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.
The erotized wish fulfilment has its limits, it's all part of understanding it for better taste.
Now for a book, Chuck Palahniuks Snuff. A story of a porn actress doing with a ending that feels like an in-joke of anybody into adult entertainment will get. Postmodern in its naughtiness. Its ending is an incomprehensible explosion that I won't spoil.
I'll devise the burlesque as the opposite of the slice of life. It's a non-genre of content that's more a style rather than a thing of itself. Its non-narrative touch means it can only attach to other plots in hope of supporting.
Its theme could only function as a support, yet it can't really support itself. It's simply explicit material on the contrary. We return to the intensity as a means to pulling attention and keeping it captivated.
Once could try to do a scene-to-scene analysis of Kim Kardashian's Selfie book, It's pretty much not what's intended though, ain't it?
A grade of progressive complications.
Slice of life non-genre marketing genre as been a marketing gimmick as a backlash of the 90s entertainment, it can only attach to romances and other non-violent genres of stories. It is the middle is what Alfred Hitchcock's 'Slice of cake' something the respects the entertainments' genre, it does its own thing though. The burlesque, could leak into dopamine culture with bad taste, the explicit could try to claim it's tastefully literate, yet lying about it could be a mere indulgent tease.
Several minutes of what not to do with a fetish/sex scene. Several years ago.
1:11 of the most jaded definition, with not much principle of charity applied. I like em both definitions.
The law of diminishing returns must come when it's with ideas that become the middle and then at the edge, it's a dance that must be taken as part of the deal of what it means to be creative.
It's that time again, where the term of edgy is brought to court the necrophiliacs of whatever, those who are jaded with the genre's mediocre expressions. Now, that this is the period of novelty burnout is something to be predicted on the state that attention needs to be refreshed on new stimuli.
Cussy man makes cussy video on the cycle of what all this cool hunting hammer, of cool commercialization, rebel to normalization then out again. 2:21 Did I recommend the documentary The merchants of cool? 58 documentary.
All those notes, getting reduced to a singular point. Some of them are.
"None of it matters if you don't TURN scenes"
"The most important and least important; writing"
They all centre more to writing as the wash of artistic techniques are merely that, tools. The how of displaying a service fades in the comparison of the why. The how of hackneyed displaying can't compare with a clear, driven point of view that transcends our visions to new aesthetic heights and edifying inquiries.
Into a funnel of points of attention and writing down, where the clearness gets clearer, the help gets seen, and the real is even realer of sensational uncovering.
There's another time where I throw my notes into the bin, with a crisper vision than before. Maybe they will be no notes.
Gabrielle's De Rico's book had something regarding character development, regardless of how unintentional. It's the treatment of the mind as many minds of conflicting voices. The development of dialogical and multilogical voices that chant and ricochet out, onto the page of expression.
These creations are a gushing of what came before, designs into a signed taxonomy of category do they fall from such little brain branches. Then through such an inception the solution that was laid before me.
This a nuanced me, more separated with conflicts, consistency, and tensions. With polarity circling as with the interests, bring together new character moments.
New character moments that I'm addicted to bring into storytelling scenes. It's inevitable that some of these ideas are going to be cruft, yet that's how creativity flourishes.
Endeavours that branch off to find what's worth posting. This is the A priori uncovering, that's what happens with the crossword.
Susan Haack, and Ernie Bushiller have done this thing with starting a project as a process. I find this methodology of creation a way to applied method.
It's the creation of a few dots around, forming the squares of what is completed. Clues that are discovered via the mise en place of the prior knowledge, newly constructed meaning though the puzzle of uncovering.
Shapes? Words? Bubbles? It's going to start somewhere. Merely with the pre determination of events that what is summoning comes forth. Mistakes unearthed, paid attention to, then left to the next thing.
All this internal passage of time is used out, through the many points of stream of consciousness, out with semiotics, design with varying degrees of imagination.
