6 Writing Outline Templates and 3 Reasons to Use Them — Self Publishing Team
Guys these templates are beautiful, editable PDFs and they are making me cry tears of happiness.
Guys these templates are beautiful, editable PDFs and they are making me cry tears of happiness.
How does your Antagonist describe things? Are they straight forward or do they add a more poetic spin to description.
Recently I got a message about a person struggling on how to develop their characters, as they normally wrote about already created characters—also about how to make them interesting and make the people reading your story actually want to continue reading it.
I’d say…
(via pinkapplejamdreams)
As writers, most of us would admit to sometimes stifling our own potential because we’re afraid to fail at something new. In fact, most people can say that about their lives in general. But, because we are creative people, we have to expect more of ourselves than the status quo. But that expectation isn’t just limited to our lifestyles; we have to see new places, meet new people, and pursue new experiences—but we also have to push ourselves to try new things in the writing itself.
If you never experiment with your style, you’ll only ever be capable of what you’re already good at today. We’re hoping that you won’t be satisfied with just what you do well at this moment, but that you’ll try some of the following suggestions and push yourself to new heights in your writing…
(via writeworld)
The long-running, UK-based 2000 AD Magazine (home of Judge Dredd, Rogue Trooper, ABC Warriors - and who featured the art and writing of Alan Moore, Dave Gibbons and Brian Bolland during the 70’s and 80’s) has a nifty submissions page with concise tips on how to present your comic pages, as well as notes on staging your panel art and writing well.
Their Short Sharp Shocks submissions are also a neat little gateway for those who want to see their own short comics in print, and have their work scrutinised by resident alien editor Tharg! (As long as you enjoy writing about future dystopias! And yes, the editor IS an alien.)
- Leeann
How does it work?
(The color is by the amazing Jordie Bellaire!)
(via maisonimmonen)
Some tips from Directing Animation on working at home. Even if you’re not employed yet, these tips could help you with any art you’re making at home.
This would be useful for some? Gosh knows I need a routine to get my work done.
Perspective in Storytelling 0
This is the final (and introductory) post to my “perspective in storytelling” series! If you would like to link to the posts, either reblog this, or send them here. That link should lead to everything I’ve done on the matter. I’d recommend reading them in order—that is, earliest to latest.
I made these because I think that there are a lot aspiring comics artists out there who get advice on their work that’s bent more on accuracy (like anatomy or perspective) than it is on actual storytelling. This bothers me, and it seems lazy. Accuracy is so obvious…it’s much harder to learn the storytelling skills that accuracy should be serving.
So this is not a how-to…it’s a when-to: When to use certain perspectives or angles to serve which storytelling purposes. If you are confused how perspective works, get a book and read it! It’s math, people! And there are a lot of books out there.
Keep in mind I mostly explain how *I* approach perspective. That’s really all I’m an authority on…and there are so many options out there. So it’s my hope these posts will free you rather than create rules you think you need to follow.
Actually, what I REALLY hope, more than that you’ll use my techniques, is that my thinking will get you thinking. I feel so strongly that art can be analyzed, learned—even solved. I hope that comes through and becomes addictive.
Finally, if you enjoyed these posts, please spread the word. I appreciate your support!
(nabbed from James Sturm’s article on www.cartoonstudies.org)
Chuck Forsman and Melissa Mendes were kind enough to return to WRJ last week as visiting artists. They talked about their comics, Oily Comics, and life after CCS. During the Q&A a student asked what advice they wish they had heard when they were students. Chuck was more than prepared for this question. Here’s his response:
1. Never listen to someone giving you absolute advice. There is no ONE WAY. Pick the people you trust and listen to them. But do not lose a sense of yourself. It is always your decision. Ignore blow-hards and people who don’t know what they are talking about.
2. When writing a story, do not worry about how long it is going to be. No one cares. (Unless this plays into number 3.)
3. When overwhelmed by page-making decisions, set up boundaries. This can be a grid to work within, page-size, tool choice, number of pages
4. Serialization is not bad. It teaches.
5. You don’t have to make a “Graphic Novel.”
6. Stop thinking/worrying about your style and/or what it is. It will come eventually if you keep at it. (Ivan Brunetti said this to me)
7. Dead-ends are not a waste of time. They are very valuable. It’s okay to give up.
8. Write for yourself. Be selfish. Bury outside expectations in the ground in the backyard. Examples of this: your perceived expectations of readers, a publisher, a market, parents, etc.
9. People will respond to the work you have the most fun doing.
10. Be mindful of your health.
(Source: caporushes, via art-tutorials)
