#It’s a very vague rough draft at best and I dont have a lot of practice in writing. It’d definitely be too ambitious in execution for me

[hylianane]

I was going to write this in the tags of your last post but i think it's important actually so I'm gonna send an ask

On a more serious note I'm actually kind of obsessed with psychoanalyzing Zoro specifically. Because he actually has some pretty big issues I think, mentally

He takes his self appointed job as protector of the crew very very seriously, and he's really hard on himself if he thinks he's failed in any way. I mean just look at him right after Little Garden, or how mad he is after losing his shadow on Thriller Bark.

So yeah there's nothing in that brain but swords and I fucking love that about him, he sure is sharpening them to an unhealthy degree isn't he. He's never strong enough, after all, to protect everyone.

I just,, really like combining silly ideas with serious ones, it's fun

GOD listen is 12:25 am but I just couldnt go to bed without at least STARTING to jot down my thoughts on this but like YEAH. for SURE. Zoro for all that he’s shown to be a pretty simple guy with a single-minded focus, has a LOT to chew on in terms of character depth and layers. There’s lots of fun contradictions to him too. He’s prideful and self-assured but also so often self-punishing, and he’s also someone who is fiercely independent and a free spirit, while having a habit of building his own identity around others (both his dreams are shared with others, they belong other people as much as they do to him and that’s a LOT to think about).

You may have actually caught me red handed here cause that ‘Journey to the Center of the Mind’ story concept maaaay be kind of something i’ve played around with for months now. I think I once tried to write out like a basic premise, but the only thing I really remember is is wanting Luffy to be the primary person to undergo the journey cause. if every Strawhat was present it’d feel less intimate, less personal, and I feel like Luffy would want to explore Zoro’s mind alone to preserve his privacy. Unaware that he’s the person Zoro has the most to hide from. I think the levels of Zoro’s willingness to put the Strawhat’s well being first has the potential to truly frighten him, if the visuals Zoro’s mind provides him are right.

[kindred-spirit-93]

watch me wip, watch me nuh uh

excuse the awful title lol, but i was listening to the epic version of the arab nokia tune and not only does it slap, but it made me think of a very rough draft of a concept idea for a wip i had a few years ago

i hopped onto tumblr to ask a few questions and get some insight, but in the process of mentally making this post i decided i wont be able to achieve what i want the way want (in the forseeable future at least) so im discontinuing something i havent even started.

thank you for coming to my ted talk :D

curious. i like u. anyway heres what could have been if i slayed as the kids say:

the idea was a fantasy (maybe even futuristic) novel set in a place heavily influenced by the middle east and the regions history, cradle of civilisation and all. the concept idea was for two kingdoms whose rulers where raised as brothers and are very close fall into discord and disharmony after shadowy shapeshifters (bad guys) of another realm sought to divide and conquer the kingdoms and seize their assets and domains (wow this is less subtle than i thought lol)

its up to the two crown princesses of the kingdoms to uncover the evil plots schemed, weed out the traitors assassin style or sum, and reunite the two kingdoms before its too late. all of this of course while they are the most wanted on the planet. girly things amirite

the world building is very shaky and i dont have the patience nor the braincells to spare to really sit down and come up with something, but the idea was several realms that 'represent' (dont laugh at me) the primary & secondary colours, and each one has a bunch of domains that include an element and an area of knowledge, but with time and a few other factors societies merged and theres a lot of diversity and multiculturalism and its all wonderful and awesome till disaster strikes and its used against them.

for example unnamed kingdom one is the biggest producer of minerals and grain, the main colours of the kingdom are gold and green and their domain is agriculture and languages (idk dont ask)

whereas unnamed kindom two is more celestial and astronomy oriented, with colours being navy and silver (or bronze now that i think of it) and its domain is scroll keeping and cartography

now with the passage of time and the rise and fall of dynasties and all that jazz, the domains are much more mixed as a reflection of the developments of the societies (primary colours becoming seconday and tertiary and so on and so forth), many city states specialising in one area of knowledge are grouped under the rule of a kingdom. essentially the world is a big beautiful tapestry :')

like for example a kingdom being home to the worlds biggest trade route and being a melting pot of cultures and tongues and faiths, has no specific colour; all encompasing and its glorious (idk how much it fits in the current timeline & narrative but its something)