Done, no regress now it's shipped. The inverse tabula rasu of organized ideas formulated by the journey is revealed.
This push of advertising is unearned attention, it's the hyperbolic that makes e2 = 0 breaking sales copy. With the boy cried wolf.
Unearned urgency, asap language as been appearing through the microblogging, and it won't be going away. This is the sidetracking off.
Of the direct response model.
The moment of a hobby to a profession, with the understanding of marketing, bookkeeping, job management, contracting, delegation and endorsement. All for a commitment.
That urgent wish with the push into the direct response, making it an emergency, does not urge direct response. It can cause less. Only the with a whisper can it push the strings of tension with the call to actions can lead the prospects to other side. Being honest with oneself and towards the others, because in the creative fields this is the stuff that won't pay off.
Resist with it and focus on the creative part, that's where the validation lies The numbers and metric will follow.
Emergency? Don't skim over the primia facia impression, make sure it's proven on first impression. Is it really a crisis?
What's urgent, what's important? That famous distinction.
The unwrapping of trauma into a writing it into form is going to be tough.
11 min.
Going to have to be wanting it to describe a memoir that's important enough, only if it's out of here will I know of its importance to describe what's worth. Memoirs ain't the time you've been blocked from throwing a tantrum, it's a scar that once pulled. It unravels with pain.
This word came up in my journey of writing its way. With this need of articulating all the words out certainly is an opposite of what is called a writing binge, or a writing jog.
This could be an obsession, perhaps derogatorily applied, but not today, as it's a way to bring the ideas out onto the page.
Although some need of being important to others, and organizing it into eloquent phrases makes it all worth it. Anything that detracts from that term fits Graphomania. Or a hobby.
Found a gem of knowledge. (with all the calls to action) and without that useless maxim of showing and telling! Correct me if I'm wrong.
13:00 min on project scope
Beats that want to be scenes, scenes that want to be sequences, sequences that want to be acts that want to be subplots, subplots that want to be the entire story! This when the excitement of the project supersedes the prioritization.
When the beginner starts cartooning. That's the sync of writing and illustrating. With how much writing can apply to scenes, those scenes need to be illustrated or skipped. Naturally, the inclination can be more, instead of better.
A look it as a face, to a way of a hero's journey.
Some meanings are glossed over, I managed to get through it though.
It's a book, one diving into what is seen as cosmological yearnings, diving into the subconscious and making it all weaves together with tales of going out.
This mythopoetic take on what it means to tell a story. With a nuclear unit, that passes to the teleology of genre storytelling. Surpassing all literature and commercial endeavours, to the big unknowing and the beyond. It's been, what is to say, spiritual. Codified into a praxis for other writers and storytellers.
It's got mythological, mythical literature up the wazoo. Am I consciously hitting these cosmic keys. The key to unlock all storytelling greats yet not so.
Directly and at the moment, no, our in-the-moment minds are taken aback. Making bold claims to our specie's intent and desire to write and create.
It's something that's been constantly recommended by editors and entertainment storytellers, I now get it. In a basic, rudimentary sense, as a means of motivation.
Many an artist have not followed it tough, and still became successful. It's a got anthropological samples of stories all around the world. Particularly the chapters on sex could be questioned.
Of Odysseus from Aristotle, it reflects ultimately from the western view of storytelling.
Not so sure if I'd recommend this on storytelling, as much as I do on the story grid. It's one of those backlog books which has its information/cheat sheets provided online. Useful if you want it to be.
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.
If people somehow magically made a living being authentic, telling it how it is. Ignoring artifice of the industrial market for the sake of authentic theme. There following is built on naivety.
Professional work schedules and their territories must be honoured.
4.40 min
Not having a solid theme and clear and forcible direction with the work, without a solid theme, aimlessness happens.The maelstrom of enthusiasm of life can one lead towards off-course to the amount of budget one can spend. One will have to go back to theme, (write it down) and genre to keep coming back and adding to it. Yet authenticity is fine, at least if it ain't an excuse.
