Three Writing Exercises

Lesson 11 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Three Writing Exercises

Lesson 11 from: Fine Art Photography: The Complete Guide

Brooke Shaden

Lesson Info

11. Three Writing Exercises

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Yours is a Story Worth Telling

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Three Writing Exercises

This is one that will scare you. I'm just going to put it out there. Don't be scared. You will be, but don't be. Stream of consciousness writing is the first thing that I want to talk about. This is where you put your pen down on paper, and you write continuously for a certain amount of time. I think that that is one of the most beautiful thing that anyone can do. You start writing, you put your timer on five minutes, and you don't stop, and you will realize immediately how difficult that is, immediately. You start writing things like hello, hello, hello, my name is Brooke, and you just write whatever comes until something better comes along, and it's amazing how many themes you can find within your writing when you really, really focus on your writing and just whatever needs to come out of your brain. I find that to be fascinating. I always start with nonsense, you know. I might start writing about my day, and then it's like clockwork. After about one minute, I just start writing stor...

ies. Just pure story comes out, and I love that. It didn't used to happen that fast for me, but now it does, and you might think a minute is a long time to just be writing, writing, writing nonstop, and it is. My hand cramps up, we're not used to writing that much, but really, really valuable as an exercise. Now if we think about story and writing in terms of how we use story visually, we've got these elements that we so often use, character, time, wardrobe, color, location. You can add in any of our image components here, and that's fine. So I've got these elements, I just chose five of them, and what I like to do is to pick a totally random thing to go with each word. So character, 10 year old girl. Time, early evening. Wardrobe, mermaid tail, why not? Color, blue. Location, desert. (laughs) I threw you off, didn't I? And so when you just do totally random words to go with these story components, it is so much fun to see what story will come out of that. So I challenge you to just, totally random, if anybody remembers what I just said, Girl, 10 year old girl, early evening, blue wardrobe, mermaid tail, desert. Write a paragraph of a story where you have to use every element. It is so much fun, and you'll be amazed at how many ideas visually come from that little exercise. And then finally, story structure. Now we're going to play a game to learn story structure, okay? So I want you guys to pass the mic, alright? But I promise you won't be too overwhelmed by what I'm going to say. So, first of all, these are the different elements of story. We've got an introduction, every story has an intro. Once upon a time, it was a dark and stormy night, all of these things, intros. Then we've got backstory, which is where does your character come from to get to the place in the story that they're about to lead their lives and show you through the story, okay? So this is everything you need to know about the character. And we've got inciting incident, which is like, the point of no return where you've got this character, they're making choices, and suddenly they can't go back. Okay, they make a choice and it leads the story in one direction. It's like a Y, you're going on a path and then all of the sudden it splits. And based on their choice, you go in a different direction. Okay, and then after the inciting incident we have the climax, which is where The Thing happens. The Thing that you've been leading to is taking place, and either everything is gonna come crumbling down, or everything's gonna be great, and then the resolution, okay. Now I challenge you to try to write with story structure, but it's very difficult for a lot of creative brains to work like this, to work in a really structured way. So just know that it could be really, really difficult. So our quick, quick exercise, okay? Let's start over here. Who are we? We're a little boy. A little boy, okay. Um. Any special attributes? Well, he... went with his grandfather, he's coming out from a balloon store with lots of helium balloons. Ooh, nice! Okay, perfect. A little boy coming out of a balloon store with lots of balloons. Would you pass that on to April? Okay, what is he doing? He is (clears throat) going to a birthday party. Oh, okay, good! Next? But he's mad, because they didn't have the color of balloon that he wanted, so he's crying. Perfect. How does it end? Yeah, yeah-- I get the hard part, right? Um... So he's mad, he's been crying, he doesn't have the color that he wants. He sulks in the corner at the birthday party. Okay, I like it, you guys are real sad. (laughing) Okay, but look how fast we have a story? So, story is really just made up of who is this person? What do they want? Why can't they have what they want? How does it end? Super simple, right? Takes like a minute to find a story. Now it takes way longer to find a good story. To find a story that you actually need to tell. But story itself is simple, and we get really overwhelmed by story, because we think that it's this huge thing, that like we just couldn't possibly do because it's such a time consuming thing to learn. It's not. But the way that we personally tell stories, the stories that we have to express are in the end much more complicated than our poor little boy sulking in the corner 'cause of his balloons. Okay, so that was storytelling exercises and idea exercises, and I really hope that you get a lot out of it. But I also hope that you come up with your own ways of finding ideas that work for you, because this is our fine art class, right. We're going like start to finish, everything in the world to do with fine art. And I want you to have your own personal journey in this experience. I want you to take your own associations, your own past, your own experiences, and channel that all into art that is meaningful for you. That has your type of story that you need to tell. Because in my opinion, it is vitally important that we tell those unique stories.

Class Materials

Bonus Materials with Purchase

Guided Daydream & Writing Exercises Workbook (Lessons 1-11)

Creating an Original Narrative Workbook (Lessons 12-18)

Finding Your Target Audience Workbook (Lessons 19-27)

Planning Your Series Workbook (Lessons 28-34)

Set Design Workbook (Lessons 35-41)

Compositing Workflow Checklist (Lessons 42-49)

Editing Workflow Checklist (Lessons 50-55)

Location Scouting Workbook (Lessons 56-60)

Stock Image Downloads for Practice (Lessons 61-72)

Organizing Your Portfolio Workbook (Lessons 77-81)

Pricing & Editioning Your Work Workbook (Lessons 82-89)

Writing Contracts & Licensing Images Workbook (Lessons 90-98)

Gallery Best Practices (Lessons 99-106)

Pitch Package Workbook (Lessons 107-111)

Writing Your Brand Workbook (Lessons 112-117)

Marketing Workbook (Lessons 118-122)

Social Media Workbook (Lessons 123-127)

Printing Methods Checklist (Lessons 128-133)

Self Critique Workbook (Lessons 134-137)

Bonus Materials Guide

Syllabus

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Brooke Shaden

Brooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself and becomes the characters of dreams inspired by a childhood of intense imagination and fear.