again i dont have much world building down and what little i do is very vague lol, but thats the premise. the two princessess as of now belong to these two kingdoms and are bestest best friends, mirroring the epic bromance of their fathers before them lol. they are different in nearly everyhting but they are two halves of the same soul (platonic soulmates lets go!) and fiercely love each other >:D

so yeah. 2 princesses join forces to overthrow the ultimate evil and be the awesome kickass bff queens that they are. friendship (maybe more?) saves the day and reigns supreme as it so often does, but this time theres badassery and murder involved. dark stuff and fluff too

im hesitant to put this idea up for adoption bc a big reason it came to be was me being sick of all the gross stereotypes and tropes of everything ever manufactured and perpetuated by the west and me selfishly wanting to be represented correctly in media, esp original works, so im leaving this here in a sort of grey area i guess.

suggestions question thoughts ideas asks welcome! please be my guest ^-^

[aohendo]

ello

i have a question actually if ya dont mind, how do you go about writing? just like in general, do you start before having a WIP intro, how soon do you start talking abt it/writing it, how much do you prep, literally all and any advice would be appreciated tysm <3

Hey, buddy!

I'm gonna preface this with the usual disclaimer of "what works for me might not work for you because human brains are squishy and cool" and all that good stuff. Pick and choose or completely disregard, as with all writing-related stuff, the choice is yours!

This is long, so hold onto your boots and here we go.

The concept stage is normally pretty straightforward for me. I'll be trying to take notes in class, at work, whatever, and my brain'll wander off and go "okay, but--but what about a giant pack-moose?" and bam, off I go (re. Prince for Hire). In this stage I'll normally develop the main character(s) or the situation/setting--whichever the stray thought fairy didn't grant. That'll usually take the form of scribbling out a few characters' names to get a sense of the time period/language-base (Kiris was the first character, but Iiriok Nelovskevouk of Dargoulvga was the first named character, and his name accordingly set my naming practices for the Novgor Plateau). If I had a character first, I'll come up with a setting/situation I think would challenge them. Once I have an idea of a character and situation (and realize, when I say "idea," it really might just be a name) I'll scribble out a page with that person/setting. So, for Prince for Hire, that makes the first scene I ever wrote for it Kiris escaping in a queen's bathtub across a giant lake because the queen just discovered he was a conman. Did I keep that scene? Myeh.

Nominally from there I'll try and rough out a plot. Having spent considerable time reworking Attenuate/Reverberate because I didn't rough in a plot, this is the one step I really would recommend you consider doing. By "rough out", I mean I came up with a few vague plot points. For Prince for Hire, there are only four I'm working with: 1) Kiris enters the competition to rule the Plateau; 2) Kiris teams up with Batar and eliminates the competition; 3) Iiriok is accused of being an imposter, convinces the empress otherwise, and Kiris volunteers to help Iiriok find the imposter; 4) Iiriok wins. Not much of an outline, really. But I've found that if I try and get any more specific than this, I won't end up writing it because I'll have tricked myself into already knowing what's going to happen. That said, I absolutely recommend you choose yourself a favorite plot structure (Save the Cat, Three Act, Five Act, whatever) and keep its major scenes in the back of your head. Vaguely adhering to a structure will make drafts two and three a helluva lot easier.

Once I've got a vague direction for the plot, I'll jump in and start writing. I personally use Word with default settings, as that's what I've been writing in since elementary school. I try and start near the front of the story, not caring much about the opening chapter, because I figure it's free words and the opening chapter will change. TBH not worrying about making the opening chapter at all remotely interesting helps me make everything behind the "opening" interesting. As I start to figure out the characters, maybe doing some more worldbuilding on the side, scenes I actually want to write start rolling in. I'll divert to go write those in what's usually a separate document (like an AU). After about 10k in the original document, I'll have a pretty good idea of whether or not the story is going where I want it to go. In the case of Prince, it wasn't, so I shelved the very first attempt at it and then started adding directly to the "AU" doc with all the changes I wanted to make.

I find I write best in the mornings or the evenings, and that afternoons are slow AF unless there's something else I should be doing, in which case, we're good to go. Depending on how fascinated I am staring at the blinky cursor, I'll handwrite. Handwriting for me also works well because it takes effort for me to read my own handwriting, so there's no chance of self-editing while I'm going for it.