Distracted an on a whim, that's not how these bigger projects get done.
A side on work, leaning into what works with genre and theme, can lead towards hack-work. I know, yet this research within what works allows one to take up the reigns with the priceless gift of a creative deviation, and lead those who haven't made into the trip, into something new and sublime.
Remember the makeup game of telephone? It's a bit like that, the telepathy is impossible, yet is communicated through a medium.
Steven Pressfield has this exercise in “Nobody wants to read your S***” This is reiterated here. Communication is a medium, we should learn what that medium is for.
Imagine, the unfazed customer. Who had to go through thousands of ads? Having to interrupt his train of thoughts and effective work hours, all to see a message from a random onlooker.
Why are there right to use that ad blocker? What can you do to serve behind the cynicism and scepticism they have to get? That feeling of that position. Unreciprocated; to reach.
There own living they have to compromise to take in your idea, the delicate opportunity cost. The overwhelming inundation, the neuroathenia. Why they don't pick one for the time and attention, all the burnt outness. All of it. The years of misdirection, now this is the one that they should vote with their feet and business transaction?
This gift economy, unmeasurable and priceless.
Direct advertisers understand this priceless gift of attention, to trust. It was differentiates them from a brand. Not all call to actions are bad ones. With Occam razor applied, and to be told what to do.
Even if one were to come to peace with this contest of attention, people need/want to make a living at varying degrees, what gives them the right to focus on their eyes? The call-to-attention of the brand, and the call-to-attention of a direction.
To pierce with a direct seeing, that's the worth of direct selling. To know when to do it. If it's all unmeasured brand marketing, then it's selfish, it's fine for the amateur. Not the professional.
Pass onto the other side, that's the beginning of a good customer-to-business relationship. Or at least for something on a reciprocated benefit. Charity, fundraising, pro bono work don't apply. It can be a one-sided commitment.
One-way street. The narrative will have to be dropped and reshaped in order for the reciprocation to commence. The direct-market top line thinking, albeit uncreative, can have its uses.
For the empathy to work.
The worth of the idea, ≠ in its ontology; its discovery. Where the advertiser must see the world within the realms of discover to make it for somebody, for the target somebody artlessly. Anything that draws attention to itself and not the thing it advertises, is unprofessional. To reward it as priceless.
Books that form coherent meaning of knowledge, that fill up empty gaps.
Books on my scruffy couch.
My study on reverse engineering books continues. Connections of themes and concepts begin to come together and correct new meanings from the ideas.
Direct mail copy that sells! Herschell Gorden Lewis
"I follow a different cry, sales are all that count, any other scorekeeping technique is Ego-driven." - Lewis quote of the Machiavellian transactional world view of the direct marketer. All that hustle to make a number go up.
What a world-view of direct response and sales. Of what was once, a bally.
Where did direct marketing come from? I've got a hunch it came from this definition of the word Bally in this dictionary. Capture the attention, respect it, then get the sale.
The most business blatant commercial propaganda book I've read, completely shameless in the craft of making one click. There's something to learn when it comes to force communication that is contrasted with the literary communication means such Gabrielle's writing the natural way.
Forget teaching the western way and the flag to the youngsters, the teachers of the school will have to give their students, and it will cut through all that business obscurantism that is within the modern world. Including how dysfunctional business models laid bare with their instructions laid out.
Interruption and direct advertising follow this, it's nice to see it, of how to write a direct ad, as compared to the mysticism of brand marketing.
There was an art form to this. Being direct, especially with a difficult conversation. To speak with authority.
Chapter four in nobody wants to read your Sh*t in concerns of writing advertisements reiterates the same theme of force communication with Lewis's.
A counterbalance to all of this is Gabriela Rico's writing, the natural way for a more literary, magical means of creation.