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topics covered in this class

Fine Art Digital Photography

Ratings and Reviews

April S.

I tuned in for most of Brooke's lessons in this course and watched some of them more than once as they were rebroadcast. First I want to say that Brooke is a very good instructor. Her easy-going, friendly, down-to-earth, somewhat quirky manner cannot be mistaken for unprofessional. She is very prepared, she speaks well (not a bunch of hemming and hawing), she is thoughtful, she is thorough, she is very relatable and at ease, and she is definitely professional in her presentation. I really thought when I first tuned in that it would mostly be background noise while I was at work, sound to keep me company. Not because I didn't like Brooke but I really didn't think I was into fine art photography nor did I think I cared about the business side of things much. Not now anyhow. I was really wrong. Brooke sparked a deep interest in me to delve into fine art photography, to consider creating images for myself, from my imagination. In fact, I realized that this was something I'd been thinking about for a couple of years though I hadn't put a name to it (the idea of creating pre-conceived images based on my own creative goals). I gleaned many little treasures from her about image sizes, working with printers, different types of paper, selling, interacting with galleries, and so much more. I may not need all of what she taught right now because I'm definitely headed in another direction at the moment, but she planted ideas and information in my head that I know will be useful at some point. Things I may not have thought of on my own, but that seed is in my head now so when the time comes, I'll know. I'd really like to buy her course but at the moment, with the holidays right around the corner, it's not in my personal budget. I'm grateful to have caught the live and rebroadcast lessons though, and her course is on my list to own. I think it's a great reference to be consulted over and over again, not watched once and forgotten. Kudos Brooke for really putting together an excellent course.

Ron Landis

I'm retired now, but spent decades in the people and training business. Brooke is extraordinary! Even though this course is extremely well organized and she's left nothing unattended, she moves through it with friendly conversational manners and without a sense of it being stilted. It's as though we are all her friends, not students, as she shares her heart and passion with us. What a joy it is to listen to her. And what a clear, unambiguous command of her subject. Wow! She explains it with such ease using explanations and techniques that won't overwhelm artists just starting their portfolio or the Photoshop-squeamish among us; but despite its simplicity her resulting art is breathtaking and beyond original. I wish more of my professors at school were as engaging. This was by far my best buy at Creative Live yet.

Angel Ricci

When the title says comprehensive, it means comprehensive! I loved every part of this course. It's inspirational, motivating, and insightful towards creating art work. Even if you are not necessarily considering a fine art specialty, the concepts discussed in this course are applicable to many areas! I find this super useful as a videographer and photographer and look to apply all of these exercises and concepts for my personal and business work moving forward. It is lengthy, but you will not regret a single minute. Brooke Shaden is an amazing artist and educator. I recommend keeping up with her work, presentations, and any future courses that may come in the future.

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Three Writing Exercises

Three Writing Exercises

Lesson Info

11. Three Writing Exercises

Lessons

Class Introduction

Storytelling & Ideas

Universal Symbols in Stories

Create Interactive Characters

The Story is in The Details

Giving Your Audience Feelings

Guided Daydream Exercise

Elements of Imagery

The Death Scenario

Associations with Objects

Three Writing Exercises

Connection Through Art

Break Through Imposter Syndrome

Layering Inspiration

Creating an Original Narrative

Analyze an Image

Translate Emotion into Images

Finding Parts in Images

Finding Your Target Audience

Where Do You Want Your Images to Live?

Create a Series That Targets Your Audience

Formatting Your Work

Additional Materials to Attract Clients

Which Social Media Platforms Will be Useful?

How to Make Money from Your Target Audience

Circle of Focus

The Pillars of Branding

Planning Your Photoshoot

Choose Every Element for The Series

Write a Descriptive Paragraph

Sketch Your Ideas

Choose Your Gear

How to Utilize Costumes, Props & Locations

What Tells a Story in a Series?

Set Design Overview

Color Theory

Lighting for the Scene

Props, Wardrobe & Time Period for Set Design

Locations

Subject Within the Scene

Set Design Arrangement

Fine Art Compositing

Plan The Composite Before Shooting

Checklist for Composite Shooting

Analyze Composite Mistakes

Shoot: Black Backdrop for White Clothing

Shoot: Black Backdrop for Color Clothing

Shoot: Black Backdrop for Accessories

Shoot: Miniature Scene

Editing Workflow Overview

Add Fabric to Make a Big Dress

Edit Details of Images

Add Smoke & Texture

Blend Multiple Images Into One Composite

Put Subject Into a Miniature Scenario

Location Scouting & Test Photoshoot

Self Portrait Test Shoots

Shoot for Edit

Shoot Extra Stock Images

Practice the Shoot

Introduction to Shooting Photo Series

Shoot: Vine Image

Shoot: Sand Image

Shoot: End Table Image

Shoot: Bed Image

Shoot: Wall Paper Image

Shoot: Chair Image

Shoot: Mirror Image

Shoot: Moss Image

Shoot: Tree Image

Shoot: Fish Tank Image

Shoot: Feather Image

View Photo Series for Cohesion & Advanced Compositing

Edit Multiple Images to Show Cohesion