On the topic of self editing, for first drafts what I like to do when I know something is going to need reworking, or need a hint input before, or is missing something, or I just really want to skip to the next scene ('cause again, I prefer the linear thing when possible), I'll stick it in <<>> triangle brackets. It's easy to search. Some people I've heard use a word, like elephant. Others use square brackets. Whatever shape you like best, just the key is that you want it ctrl-f -able. Putting things in brackets makes it so editor me doesn't butt in on creative me's time. It's gotten to the point where I even do it while handwriting, as a note for when I type it up to consider dealing with it (or, again, pass it off to draft two future me. I owe future me several coffees for all my little <<triangle notes>>).

Somewhere in here I'll try and come up with a synopsis type thing. TBH these usually turn out more as query-letter type things for me, but whatever. That's what the WIP intros for Attenuate and Prince for Hire are. These I've found help guide me, and keep in aligned with the general tone of the piece. If you'd like, I'd be happy to try and wrangle up the advice I used for writing those.

If I realize I'm having some trouble wrangling the character (mostly apparent to me by the 15k mark), I'll pause, break out the notebook, and play arm-chair psychologist with them. What I'm looking to find in these sessions is a version of the classic "goal-want-need." I don't like being that structured though, so for me I go with Goal 1&2, Surface Belief 1&2, Actual Belief 1&2, and Need. At the bottom are the pages I did for Madison (Attenuate/Reverberate) and Kiris (Prince), and what that looks like in my OneNote. Their need--and the beliefs they need to overcome to get there--will give me the overarching emotional direction of the plot.

TBH I'm pretty sloppy on my worldbuilding. I usually figure it out as I write the first draft. Did I know that tea was going to be a very important, entirely truthful ritual for the princes' competitions? Nope. Not until I needed to kick the plot into gear and hit Kiris with the inciting incident, then bam, Prince Nazvili was ordering him to tea and he was freaking out because that isn't the way things are done.

Throughout this entire process, I'll also keep a running checklist of things to-do. These are things I'll usually <<note>> somewhere in the actual first draft manuscript, but which apply to the manuscript as a whole rather than that one specific section. Basically, if it's going to require a major change or continuity for longer than three paragraphs, it gets a to-do box.

Sometimes, I'll find that what I have just isn't working. That's what the "stuff I 2022" document is for! It's a hodgepodge of ctrl-x'd things from every project I've worked on this year that just weren't working in the main manuscript. Like a shipyard, I guess. All the words still exist if it turns out I want to add them back in or need to reference something, but they're basically in the recycle bin. The things added here vary in length from a sentence to a 30k segment (although the longer items generally only happen during later drafts).

Finally, the real way I keep the ball rolling? Work on it every day. Sometimes "work" will be that one miraculous 5k day. Sometimes it'll be half a word (actually though. There was one point in Reverberate where I just didn't have the mental energy to really work on it, so I tapped in the "Th" of "this" and that was it). Sometimes "work" will be coming up with characters, or figuring out worldbuilding, or dealing with some of the <<notes>>, or even just adding a comma. If it somehow progresses the WIP, it's work.

Anywho, like I said, that was long AF. I hope it helps, and never hesitate to ask questions :)

The armchair studies for Madison and Kiris. If you can read these, I salute you.

[image IDS: two graph paper pages full of scribbly handwriting. Both begin with Wants… Believes… Believes… sort of in columns. They continue, with white space, answering back and forth questions which grow increasingly personal. End id]

[blatherkatt]

i just started reading your blumenthal kids reunionfic and i LOVE IT! Its so good and so full of potential and angst and I LOVE IT!!!💞💞💞 The way you write Eodwulf is soooo good hes such a mess and so gay help him. and Astrid Omg... I cant wait for more of her i checked out some of your posts on here and shes just great??? You've clearly put a lot of thought into them with the child designs and stuff, did you have any major inspo for the two of them like songs or other characters and stuff???

