ad-hoc coaching. Scaffolding balances hands-on practical work as well as demonstration and theory. The supports you provide help a learner understand the steps to take so they can begin the work knowing what to do, and yet be able to make the important mistakes which are pivotal to their personal learning experience.

For the learners, depending on their level of patience, a certain amount of tension will build up to where they literally want you to GET OUT OF THE WAY so they can get started. If you’ve ever taught children, you might have had the experience where they grab something out of your hands. They are like a coiled spring ready to try it out. Demonstrate too long, and you’ll bore people and fizzle out that excitement. However, if you launch too soon, you send people off in all sorts of directions.

Too much open-ended hands-on practice will leave novice learners really confused. (‘How do I do this? What am I supposed to be doing?’) Too much theory/demo can put experienced learners in a passive mode, especially if they are familiar with the content. (‘Ugh, when are we going to get started? I know this stuff already!’)

What kinds of learning supports and scaffolding do you use?

The notion of “learning styles” is one of those theories that sounds so intuitively right, but is so completely wrong, and has been debunked many times but still persists. We’re all visual learners, aural learners, tactile learners: we’re all that – depending on our physical capabilities. We all need to interact with new concepts in multiple ways. The supports you provide can help learners benefit from all the modes.

Samples by Karie Bookish

Colourwork samples by Karie Bookish http://www.kariebookish.net

There’s a scale from low interactivity to high activity with the different learning supports you can provide in creative workshops. The trick is to ensure you use a blend of learning supports.

  • Samples: Let learners interact with completed samples or samples-in-progress. By looking at example work, they can get an idea of how techniques are used.
  • Lecture: Passive learners listen to a speaker, focus on theory or concepts. Can be more interactive with guided discussions.
  • Demonstration: Passive learners observe someone working on a specific task. Most hand-work requires demonstration.
  • Handouts: Learners can follow printed instructions or use worksheets to complete tasks. Hand out notes of main topics, links and references for learners as well. If you mention a book or a service, tell people about it.
  • Discussion: Learners develop questions and use dialog to express their understand and more experienced instructors provide correction as they form the mental concepts.

You can combine them in varying amounts depending on the content and the experience levels of your audience. For example, you can capture learners’ attention for a lecture or demonstration; and then let them work and practice using samples, templates and handouts. By using discussion, you can help give learners a chance to explain their budding sense of comprehension and you can also provide correction.

A comparison: A class versus a workshop

I notice in the craft world we use the terms class and workshop interchangeably, but I think we can make a more clear distinction between classes and workshops.

  • Class: Some theory, a structured schedule, specific activities.
  • Workshop: Little theory or demonstrations. Learners work in a less-structured, self-directed manner with expert support.

I wouldn’t make a value judgement – one is not better than the other.  However, I do think certain topics and certain audiences benefit from different approaches.

I was able to attend Karie Westermann’s Scandinavian Knitting class at The Glen Gallery in Culleybackey (of all places!) last Saturday. She was very clear in her approach, and she gave us ways to experience the concepts in a hands-on way. At one point she joked we were going to “wreck the shop” which meant hunting around for colours in the shop to find colour combinations, after she had explained some colour wheel basics. This gave us a low-risk way to play with colour and consider how they would affect a design. Then, when she picked up the colour theory again, we had all taken some time to consider these effects, and we could compare the choices others had made. Karie also gave us a way to be creative if we wanted to with custom designing on graph paper, or follow the specific sample design. Having that suited some participants better. This simple hands-on activity of colour picking also let us feel like we were getting started on something without getting into the main project without guidance. Design, afterall, was one of the learning objectives of the course.

In comparison, at Hazel Tindall‘s Fair Isle Colour Work workshop earlier this year, we got immediately to work with little demonstration or theory. We sat down to a pre-knit cuff and immediately got started on a specific design in which we all did one of two patterns. By limiting the project to two specific designs, we could focus on the practical skills of holding the two yarns, colour dominance and tension. We didn’t touch on design because it wasn’t a learning objective of the course.

As people came up with questions, Hazel would collect people with a similar question and answer that in an ad-hoc demo. I think this is a classic example of a workshop model. We were working along with an expert available to help us over our individual hurdles.

In a way, I felt the workshop probably suited many of the participants who were already experienced in colourwork, and had specific technique questions. It’s possible they would have been annoyed by basic introduction or demo in a more structured class, and just itching to just get started. Hazel has lots of experience teaching, so she knows what suits these audiences.

There was an enormous selection of colours to choose from, but we didn’t engage in a specific discussion about why you’d choose certain colours over another, or what effect it might have.  I was probably one of the people who felt a little lost since this was my first time attempting to use two colours at the same time. Though thankfully I had read through Knitsonik’s Stranded Colourwork book so I had a good idea about colour and contrast.

I observed as someone knitting next to me started working with colour choices that didn’t have much contrast. I didn’t feel it was my place as a fellow student to say anything, but in the end, she certainly learned how important colour intensity and contrast is to colour work. In a workshop you are given space to make mistakes so you can learn what you need to. Each person will have their own individual hurdles.

To compare, you could say that Hazel’s class was more hands-on, while Karie gave more theory and concepts. One wasn’t better than the other, it’s down to your learning objectives you have and approach suits what kinds of learners you have.

Novice learners will benefit from more structure, and experienced learners need more open-ended practice and a chance to get coaching on-demand.

Workshop planning tips

A definition of good training is the right content for the right audience at the right time. In real life, however, you will end up with a room full of people with mixed abilities and experience. This makes it hard if you have novices alongside more experienced learners who all need different content and different times. Here are some tips to help plan your workshops.

