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sometimes the best writing advice is "just let it be bad." revolutionary. terrifying. but it works.

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cameralens

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criticque

Considerate of the human. Especially in an online setting, we can forget that a real, live person is sitting on the other side of our screen. Workshop comments are to be respectful at all times. Remember that sarcasm does not travel well on the Internet. The most harmless joking comment can be taken the wrong way. When in doubt, leave it out.

Appreciative of the effort. Writing is hard y’all. It takes mental and emotional effort to put a good story together. Make sure to acknowledge that for your writer when you give feedback.

Constructive in criticism. “Loved it!” “Hated it!” These are equally worthless things to say to a writer. Make sure to specific what parts of a story work for you and what specific parts took you “out” of the story (distracted or confused you, or didn’t engage your imagination fully).

Encouraging for the future. We can, and should, strive to get better over the course of this term, and our writing lives. Make sure that your readers are left hopeful as they look ahead to the next step in the story-writing process, and not discouraged from ever typing another line.

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Comic worldbuidig

The idea is simple, but hard to pull off. We, as writers, must know all about the world our characters inhabit, or the personal histories of our characters, but only reveal those details that are crucial to the story. So, if you're writing about two thieves in the fantasy country of Icebergia, then you'll need to know things like who's in charge of the local government, who runs the local police force, how these characters became thieves, what they hope to accomplish from this way of life, and more even if those details never make it into your story.

even if your story's world is just the local Plaid Pantry, who occupies that world? What's its history? What are its rules? Keep in mind that all of these details are things that you, as the writer, should know, because those are the things that will shape your characters' lives:

Worksheet:

Place/Time: What is the name of your world? Where does this story take place?

2. History: What historical events have shaped the creation of this world?

3. Conflicts: What important conflicts (violent or political) have affected/still affect your world’s inhabitants?

4. Rules: What laws (physical or social) govern your world? Who/what is in charge?

5. People: List any important beliefs, values, traditions, or customs of the people in your world.

6. Things: What kind of stuff (buildings, transportation, art, crafts, weaponry, etc.) exist in this world?

7. Animals/Plants: What sort of animals and/or plants are important to the inhabitants of your world?

8. Technology: What important technologies exist?

9. Other: What other aspects of this world might affect your story?

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More comic articles etc

Plot. Plot moves forward through action. “Find out what each character cares most about in the world because then you will have discovered what’s at stake. Find a way to express this discovery in action, and then let your people set about finding or holding onto or defending whatever it is.” — Anne Lamott

World Building. What makes up a world? Look around you. There are so many elements to consider. However, you don’t need to use all of the elements to show off your inventive world. Only use the elements relevant to your story, plot, and the development of your characters.

Characters. If you describe the actions a character takes in his or her journey, you’ll learn a lot about what the character is about as a reader. If you do it in an accurate way, you can even display the emotions of a character by the actions they take. How they solve a problem for instance or how they hold up during an argument with another character. Ayn Rand is a masterclass writer when it comes to this. Especially in The Fountainhead. The character of Howard Roark might not represent an actual human being who you or I would know. But because of the determination in Rand’s writing and through using the character of Roark to display what she actually wants to say with the book, he becomes a very strong character.

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pg 163

“bleeds tend to open up a scene”

Mood? Five senses?

ES depth

Without bubbles, the time spent on a panel may be longer.

The effect of a bubbles panel and how it affects the other panel on an entire page.

Sense of depth, perceived size.

The reader’s sense of being surrounded by the world

“and when no one is in sight, as in the above page, your reader is free to form a personal relationship with your world even before your characters do“

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Writing, then, best works when it is given time to develop through a process. Generally, you can think of this process in five stages:

Prewriting --> Planning --> Drafting --> Revising --> Proofreading

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analayse

What do you notice about the way the comic is organized? What sorts of panel layouts are used? How do the page compositions affect the way you read this comic?

2. What do you notice about how the story is told? Who is the narrator? How is the reader moved along from one part of the plot to the next?

3. What do you notice about the characters? How are they portrayed? What do we get to learn about their natures and how is that information revealed (their thoughts, words, or actions)?

4. What Big Questions does this comic seem to be tackling? In other words, what aspects of human experience do you see this comic exploring? And where specifically in the comic do you see those issues being addressed?

5. As a reader, did you enjoy this comic? If so, what specific elements of the story gave you that enjoyment? If you did not enjoy the reading, be specific in explaining what it is about the comic that you didn't like.

1. Panel? Layout? Page Composition?

2. Who narrator? How audience is moved along from one part of the plot to the next?

3. Character? How portrayed? Who narrator? What do we get to learn about their natures and how is that information revealed (their thoughts, words, or actions)?

4. What Big Questions does this comic seem to be tackling? In other words, what aspects of human experience do you see this comic exploring? And where specifically in the comic do you see those issues being addressed?

5 Like/hate? what specific elements of the story

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unread comic stuff

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Storyboard: https://makingcomics.com/2014/02/08/anatomy-storyboard-part-2-continuity/

storyboard to: arrangement of visual elements to make the viewer look at whatever they want!

Through the composition of the panel, the viewer is forced to move their eye in the direction the artist wants. This may or may not coincide with the implied path that the character will follow out of frame. The size, shape, and sequence of panels determines the pacing of the story for the reader. You can control movement, of a sort. Since all of that movement only happens in the mind’s eye, it is critical that you avoid doing anything to confuse the reader.

Camera sees connection with the person/subject

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comic resources

Comic terms: https://www.readwritethink.org/sites/default/files/resources/lesson_images/lesson1102/terms.pdf

Comic origins: https://medium.com/publiclibrarysg/a-brief-history-of-comics-and-graphic-novels-de096c09b8b3

manga flow:

storyboard:

Graphic design: https://method.ac

Camera angle: https://petapixel.com/2015/09/22/8-camera-angles-from-the-world-of-cinema-that-can-help-improve-your-photos/

More specifically, Copland wrote a short, powerful essay entitled "How We Listen." In it, he describes three ways (or "planes") of listening to music 1. The sensuous plane -- I hear a noise I vaguely recognize as music.2. The expressive plane -- I feel sad because I'm listening to The Smiths.3. The musical plane -- I can hear that this musician has included a change into the major key to brighten up the melody of the chorus.

https://www.pbs.org/opb/historydetectives/feature/the-golden-age-of-comics/

https://screenrant.com/most-noteworthy-lgbt-characters-comics/