hey tumblr dont…delete part of my answer what the heck

anyway!!! THANK YOU SO MUCH,,, ed ( @tactfulgrimalkin ) is the one doing the actual writing but we plan everything together and i edit and do artwork so he deserves lots of love for the great writing…i dont remember what else i had here before tumblr deleted it so i hope thats the gist of it 

eodwulf is a gay disaster of a bastard man and astrid is SO fun and im SO GLAD UR EXCITED TOO BECAUSE WE SURE ARE

anyway you just opened pandora’s box and i’m very sorry for the length of the rest of this answer but here we go prepare for some cursed content necessary to answer that question ( | ) w ( | ) it was a Wild Ride getting these two characters to where they are boy howdy 

so the thing is in order to explain how we created these characters i actually have to get into the origins of the fic on the whole because the two are inextricably linked, and also, the origins of this fic are incredibly cursed and you can send all ur hatemail right here go on blast us we’re ready 

but we were talking about caleb and how we’re both excited for whenever astrid and eodwulf turn up, and the thought came up for basically the rough skeleton of that scene in chapter 2: 

“hey how messed up would it be if instead of them both hunting him down like we’re expecting…one of them comes in with a huge savior complex and sincerely thinks he’s delusional and should still be in the asylum, how MESSED UP would that be” 

…and then shortly after that, this happened 

thats the cursed part dont say i didnt warn u but listen you know we’re right

also that pic of caduceus didnt exist back then i went back and got this screenshot just to share the curse with you all

ANYWAY

in classic us format we got carried away and eodwulf got slotted into the role of that scene in chapter two and his character was largely developed around that scene, like, what kind of person would still be clinging to caleb after all this time to that degree to make that happen? and what was come up with was an extremely avoidant person clinging to a fantasy version of things wherein they don’t have to fight

(eodwulf was developed into a Person before astrid, i should note at this point, and ed did most of that developing; i took point on astrid later on)

but around this time i went “screw it im gonna do some concept art we’re both in too deep now” so here’s some of that for u guys 

started with them all as teens and did a couple sketches as well as one of baby (well. teen. so baby) caleb/bren/we were calling him felix at the time as some of u probably already know 

first draft had astrid with longer hair than eodwulf lmao check this out 

flipped the hair length on those two which was for the best because at the time we were imagining eodwulf as a bit more mischevious which is another thing that got reversed over time now astrids the prankster and eodwulfs the overworked mom friend because bren takes astrid’s ideas and makes them SO MUCH WORSE but he still looks better with longer hair and then i played around w/ colors for a while and wound up w/ this

voila, the initial kid concepts, to which subtle yet vital changes were  made after time. if any of you are curious about if im frustrated that that’s still the best i’ve ever drawn eodwulf’s nose the answer is yes. yes i am. 

astrid’s hair is not messy enough, theres not enough freckles, and she does not look ready to fight the entire world for a dare. 0/10. 

anyway then i did adult versions which look WAY OFF NOW LMAO 

eodwulf with way too much beard, looking far too messy when he ought to look very clean so that he can hide how much of a disaster he actually is, and also a glimpse into the very boring Ice Queen/Heartless Bitch we vaguely had astrid as to start with. even more out of character tho is the earring, astrid as she is today would absolutely never tolerate an earring unless she absolutely had to, girl’s got sensory issues but she didn’t back then. ALSO STILL NOT ENOUGH FRECKLE 

anyWHO a while after this it was decided that eodwulf has ADHD, something both the authors have a whole lot of lmao, and that was the point where ed REALLY took off and developing eodwulf went out of control and we both went Well I Guess We’re Gonna Have To Write This At Some Point Now

and with that happening is when developing astrid took more priority i think, because man, at that point in the game she came way too close to that really  annoying trope that shows up in fanfic a lot wherein The Girl is A Bitch who is Getting In The Way Of ~*The Yaois*~ and thats like, thats bad. we knew from the outset we were absolutely not setting this up as a love triangle because we both hate those but even w/ her having no romantic relationship to either of the two, like…she was kind of just There and the one who was most loyal to trent (the only thing of her original characterization that really stuck, honestly) and sooo boring???? 