Define who your learner is: What is are the prerequisite skills required? This will help you limit what you need to cover and help communicate to potential participants if this is the right course for them.

Define your learning objectives: What is the special focus of your workshop? What are the main things you want people to take away? What can you cover in the amount of time you have? Prioritize and review what is important. For example if a specific technique is a priority and you don’t have time to delve into design, limit what designs are provided.

Warm-up activity: Provide a simple activity to warm up without throwing absolutely everything at the learner. In her spindle spinning workshop, Abby Franquemont lets people draft and spin fibre right in their fingers before they even touch a spindle. She also shows making yarn with a stick and pretty much teaches you the evolution of the spindle while letting you experience in a low-risk activity.

Create an obstacle course: In the example I gave above, Karie’s course emphasized design by letting learners look at design sources, and draft their own design on paper. As a comparison, Hazel left this element out of her shorter workshop, so learners would focus on colour and knitting technique. Define what activities will highlight the learning objectives.

Bonus and challenge activities: Planning small detours for more experienced learners can give them something to work on, while novice learners catch up.

Demonstrations: Practice and prepare your demontrations. Keep them as brief as possible for people to get started. Give just enough information. Provide printed materials with notes about the tasks and concepts.

Step away: Give learners space to make mistakes, especially ones which they can do with low-risk. Don’t pounce on learners right when they are about to make their own discovery. Instead, stand back and provide support and prompt insight with questions.

Dealing with larger groups: Depending on the size of your group, you may or may not have time for general introductions or discussions. You can let people speak in small groups however, and elect one person to report to the larger class what they learned or discovered.

And most importantly…

Get feedback: I think it’s odd that at almost every in-person creative workshop I’ve ever done, they never ask for feedback. I find that strange. As a teacher, I crave feedback, and work hard to make sure I get it. It’s the only way I can improve. Bring your own feedback forms, make them anonymous and tell people how much you appreciate feedback.

I hope that helps! If you have questions about planning workshops, I’d be happy to help. Ping me for a virtual cup of tea via Skype chat or Google Hangout to talk about planning your next workshop.

Why I turned off my IFTTT recipe for auto-posting Instagram to Twitter

Isn’t it annoying that Twitter will show “cards” including a summary and image in your twitter feed when you post most links, but it won’t show images from Instagram links? When you share via Instagram you do have the option to connect several networks and automatically post to them. However when you do, your image won’t be included on Twitter. I always found this annoying when I see others share these updates. I call it a #zombiegram. See? No picture.


At one point, Twitter used to show Instagram images in the main flow of twitter stream, but they turned it off in 2012. Sure, why show media from a competing social network? (Instagram was bought by Facebook in 2012.) So for the last few years people have come up with some work arounds.

If this then that to the rescue?

An obvious solution is to re-post the same image manually on Twitter after you use Instagram (nicer filters of course!) But why does that extra few clicks seem like a giant pain?

Instead you can use an IFTTT recipe. The “If this then that” recipes can be used to set up lots of automated services. It’s a rather cool tool! For example, Get an email if there will be rain in your area tomorrow or Tweet your Facebook status updates.

To deal with Twitter ignoring Instagram images, there are a few recipes that will automatically post your Instagram picture as a native Twitter image, and link to your full Instagram post.

There’s two annoying things about this.

  1. Often users have different instagram IDs from their Twitter IDs. Why this is so is completely beyond me! FYI – If you use the native Instagram share to Twitter it will correct the ID if the user has also connected their Twitter account.
  2. Unless you’re really careful how you write the first characters of your Instagram post, you’ll likely get cropped @mentions and #hashtags.


Still a Zombiegram

My other main problem with this is it means your Instagram > Twitter post is still a zombiegram. I notice that when people I follow on Twitter use either IFTTT or the native Instagram sharing option, it’s like a ghost of a post. All the action is over on Instagram and the Twitter share is merely a residual image.

Unsurprisingly, most of the creative people I follow are heavily focused on Instagram. Being a visual social network, it lends itself to artists and craftspeople. So even though the native images are on Twitter, they still aren’t interacting on Twitter. I interact with the Twitter pics and then I realize the conversation is elsewhere anyway. You would still need to click through to the original Instagram post.

Control what you post

Another strange effect I noticed after I set up IFTTT is that I was limiting posting Instagram as much knowing it would go to Twitter. I’m usually pretty careful about what I post on Twitter or how frequently I post. I worry about “my mix”, because my Twitter feed is a weird combo of craft/marketing/technology. I don’t want to drown people in yarn on Twitter. When I was just sharing on Instagram, I didn’t seem to mind sharing frequently, where I know it’s going to be all craft/nature/travel. Over there, it’s more clear why people are following my posts. On the other hand, I rarely share political images on Instagram.

So here’s a solution! Instead of auto-posting everything you can choose what you post. There are two useful options:

  1. Be more selective. Use the Instagram to Twitter IFTTT recipe where you can use a hashtag to mark which Instagram posts to share on Twitter.
  2. Use Tumblr as an intermediary, so you can select to just share to Tumblr those things you want to post to Twitter. Here’s a tutorial.

The thing is, I don’t think I’m going to use it. I’ll go back to sharing selected images manually. I actually don’t use Instagram as much as I intend to. I don’t pay attention to what is happening on Instagram as much as Twitter, but I’d like to. I like that it’s less spammy, less newsy, and more easy to control what I see. I don’t mind that it is an escape from reality. I like that sometimes.

So for now, I’m turning off my auto-tweeting of my Instagram images, and I’m going to probably be sharing more on Instagram too @nearlythere