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| Drawing form and pose, a book I'm currently going through. By @Tomfoxdraws. Unrelated. |
Building off this.
The first and foremost, writing is foundational for writing good illustrations and cartooning. Especially for comics. It's only as good as the writing demonstrated. To ease one into the process.
Good writing can carry a bad illustration, the illustration could only help in its description. Which is also writing contingent.
Impro by Keith Johnstone.
Fair share of agreements and such, him going into the nitty-gritty experience of writing is what makes it tough.
After getting out of art block, or going through its real fabrication. One must organize their schedule to fit in those long work hours. "It depends" matters so much to get those concentrated attention to work, without distraction to show the work one means business. Exploring the genre and making it better at the edges by writing better situations to put them in.
Always fall back on Gabriella de Rico's natural way of writing if one were to get "stuck" as it were.
Some of these recommendations reflect from this draftsman podcast. You can get the audiobook on. At a whole these have good advice.
Impro by Keith Johnstone.
Most storytelling is an exchange of status roles, within its reductionism. There are some exercises you can play if you'd like. The acting skills there can translate into the storytelling.
On writing by Stephan King
On learning the structure and anatomy templates for story. Stephan king demonstrates some way to begin, starting with a biography. Along with setting the physical structure for creation.
Fair share of agreements and such, him going into the nitty-gritty experience of writing is what makes it tough.
There's an audiobook version. Yet there's added tidbits added at the end at twentieth century version.
Nobody want to read your s*** by Stevan Pressfield.
May seemingly be tough love, Steven Pressfield outlines on writing classical western structure. From learning to conceptualize their way along with writing their way.
The Heroine of a 1001 faces by Marie Tatar
A complete contradiction of Steven Pressfields western templates and Joseph Campbell's hero with a 1001 faces. With a fascinating tale on gender roles. I found it autonomous that one can write, not really held back by the usual templates. Others succeeding without them.
To finish off, there's a podcast of Making yourself unpublishable by Colin Broadmoor, a dismantling and examination of the methods writers use, I recommend it. About the play between business and art.
It's all about appealing to the smallest viable audience, or 'sickos' as he'd like to call.
It's all about appealing to the smallest viable audience, or 'sickos' as he'd like to call.