so like, and i say this honestly, i managed to COMPLETELY FORGET that “reverse sasuke” cursed comment from the beginning of all this and STILL go “well what if we made her more like caleb’s rival that’d be fun” 

and that’s how astrid sorta wound up accidentally morphing into the Scrappy Underdog of this anime trio and calling her a naruto analogue is extremely cursed but also not inaccurate tbh 

started out with the concept of her popping into bren’s window because she heard they were doing magic and wanted to learn it too and evolved from there; we decided that she was gonna be neurodivergent too but, hilariously, initially that she was “the best at pretending to be neurotypical” (WE COMPLETELY REVERSED THAT AND IT IS FOR THE BETTER. SHE’S SO MUCH MORE FUN NOW) and made her also autistic because it one meant she could be like SAME HAT at bren really hard which’d make her feel more like part of the group instead of just the odd one out, and two because it fits with the whole rivals thing

branching off of that we made her just. INCREDIBLY direct. like. astrid’s thought process is “how can i accomplish what i want accomplished with the smallest number of steps? what are the consequences of doing it this way? do i give a shit? no? im gonna do that.” 

(which is why she climbed a tree to get into bren’s attic instead of using the door because that way she just completely skipped having to convince his mom to let her in)

i cant get into it much here because so many spoilers and we’re gonna explore it all, but like, astrid’s backstory turned into this exploration of the intersection of sexism and ableism especially as applied to a medieval-esque society in which the word “autism” doesn’t even EXIST and in which a convenient double standard exists Right There in the form of bren and like,, its gonna be good guys im excited for it 

as far as characters tho she does also have just a touch of Vimes from discworld to her, albeit like, she’s lawful evil to his lawful good, but she’s got the same tendency to stick REALLY FIERCELY to the rules that she thinks are important, even when they inconvenience her, even if it’d be so much easier to bend them just this once 

and for songs i cannot link like any astrid songs because they all might accidentally give away so much BUT I CAN LINK AN EODWULF SONG 

this one was HUGE for him 

uhhhh i think that’s everything i can think of that we can say right now unfortunately so i’ll end this with a comparison to the current teen designs we have now that are being used in the actual fic, even tho im not fond of how bren came out in this picture, but like, for the sake of comparison 

lets see how far we’ve come 

I N C R E A S E    F R E C K L E 

[tanoraqui]

Note on Responsible Fandom-ing

TLDR: Don’t tag original content creators in your fanworks based on their stuff until you’ve very certain that it’s okay for both of you.

Long: You may notice that I just posted a fanfic and tagged the author in it! “Isn’t that a dangerous push against healthy and absolutely necessary boundaries between fan and creator?” you ask? Why, yes! Yes it was. Fanfiction in particular, alas, is tricky, because copyright stuff can get much messier than with fanart or AMVs or whatnot.

Things I did before tagging that author in that posted fic (ie, deliberately drawing their attention to a specific fanwork):

Casually posted the base idea, and the author publicly asked to see it as fic. This is key. I would not have done any of the rest if they hadn’t already expressed interest in seeing a fic.

We have a mutual friend who deliberately does not read fic for this fandom because they sometimes reads the author’s rough drafts, and, like the author themselves but less (I assume) legally constrained, does not want to mix things up in their head. Paying heed to the “cracktacular enough that I can read it” [emphasis mine], I asked this person if they could at least screen my fic for acceptable levels of crack.

I’d written the fic, and was going to post it, but I wasn’t going to tag the author in something they couldn’t risk reading for legal reasons.

They agreed, and said it was probably cracky enough, but they further described the fic to the author themselves in vague terms so as to confirm.

Author confirmed. Friend passed it on. I done posted that crackfic, and tagged the author, with a link to the original post.

BUT…I'm not sure I’d do that again.That basically writing fic on request for the canon author. I’m delighted at the chance to give something back to a writer I admire in exchange for all the joy her books have given me, in a way that is itself an expression of that joy…but I don’t like how much I found myself hanging my hopes for this specifically on her attention and approval. That’s not what fandom should be. Original canon creators should be incidental. They can drop in, say hi, shout encouragement…but they can also discourage, disdain, and we all know that’s a) bullshit but b) disheartening anyway. More dangerously, they limit, even with the best of intentions. It’s hard to blithely headcanon when the author is over there confirming or contradicting things. It’s hard to create smut or, like, explicit torture art when you know the original creator of the characters might see it. (Even though all varieties of sexual and dark content are VALID AF, with the right content warning tags, etc etc. But, you know, societal taboos are a thing that affects us all.)

