Many writers plough through a first draft of their fiction in a heat of creative energy. There may be a focusing theme, often a central protagonist, or perhaps a group of central characters, and a framing of the place, or setting, of a story.
|Pencil Sketch on Drawing Paper|
The idea is to make a rapid assessment of major forms and spatial relationships presented by the model's pose, then block in the shapes quickly on paper as one continually tests the alignments and proportions of the shapes. One can take some artistic license and depart from a photographic-like realism by selecting some particularly beautiful lines and accenting them in a sort of impressionistic way--perhaps by using a heavy charcoal line in places. It probably wouldn't be useful to dwell too long on any local regions of the body at this point of the painting, just as it might not be too useful to dwell overly long at any particular conflict resolution contained in the first draft of a fictional work.
|Color Wash of Sketch on Drawing Paper|
Of course, it is not suggested that a writer use all these things in any rigorous checklist; however, if one took time to occasionally consider such analogies for telling a story in a painting and in a story, the insights might become part of a subconscious tool kit for creating a more dramatic and coherent work.