Tapping into Creativity
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
Tuesday, November 11, 2008
Tapping into Creativity
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
Susan Reetz, of Rucinski & Reetz Communication, is a writer/director/producer for film, video and multimedia. She also writes feature articles, brochure copy, news releases, and other promotional materials. Her scriptwriting and producing work has earned numerous local, national, and international awards. She can be reached at 715-355-9159 or Reetz@RucinskiReetz.com.
I stand before the door of inspiration, lightly tapping. No answer.
I return, bearing gifts of hope, positive energy and absolute deference. I tap again. Still no answer.
I wait, politely. Perhaps someone is donning slippers and a robe to answer my unbidden knock. After all, it is after midnight on the eve of deadline. I tap again, just a bit louder in case they are lost in REM. Still no answer. I pound, shout, and even light a firecracker.
Quietly, discreetly, a small note appears as it is nudged beneath the locked door. It reads,
“It is my duty to inform you that your muse is currently on vacation in sunny Tuscany. She will return in three to four weeks. Maybe. You may leave a message, or, if you need immediate help, you may contact her temporary replacement, Bruno Blockhead, or try the attached Self Help Guide to Creativity. Thank you for your patience. The Management.”
Oh great! The last time I asked Bruno for help all I got was a bunch of cheesy suggestions from a totally crumbled cracker. I guess I’ll check out the Self Help Guide to Creativity. Time is racing and I’ve got nothing to lose. Here goes:
Self Help Guide to Creativity
Technique 1: BRAIN DUMP
This technique specifically involves clearing the way for creativity to enter. Quite simply, you sit down and write out all the information you can think of that is related to your project. Getting all the details out of your head and onto paper alleviates some mental pressure and allows you to quickly organize the material and begin looking for metaphors for your creative concept. Think about it. One person can only juggle so many items. If you put one thing down, you are free to pick up another and get it into play. See our addendum on Juggling Metaphors for Fun and Profit.
Technique 2: FREE ASSOCIATION
This technique has nothing to do with a complimentary membership to a dues oriented organization. Rather, free association means letting your mind roam from one idea to the next. Tangents are good here. Tangerines may also be good. But I digress. Think about the general topic of your project. Play around with different facets of focus and see where you go. It’s best to take notes as you go so you don’t forget some of the great ideas you’ll come up with. Don’t panic. If you have a phobia for writing (or typing) you can use a voice recorder, although at some point you will need to make notes so you can share your ideas with the rest of your team.
Technique 3: Watch TV and Google Websites
Now, I know you may have been told that watching TV and Googling websites is stalling. Procrastinating. Maybe even, egad, wasting time. It simply isn’t always true. If done early enough in the creative process, looking at the work of others can help generate fresh creative ideas for your projects. As professionals, we always want to be careful not to plagiarize someone else’s work or idea. However, you can often find something someone else did and give it your own twist. It could be a camera style, graphics treatment, story approach, etc. You can get a lot of great ideas to modify and apply to your latest project.
Technique 4: Listen to Music
You’ve probably been told all your life that you can’t do two things at the same time. But, that advice is not always right. Sometimes getting the brain to focus on something like music helps quiet your inner critic. You know. The one that says, “That’s a dumb idea. You’ll never make it work.” Once that little guy is sufficiently lulled into silence, you can begin to think in peace. The imagery in lyrics and musical phrasing may also help inspire your creative juices. Personally, I find that listening to classical music while I write sets the mood and helps me get into a creative rhythm. Of, if I’m writing something tied to a particular culture, I’ll listen to that type of music to transport me to the place.
Technique 5: Collective Brainstorming
Round up a few other creative types or colleagues and toss some ideas around. Before you begin get everyone to agree that no bad ideas will come from this session, although all ideas will not be feasible. Give everyone the freedom to comfortably offer half baked ideas (they can always be thrown back in the oven later) without booing, hissing, or any other form of jeering from fellow brainstormers. Have one person start an idea and the next person add to or modify the previous person’s thought until everyone has contributed. Or, allow a specific amount of time for everyone to come up with a creative idea on their own and the present it for discussion and collective fine tuning. You may be surprised about what develops.
Well, I think I’m well on my way to a great creative treatment for my project. Hmmm. I wonder what my muse will bring me from Tuscany?