Also, flip side: writers/actors/etc of original content don’t have the time nor often - as discussed - the strong advice from their lawyers to see everything we want to show them. We really are not entitled to their undivided attention. Again: I would not have tagged the author if I didn’t already know they were interested in this specific thing.

It’s hard. That approval tastes so good. And you love their thing, it’s literally inspiring, and you want them to know that. But there’s gotta be boundaries, or things get Weird, “rights” to “control” “canon” become a clusterfuck, and hate mail happens everywhere. It has happened before and it will happen again.

So I have deliberately not tagged not even named the author or fandom. This is a broader issue, and also this way, the author is in no way pressured to interact and things stay generally impersonal. They might see the post - this particular author follows me, and frankly you reading this quite possibly see through the vagueblogging. But I have chosen not to follow back, because that helps me maintain the illusion that they’re just, like...a particularly big-name fan. And that makes it a lot more comfortable for me to post about their books.

[unproduciblesmackdown]

hey man your comic stuff?? fucking amazing do you have any tips for a novice child artist such as myself

hmm!!! thats a good question if i have any advice at all…i dont really draw things in comic form that often because of how slow i am…its a whole project for me lol

also natch im just an amateur at all of this vs people who like…pay attention to how to do things really well and/or draw comics on a regular schedule &/or get paid for it and all. so seeing this i was immediately trying to think of like, advice ive seen from random professionals on twitter & stuff & i’ve tried to moreso shake it down to the stuff I’M actually doing when i draw a comic. which is a bit tricky because of my small sample size & the fact that i dont have any kind of consistent process or technique unifying all the comic-type stuff i draw

like sometimes its just a few floating sequential drawings and other times is definitely more like, really thinking of it in terms of how i’m going to structure it in Comic Form & use the format to adjust my presentation of whatever idea i have

like i know ppl whose Job (officially or just by their own standards) to do a bunch of comics pages will do a script of scenes to decide what goes on what page and sort dialogue / action into panels & describe how things will look etc…and then do like maybe really rough layout pre-sketches, then the first rough sketch for a page, an optional more cleaned up sketch layer on top of that, and then the final lineart

i sorrrt of do a version of that, in that i am generally sitting on a Comic Idea for a while before i even start getting into the business of thinking through how it’ll actually work. i have to make sure that im “committed” enough to the idea to wanna make more than one drawing for it, and that i think i have at least a vague notion of how i could put it into a comic. sometimes i DO end up just putting the notion into a single drawing or condensing it into like, 2-3 lil floating drawings or w/e. coz a lot of the times the idea starts out really vague, often with one “moment” that serves as the whole inspiration & that i then try to build a scene/sequence around….a lot of the details beyond that can be really vague in my mind, like the setting or dialogue or who’s involved or what happens or the pacing or extra events or etc…basically Everything is real amorphous for a while

so yea step 1 is me having this one idea and trying to decide if building a scene around it would be a better way to present it vs just having one drawing, & if i think i can actually effectively carry it out….which is in reality even less fancy than it sounds…i just sit on an idea for a while & never get around to actually focusing on it / putting down any of the thoughts abt it that im formulating. but the upshot of me putting it off for forever is that i do end up with a kind of mental script / layout for a comic before i start it…..but even the extensiveness / format of these unwritten scripts varies a lot for me

like, a few times when i have made something that’s maybe longer than just one page &/or something ive been mulling over for an extra long amt of time (which tends to be stuff that is starting out w/ heavier than usual ideas) i’ll like, actually write down what happens page by page, even plan out specific panels, maybe even put down a few rough sketches of certain parts. i’ll have the Main Moment which is the idea that started the whole thing in the first place, but what tends to happen is i’ll come up w other moments that i think could lead up to / frame / follow the main moment, and i pretty much just decide how they all fit into one cohesive piece. so what my “rough drafts” look like for these more extensively planned ones—still really not that exhaustive, i only put things to paper when im basically done enough w my ideas to be just about ready to start actually making them—can vary in their actual formats (e.g. simple chronological bullet points of events, a few drawings, a rough sketch of how the whole thing might look), the core of it is basically just me finding a way to nail down how i’m going to arrange the Moments i have and how i’m going to lead one into the other…….like for things with enough pages / panels, i’ll tend to focus on which Moment will end each page &/or each line of panels, then have an idea of which other Moments i’ll need to put on which of those pages, and kinda figure out how to pace things

