The Artistic Product

Desire, Appeal, Demand, Art....

In any creative venture there is an element conceptual fulfillment and appeal. Often many choose to define their works as an art. These concepts demonstrate a defined expression and communicate emotion through specific aesthetic criteria, in short works that are of more than ordinary significance.

There are many different mediums that can be termed art, ranging from the standards of painting and sculpture to writing and even film or gaming. The ideal of conveying a concept through a medium in such a way as to be desirable is a fundamental motive for many artists. Through practice, refinement of technique and expression a work can be viewed as art.

While any work can be viewed as a work of art it is undeniably the aesthetic criteria that permits the work to be classified and termed "a work of art" within the medium. The aesthetics of a piece, while entirely subjective, are often representative of the 'high-concepts' that determine the appeal of the piece.

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As with any creative work, the determination of appeal is quite subjective however the broader the appeal the more accepted the piece is overall.

It is the appeal of a piece that many artists seek so that the work is broadly accepted as a work of art without dispute. Many artists are willing to sacrifice for the sake of their work, barely making a living while trying to find 'mainstream success' in their desired field. These Starving Artists epitomize the concept of an artist and are entirely dependent on the demand for their work.

Starving Artists and demand are where a couple of misconceptions enter.

Many writers/artists that are new to the industry often claim that their work is art as a defense to changing their work. As previously discussed, there are components to this that determine viability of their claim and then there is the misconception about the 'Best Seller' author.

The Best Seller author may have made their way into the best selling ranks but it does not mean that they have left 'Starving Artist' status. Most authors work other more permanent jobs because it often takes more than six published works and at least 2 'best sellers' before they can even consider focusing on being an author as their career.

In reality, an artist creates a work that they hope has enough appeal to drive the demand for their work including future works. Successful artists can convey their work with broad appeal but still remain truthful to their original concepts so that it is a work of art. Even starving artists who have sacrificed for their art dream of 'breaking into the business' and having their work desired. This desire effectively makes the work of art a product.

Products rely on marketability to determine success and even art needs an audience to claim success. In the writing industry success is measured in more facets than stars in the sky but claiming a work is art is not a defense against change, it only means that you'll be left by the roadside in an industry of unique artistic products.

Defining the Scope

Much like a painter who uses both broad and elegant brush-strokes to draft their work, a writer chooses subtle and overt elements to craft their narrative. As the narrative is created often the author can unintentionally define the scope of their work.

Through overt references, a writer produces long, broad brush-strokes to give frame to the entire piece. Elements such as genre and even antagonists can define the scope of a narrative. The broad brush-strokes can determine the appeal of piece for an audience. Is it the right tone? Genre? Any number of larger strokes can be used to draw in an audience or turn one away but the details can ultimately determine the success of the narrative.

After the large sweeping brush-strokes frame the piece the finer work comes into focus. The first detail that comes into focus is the main character. Their gender, attitude and especially their voice can determine the gestalt. Are they male or Female? Are they a hard-boiled detective or a devoted wife? The minute strokes used in detailing a character will ultimately determine the relatability of the audience to the piece.

While the audience inspects the piece they begin to identify the details surrounding the subject. The very backdrop,setting, will assist the audience in seeing the subject in greater detail. Is it a rural landscape or a city?

To bring out contrast in the work complimentary colors are chosen to support and define details. In a narrative the colors of the piece are tone and conflict. Respectively as the colors are selected and added to the piece, the piece brings out appeal and contrast. While tone must remain intact for piece, conflict can be spread throughout to add points of interest and keep the attention of the audience. Misuse of color can result in the failure of a piece, the narrowing of  scope either subtly or drastically. Is the antagonist aiming for global destruction or Hell bent on destroying the lives of a few? Are the conflicts well constructed so that they are part of the piece or almost random?

As the audience takes a step back to observe the piece as a whole, they look at it with their own perspective to bring their own interpretation of the work. When perspective is applied, the piece either comes to life as the creator intended or fails due to the inconsistencies in the gestalt.

Through broad strokes to frame the piece and details to define the subject of the piece a narrative's reach is determined. Its breadth and scope both for the narrative itself and for the potential audience.

Attaining Direction

A narrative is an assemblage of concepts that the creator wishes to convey within the confines of a world.

Development of the primary concept begins with establishing the supporting elements of both characters and conflict. These elements become extensions of the original idea that permit the author to explore different aspects that would not have been possible otherwise.

Through characters the author can explore the emotions and thoughts that surround a founding idea. In every action, thought and emotion the characters can reveal a different perspective. Characters are principles and perspectives through which the author can explore. A nyctophobic character that fights through the darkness to save another can emphasize the primary concept that a person can do anything to save another more than attempting to describe the concept.  

Just as characters can emphasize the emotions around a singular premise, the conflict that drives these characters can identify aspects of the idea. Through conflicts the characters can be tested and emotions elevated to identify the concept behind each character.

Every narrative is born of a founding idea that the author wishes to approach and it is every subsequent element that they explore that allows them to develop the primary concept. 

Setting in Tone

Style, Tone, Distinction...

As with any project, the ability to find distinction for a narrative lies in the assemblage of elements and how they are woven together. Where a rising wave of events can sweep up the reader and the style of the story can enhance the characters to provide distinction, the tone of a narrative can determine if that first chapter is finished.

The tone of a narrative is at its very essence the attitude of the project. An attitude that is reflected in prose, setting and even the thoughts of characters.

Prose is set in such a manner to reflect near perfect grammar and eloquent phrasing that can easily be consumed by an audience. Often overlooked is the attitude with which the prose is crafted. The words may be right, the grammar perfect but how is the message said? Is there a cynical undertone to the prose? A tired exposition? The tone of a narrative not only reflects the story but the creator's attitude towards the project.

Narrative tone can also be reflected in the thoughts of the characters. It becomes more than crucial to understand the psychology of the characters within the narrative. How a character views their world can set the entire tone for a scene or narrative. The attitudes of characters reflect the premise and their situation. When a characters' attitude is derived from the the creators concept and not the psychology it detracts for the audience.

While the attitude of author and character needs to reflect the premise of the narrative, the actual settings within the narrative can further the tone. Whether a constant rain or thunderstorm each can be symbolic of a dark tumultuous premise. Abandoned buildings can reflect sadness, isolation and  stress. Every setting within the narrative reflects the tone as a psychological element.

Every narrative is reflected in the creators' tone, their attitude. It is within that tone an audience can decide to keep reading or drop the story.

Writing the Instigation

Instigation, inception, opening, the beginning.

The beginning of any project is also the crux of the project. The first words, first sentence, paragraph, even chapter become the measure by which a project is evaluated. While it is important to consider the inception of a story from the carefully chosen words used to open it, it is even more important to consider it from the internal perspective.

When a story opens it is with characters and most importantly a singular moment that is responsible for instigating the story. Concepts may breathe life into a story, give it a theme and purpose but when examining the story from within it is important to identify the true instigation for the story.

The characters in a story have lives that begin at birth and end with their deaths. It is the writer's decision to choose the moment a that is the opening of a story. Where does an ordinary character's life diverge to the point where their life merits a story? Is it important to show how normal their life is through fifty or sixty pages of normalcy before the event? Or is it more important to start with the moment that instigates the story and move forward? 

First words are chosen and continuously refined but what about the moment? What about the instigation of the story? The moment can be defined as the 'hook' for your audience but what makes it worthy of note in your character's lives?

Opening with your main character in the middle of a crime scene is more poignant than having them in a diner drinking coffee.  

When you present a story it's no different than placing your character on a precipice. Your audience will want to know where they go from there and then ask how they got up there in the first place.