Illustrated doodles from a coach/couch-sona within the furry/oc fandom. Along with WIP sketches and updates.
Neurodivergent memoirs included.
Story sketches, drafts, and captioned cartooning are covered.
I've basically written my first manuscript on my foolscap, all that needs is some love and care. Easier said than done! The articulation of ideas is done.
To dare to be mythopoetic, going through an existential struggle of becoming and see to it, the creative work must be worked through. That all the uncertainty will never go away.
No new shows, no new media, no new inspiration. Expiration and calling it. Done by the dot.
Alone, remote effective work is where it's at. That's the freelancers way.
The arrow that pierces. Copyrighting, the writing that rewards the attention the most.
Something to put on your pure ref, it helps you put focus. The rules of direct advertising apply to reference usage. They'll never be enough reference, as it seems.
There was a copywriters within this book who underlined points in a red pen, I added to it.
First Law:
Effective advertising is that which reaches, at the lowest possible cost, the most people who can and will buy what you have to sell
Second Law:
In the age of scepticism, cleverness for the sake of cleverness may well be a liability, not an asset.
Third Law:
E2=0
Fourth Law : (The call to action law)
Tell the Reader what to do
Lewis four laws of direct mail order advertising, that has carried with the mindset with the direct-advertising funded web will apply here. Writing direct. Not for literacy or poetic writing.
When you want to tell everybody, the house is burning down; works like a charm! When you want to be creative and longer, not so much. There is always a trade-off.
(Why do I keep putting up nobody wants to ready your S*** by Steven Pressfield.) Maybe I'm becoming an attention starved advertiser, for my character role. A copywriter, advertising model. It's certainly an empathetic exercise.
Does the original meaning of that quote mean, "Nobody wants to read your interruption." Because that's what the hatred of the interruption happens to be. They know it's a pain, yet they have to. To surpass that discovery of annoyance.
Perhaps this is all predetermined noise in my head for the next shot, At least this sensitivity to other's people time and attention has its uses. Understanding direct response and it's history.
Ouch.
If it was all direct marketing, interesting would cease to exist. It'd be pure interruption.
"We are going to make a viral hit this time, with reverse engineering everything, reverse engineering ourselves into lazy hackery!"
15 min
We need to go to the glorious age of reverse-engineering sh**posts, because no matter how well our ideas are made, it does not mean squat if it ain't published well. Which is all personality driven, not technical.
This is the age where technical competency is not necessary, yet idea competency, themes, and ideas that help. The attentional contest of getting the idea noticed in the first place is a way to understand.
It's highly recommended one figures out a creative way, by being generous and contribution into a community, BEFORE deep diving in these reverse engineering sites. Because the publication of it is an entire different beast. One does not need a tutorial to 'make it' online here, because the metrics are constantly shifting.
(Especially Search Engine Optimization, urgh.)
The reverse engineering of going viral is a precarious one indeed.
You know that can't be reverse engineered?
A good theme, a controlling idea. That's not what a market cannot predict. A theme that appeals to the market in order to get paid is gig opportunity, not a good theme. A point of view and art direction. A deep point of view and art direction.
Not all critics are going to agree, it's not going to pay off fully. Although, ideas worth fighting for never have.
Revision of this doing this for myself to analyse the steps, more notes.
I'm assuming who's reading this is writing commercial entertainment, if you're doing something literary works, I can't help you here. We are dealing with audience/market expectations.
That also means understanding genre.
These are structures; armatures; guidelines.
Or to put it more simply, to Quote this 53 min video by Patrick (H) Williams
"Observations on storytelling approaches that were reverse-engineered from movies that are widely considered to be satisfying and enjoyable."
There are plenty of writing reverse-engineering self-help books that have multiple interpretations of plot for storytelling, what's most important though is for your own point of view to shine through. It's what writers call a theme, or the controlling idea.
Let's look back again at the steps. This is all short-story writing.
Single panel panels with captions/word balloons
'Gag' strip formats, linear small comics.
Single page comic, of telling a story.
More pages.
Comic Issue
Graphic Novel. (Or a serial series)
Once is ready to take the leap.
Can you fill a Foolscap a story summary on the page then fill in the gaps?
What are your casting choices? (This is according to the arch-plot, Protagonist, Antagonist, and an ally, That's a small cast according to Ernie Bushmiller and Hirohiki.) Design from that small constraint, with extras made to order. Then, eventually, you can add to the character with his character sheet to see how they respond/react to scenes.
Roger Ebert's economy of characters applies here.
The casting choices can be more abstract if you're doing a mini-plot, or a literary anti-plot.
Illustrators wanting to be storytellers need to be able to tell a story, even the shortest ones. One needs to feel the genres of time.
If they cannot illustrate a simple story beat (captioned panel), Or a gag (Comic strip gag, or comic page.) Then they have no business jumping into an epic graphic novel saga, hoping for it to be serialized.
14 min video by Tim, responsible for the commercial endeavour that is the Story Grid. With the free stuff, it's worth it to study.
I don't think there's an optimal way for writing a story and expressing it. Once you've written a script from Writersolo, you will have to jump in, possibly with a developmental editor to help save time. Then jump in, seeking feedback.
It's a lot of work, so no wonder those hire those and art-direct, standardize and measure project scope accordingly.
(Oh, if all else fails, you could always explore the exploitation of means of storytelling. If you design a character for a tease such as superficial pin-ups and porn, design it for that, this is for more romantic or other story genres.)
That's it, all of this meta reverse engineering has its limit. Other than Read a lot/write a lot. Study Masterworks (good and bad)/Deliberately Practice Skills. The axiom still applies.
Developmental editing is a thing you're going to deal with making, either by yourself or by others, know when to turn it off at times. As Shawn Coyne says, though, the first rule of editing is that to do no harm.
Most likely from the similar Visual flavour word, from illustration, to cartoon to any other methods as one formulates and moves into the means of visual/literary expression. It can be hackneyed, or it can be unique, yet it's what it happens as one organized a project, be it small and big.
This is the style guide, one that can be written and changed and done according to one's needs.
Without one, it's a gig worker, where it's an all-service restaurant with no intent. It's all intentional design to make it for somebody.
Idiom
After the controlling idea/theme, after form. From the way the organization to help go into the undercurrent of subconscious recognizability.
It's important to consider it for the story and logic which it will follow. The hat that will go when you'll express.
A category of one can be found here, yet idiom ought to be respected. If one was to totally speak out of the vernacular they'd be unrecognizable, if too in, then nothing remarkable.
When Jaime saw those at that novelty store, he to go get the the show whats what.
Mmmhmmm
Can he squat 200 pounds in that? With that amount of suppot? Ones gott me arching that back, and strutting those quads. To ensure maximum leverage of muscle tension, inducing that hypertrophic response.