again that all sounds like maybe i have a real process…..I Do Not

im kinda lucky in that i think i have a decent sense for composition without having to struggle over it too much. so a lot of times i can leave a lot of that up to be felt out as im actually doing the rough lineart for the first time. i also often don’t nail down panel arrangement that carefully & also make it up as i go along a bit, which is probably not something anyone should emulate. someone was saying something about how some certain page layout of like, 3-something-something panel rows looks best, i dont know. i’m guessing, as with all things, nobody can say “always do this / never do that,” but i think staggering odd/even numbers of panels in each row is always a good guess. just makes it easier for them to read more distinctly at least, surely

sometimes i DO think about certain panels when i wanna frame a certain “shot” in a very specific way. but im just kind of doing whatever. i know vague rules like that wide shots / negative space slows down the pace, vs tightly cropped / small panels / packed w a lot of visual info tends to read as a faster pace, more chaotic. i dont quite go too wild about that sort of thing tho, because for me as a reader, a lot of times really tight shots that are like cutting between 5000 different angles rly fast all in a row, sometimes it is absolutely unreadable to me, as in i do not understand the visual info at all. it feels like the equivalent of how action movie editing keeps hanging on to the “incoherency = intensity” vs just me tuning out until the scene is over & missing details b/c i just am not getting anything out of it

thats not much of a factor for me coz i dont really ever do things with extended sequences of movement / action or whatever. i’ll keep things in one place. i’ll like to do smaller, “quicker” panels moreso to like, show simultaneousish details / to extend one moment…..occasionally i do Big Panels for a moment of higher intensity / impact too. btw putting a High Intensity moment in a super tiny panel is always really funny for the contrast of it all. i dont think ive ever done it, but it is

ummm…….also planning where your speech bubbles will go is good. i dont do that enough, but i should. most of the reason i dont have a more proper, organized process to anything i draw is that i just dont have the focus / patience to slow down for More Planning vs just going ahead and drawing it. jokes on me, since some quick vague planning can make it a lot easier on yourself vs just diving in and struggling w something for ages

uhhh also since im not that fantastic or mindful of panel layout? sometimes i’ll make a point of just having uniform rectangle panels of the same size/shape, so i only have to really worry about the layout within the frame. this is mostly good obv for things with not that much shift in pacing throughout it or action or whatever…you lose the advantage of how panel sizes can affect the tone of a shot or something & probably cant get that detailed in ur drawings but that is often Fine By Me

when i do use the uniform rectangle structure though, i kinda have to focus more on each individual panel, vs like, knowing ok, these three moments are going on this page, i have a vague idea of what’ll connect them, just make up the individual panels as you go along. this does mean that i have to kinda think more about what justifies each panel….how its different from the ones before & after it or how i might want it to be similar to “hold” a shot for a beat or w/e or draw focus to a small movement, what’s actually going into each panel, if i can/should condense two panels into one, etc. its still a lot of playing it by ear, i dont have solid rules of how i think i should do it each time

even when i do have a like whole plan for something im drawing i’ll often make more changes as im actually making it. sometimes its deciding something would be more effective, sometimes it’s just “hey this would work too & be easier,” and thats definitely fine. nobody knows the change you made, and Easier isn’t necessarily Worse anyways. convenience is good where you can get it

ive also definitely had specific comic artists formatting/framing styles in mind when i specifically wanted to use that while drawing my own stuff. like the way i’ll draw maybe a kind of horror vibe (more diagonal lines / “fractured” panels than i’d normally use, quick tiny shots of different smaller details, that kinda stuff) is gonna be different from when its a calm & quiet tone. where i dont really get too creative with the panels really & keep them pretty steady

and then that one time i did a largely nonsequential sort of panel collage b/c the marge simpson anime gave me great inspiration for how to combine & present a bunch of vague notions i had floating around all into one page. it was a good accomplishment & thats unsurprising because the inspiration i was using was That Good. thank god we can all benefit from each others good ideas and knowledge & work & all that. it does help to jump on a feeling of “wow what a cool comic i wish i could make something like that.” just go ahead and make something like that…