Direct communication and direct response writing has some remarkable craft that is to be respected, that ID-driven impulse marketing that's becoming less popular now on the internet. Handling the Limbic impulses of attention as with the more sustained attention impulses.
Could be argued to be too simplistic, it's done right though with respect. Force communication gives an important lesson to the artist even when he does not want to use it, to respect the time and attention of the audience. Well, well crafted direction, that is.
Attention/interruption>Purchase/education/permission>word of mouth>sale =Direct marketing. Magic = Brand Marketing.
20 Master plots by Ronald B Tobias
One that goes with the story grid with regard to patterns within storytelling, character driven and plot driven. Giving some basic structures and plot for a writer to place his knowledge within a coherent structure, can be read after the story grid. These storytelling patterns will show up and be seen, and emphasizes predetermined casual relationships of narrative elements. All to make a thematic point.
These plots, with different with the author wrestling with what makes a plot and what it does not, go to the heart with the conversation of what makes a story. With the categorization being ever-shifting.
Did not agree with the example of between a rock and a hard place, yet that's here and there.
Rework by Jason Fried, David Heinemeier Hansson
Up-to-date reverse engineering of scientific management. For freelance and entrepreneurship.
This self-help book (i mean in a positive sense here of generalised advice). A coffee shop tidbit of blogposts in the typical variety. Not any, though, it's of business.
Not the worst of professional pursuit advice out there. Rather decent in fact. Continuously, we apply measurable productivity to our priceless, decommaditized gifts.
I tend to be within the “Watch your living, or somebody else will” camp, I know it's not for everybody. Even if approached from a hobby, learning the business mindset of the bosses of advertisers has its uses; it allows one to see their manipulation.
The one on rejecting workaholism resonates, along with the hiring advice.
Couch Gregor can get tired, an edit, a perfect edit for this ain't the point.
Forgot my left eyebrow and scar, didn't I?
I came back to edit a pedagogy I neologized, knowing a creator cannot please every critic. (I wrote that I can please every critic at the time, my bad.)
Yet that's it, the point of this project is to get over the fear of making mistakes and following an articulative line of gifts that a professional follows, even not for pay. Mistakes are going to happen, then it follows that the editing the follows it (barring the time constraints.)
A requirement for this is to make it for another eye, that's the publishing gig place. Otherwise, it's all a private task done on a whim. The schedule needs to continue through all this cognitive cotton work.
Why three? The rule of three is catchy, even if different relatively in different cultures. It's been a rough rule within writing. I'm basing it off Ronald B.B. Tobias character small aside on characters within his plot book. ( Will review the book.)
Three main characters, the more main characters, the more there is to worry about concerning monologues, dialogues and trialogues. All concerning dynamics one must juggle in concerns of the relations of the story.
For this, Couch the advertising model, Jaime the agent, and Bobby the starter of golem job creation franchising.
Nobody wants to read your Sh*t by Steven Pressfield and The anatomy of Genre by John Truby. The Internet a-b testing, tempting me to skip to the explicit scenes.
We really are at the bottom of attention revolt and reclamation. As we get into the area of devolution of a-b testing. We evolve to find our literary roots, to take away for the crazy lottery bid.
We know it matters.
"Exposure" rephrased countlessly, with the engines of fomo for that live dopamine fix. It matters.
Exposure to an audience that will love and support you on Patreon.
Exposure that will burn one's skin if they get close to the sun, yet drown in the ocean below.
The drip of attention that drives direct marketers and celebrities insane.
"Hey, I'm the pretentious thing not in a clown suit"
When a journalist, who has its themes explicit due to its literary non-fiction with its target audience being the trolls, the non-commercial variant of the spammers. It's treading on dangerous waters of a capricious audience with an unpredictable attention reserves.
One is serving a very unreliable audience, with the waves of attention impossible. If anybody could handle them, they couldn't.
A very selfish, narcissus mindset where they serve only the bottom. To the primal limbic impulse of involuntary allure.
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.