Susan Reetz, of Rucinski & Reetz Communication, is a writer/director/producer for film, video and multimedia. She also writes feature articles, brochure copy, news releases, and other promotional materials. Her scriptwriting and producing work has earned numerous local, national, and international awards. She can be reached at 715-355-9159 or Reetz@RucinskiReetz.com.
Monday, October 13, 2008
Check out MCA-I ProTrack
If you are involved in any way with media production - writing, shooting, editing, graphics, audio, acting, programming - you need to attend the Media Communication Association - International's ProTrack 2008 in Anaheim (CA) at the end of this month. It's a great opportunity to brush up on your skills, learn something new, test drive cool software, and meet other media production pros from around the world. I've been going for about 10 years now, and have learned a lot. Just as important, I've made some good friends and now have a network of colleagues from all over the place that I can call on when I need help with a project, or just want to bounce an idea. Here's what our MCA-I president had to say in a recent interview: http://www.pixelheadsnetwork.com/2008/09/30/lee-vogel-media-communications-association-international-president-all-about-networking/
For more information about MCA-I or ProTrack 2008, go to www.MCA-I.org. Hope to see you there!
For more information about MCA-I or ProTrack 2008, go to www.MCA-I.org. Hope to see you there!
Saturday, October 11, 2008
Who should tell the story - advice for script writers
A story can be told by just about anyone. But a good story must be told in the right way by the right person. For example, you probably wouldn’t have the Jolly Green Giant as a pitchman for feminine hygiene products any more than you would use an interview with the Pillsbury Doughboy to sell weight lifting equipment.
As producers and/or writers, one of the first things we need to determine is who should tell the story. Should it be an on camera narrator or a voice over? Or, should all the information all be presented through interviews clips?
When deciding who should tell the story, it’s a good idea to consider the project’s objective and the intended audience.
Does you project need to educate, persuade, motivate, sell, or train? Knowing the objective – and the type of information that needs to be included in the program – helps determine whether the project calls for an on camera narrator, voice over, or interview.
For example, an installation video targeted to professional technicians would work nicely with an on camera narrator to demonstrate the procedures. The narrator would probably be scripted to sound like the audience members, using familiar trade language in a conversational manner.
A visitor orientation video might be better served with an off camera narrator rather than a real employee on camera to protect shelf life. If a real employee is used as an on camera narrator and the employee leaves – especially if they go to a competitor – the entire program has to be redone. Using an off camera narrator also keeps the focus on the facility and allows for easier updates if the company is sold in the future.
Of course a program for a teen audience would not normally call for a formal adult on camera narrator. But it might work well to have a teen on camera host. Or, if the subject is a serious social issue like drugs or gangs, interviews with teens and others directly affected by the issue carry a log of weight and lend credibility to a skeptical audience.
Whatever the project and target audience, make sure the project’s voice reflects and speaks to the sensibilities, language, and ideals of the audience.
As producers and/or writers, one of the first things we need to determine is who should tell the story. Should it be an on camera narrator or a voice over? Or, should all the information all be presented through interviews clips?
When deciding who should tell the story, it’s a good idea to consider the project’s objective and the intended audience.
Does you project need to educate, persuade, motivate, sell, or train? Knowing the objective – and the type of information that needs to be included in the program – helps determine whether the project calls for an on camera narrator, voice over, or interview.
For example, an installation video targeted to professional technicians would work nicely with an on camera narrator to demonstrate the procedures. The narrator would probably be scripted to sound like the audience members, using familiar trade language in a conversational manner.
A visitor orientation video might be better served with an off camera narrator rather than a real employee on camera to protect shelf life. If a real employee is used as an on camera narrator and the employee leaves – especially if they go to a competitor – the entire program has to be redone. Using an off camera narrator also keeps the focus on the facility and allows for easier updates if the company is sold in the future.
Of course a program for a teen audience would not normally call for a formal adult on camera narrator. But it might work well to have a teen on camera host. Or, if the subject is a serious social issue like drugs or gangs, interviews with teens and others directly affected by the issue carry a log of weight and lend credibility to a skeptical audience.
Whatever the project and target audience, make sure the project’s voice reflects and speaks to the sensibilities, language, and ideals of the audience.
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