ummm this is all on the technical side-ish still but i dont really know what to say abt the kind of stuff that makes me wanna draw a comic in the first place vs just putting the idea into a regular single drawing…usually it Is kind of a more nuanced moment that i think would be better presented within some amount of context and buildup and all that. i basically exclusively draw emotions….and sometimes theyre better shown with some amount of action/dialogue, or at least a few different shots or something. i dont know if this area is helpful information or anything anyone would benefit from knowing about, or even if i have anything to say about it…is it all self evident maybe? idk! i do think i communicate emotions best through comics…not that each one is “here is my mood!” or talking about me at all, but i was for example trying to communicate about an abstract emotion, i think i can draw about it better than talk or write about it or anything. i DO sometimes draw more directly from my own specific feelings/experiences for things, but mostly when i think it can be relevant…i cant really do anything all that directly autobiographical, even casual diary comics or whatever. thats what my text posts are for… but i have been interested in how to convert these huge emotional issues that i’ve been v familiar with into a few pages or panels and how to present its impact in the simplest, straightforward ways i can manage…sometimes i think its worked for sure…..i feel like i gave a more Relatable sense to a certain experience by putting it in comic form than any of the times ive discussed it as a personal thing at length via text. like i said i communicate best via comics probably, despite not drawing them all that much coz im too damn slow lmao

speaking of, i’ve kind of been like “what a waste” abt the fact that i dont have like, a proper approach or regular strategy to thinking up comics before i draw them, but i think theres something actually okay to be taken from that lol……just that i know if i got too caught up in trying to plan it all out perfectly before getting into actually drawing it, i’d be making it into a bigger project and slowing myself down even more & i’d risk dropping it partway through or just never getting started at all. so if i have a less than perfect end result, at least i have an end result, and ive finally got that one idea out of my head in some way. and i feel like some of my comics do work out decently enough….a good handful of times ive been surprised w how well some ppl receive them

so i think it is good to just go ahead and dive in. i did that once w an idea i’d been sitting on for like half a year, and i think it turned out good enough. i just knew i could easily spend months and months more turning over all the details, which might make it Better, but would also mean that yknow, i’d never actually get around to making it b/c of feeling like it had to be ideal. so i simplified it a bit, used a uniform panel layout, did little drawings, and just got it drawn out in an afternoon or two. and now at least it exists lol. and ive sort of come back to the same idea in a way…if i feel like it turns out i wanna elaborate on something more, i can just make another pic/comic built on the same theme, who’s gonna care or stop me

i also try to focus on what lines are/aren’t necessary to avoid things being confusing or just pointlessly cluttery….this isnt a big issue b/c i dont often bother w bgs. dont emulate that either lol…….but im not doing any Serious art so its no big deal to me if im not “good” or not progressing as spectacularly as i might. i dont need my drawing abilities to be that amazing here. but bgs still serve a purpose beyond being a “skill” or whatever so im trying to include them more, aka occasionally, at all. still hardly ever. but sometimes you at least need like one halfassed establishing shot yknow. anyways

mmm this has all been kinda vague and i’m trying to think if there’s anything more specific i could/should talk about!! i dont know. i dont have a good perspective on what its like to look at my art while not being me lol & what ppl might think or what stands out to them or whatever. rip

sorry this is so long, i dont really have ppl wanting to know abt my Processes or drawing thoughts or whatever so i’m kinda jumping at the chance to talk about this sort of stuff after having been actually prompted to. but i dont know if i’ve said anything at all!! i dont know if any of it has been helpful

“tldr; i dont really know what im doing, but go ahead and jump into actually making them as opposed to feeling like youre ready / you know the best way to make a page, because nobodys ever ready or can say This Is The Best Possible Version so just go ahead and use whatever process feels like it makes your life easier, while still actually making the damn comic” is my whole thing, i guess

i dunno, if there was some specific thing you wanted to know abt that i didnt talk about / talk about well here, feel free to ask me to specify because i totally will, which is both an invitation and a warning obviously

sorry this is so long everybody…….writing an essay & by the end of it not being sure if ive given any info at all is part of my whole Thing