#I need to draw Storyteller more often

[angrybatart]

Another wip I intend to finish. If not for Christmas, then at least before New Year's is considered over.

[art]

Creator Spotlight: @camberdraws

Hello! My name is Camber (any pronouns), and I’m a mixed media illustrator located in the southwestern United States. I love drawing everything, but I have a special interest in depicting strange creatures and environments, often accompanied by abstract imagery and mark-making. Professionally, I’ve worked creating concept art and 2D assets for museum exhibits, but currently, I am engaged full-time as a software developer and make standalone illustrations in my free time. I’ve been posting art on Tumblr since I was a teenager, and the site has been very welcoming towards my work to this very day!

Check out Camber’s interview below!

Did you originally have a background in art? If not, how did you start?

I’ve had an interest in drawing since I was barely sentient, but at thirteen years old I decided to become “serious” about art. I was all about reading tutorials and doing a ton of studies. I would tote my heavy instructional art books to school every single day (my poor back!) Despite all this, I decided to forgo art school in favor of a bachelor’s degree in Computer Science at my local college. Alongside my major, I received a minor in Art Studio with a specialization in fine art, which totally changed my views on creating artwork and drastically changed my style.

How has your style developed over the years?

As mentioned previously, my style did a 180 after I studied under some very skilled fine art professors! As a kid, my drawings were very realism-heavy and inspired by video game concept art. I mostly worked digitally, too. During college, I was thrown for a loop when we were instructed to do strange things like, for example, make a bunch of marks on paper using pastel, WITHOUT looking, and then turn said marks into a finished piece of art! I quickly and deeply fell in love with abstract work, and especially appreciated images that are not easily parsed by the viewer. Since then, I’ve made it my goal to combine abstract mark-making with more representational subject matter.

What is one habit you find yourself doing a lot as an artist?

Hmmm, one habit I really enjoy as an artist is strictly tracking the amount of time I spend drawing! I currently work a full-time job wholly unrelated to art, so I have to be careful with my time if I want to spend enough hours drawing each week. I created a spreadsheet that allows you to enter the amount of minutes you’ve drawn each day and calculate how much drawing time you still need to reach your weekly goal (I aim for 20 hours a week.) Having such a clear, numbers-based objective keeps me motivated to work like nothing else!

Over the years as an artist, what were your biggest inspirations behind your creativity?

I know this is a common inspiration, but Hayao Miyazaki’s work has been rewiring my neurons since I was a child. Seemingly all of my artistic interests can be summed up by the movie Princess Mononoke: it has strange/abstract creature designs, a strong focus on nature and environmental storytelling, and a mix of dark and hopeful themes. Additionally, I’ve been deeply inspired by video game series such as Zelda, Okami, Pikmin, and Dark Souls. But arguably, none of these have influenced me more than Pokemon! I’ve been drawing Pokemon since I could barely hold a pencil, and I haven’t stopped since! I believe my love of designing creatures originated with my endless deluge of Pokemon fanart during my childhood.

What is a medium that you have always been intrigued by but would never use yourself?

I’ve always been fascinated by 3D mediums and am so tempted to try them out! Whether that’s 3D models created digitally or sculptures made from clay, I profoundly admire artists who have this skill. Oftentimes, it feels like I don’t have time to delve into a totally different artistic paradigm. However, I feel very strongly that learning new skills can enrich your current work. I should take that advice and someday give 3D mediums a shot!

What is a recent creative project that you are proud of?

I am in the process of creating an art book (a dream of mine!) and have been executing smaller drawings of concepts I find interesting from both a visual and storytelling standpoint. A recent drawing for said book is that of a snail made of ink with an ink bottle as a shell, and it went absolutely viral! I’ve never had an experience like this as an artist before and it has been spectacular! I was able to open a shop using my newly acquired art printer and sell many prints of my snail. Creating something original, directly stemming from my interests, and having that resonate with so many people has been unreal. I couldn’t ask for more as an artist!

What advice would you give to younger you about making art that’s personal or truthful to your own experiences?

I would tell my younger self to chill out and experiment more! I was so caught up in the idea that I needed to have a realistic style to be considered “good.” I also believed that technical skill was the only measure of how worthy my art was. That’s not to say technical skill doesn’t matter, but I now firmly believe the creativity and voice of your ideas far outweigh the skill of execution in terms of importance. Technical skills should elevate ideas, not the other way around. Once I began to revel in strange ideas and stories for my work, depicted oftentimes in odd styles or mediums, I truly found my voice as an artist.

Who on Tumblr inspires you and why?

My peers here on Tumblr inspire me more than anything! Sharing my work with contemporaries and giving each other support brings me joy like no other, and keeps me motivated to continue creating. I wouldn’t be where I am today without them! @beetlestench, @theogm-art, @trustyalt, @ratwednesday, @phantom-nisnow, @svltart, @mintsdraws, @mothhh-hh, @jupiterweathers, @thesewispsofsmoke, @picoffee, @fetchiko, @kaisei-ink, and @pine-niidles just to name only a few!

Thanks for stopping by, Camber! If you haven’t seen their Meet the Artist piece, check it out here. For more of Camber’s work, follow their Tumblr, @camberdraws!

[phantomarine]

Clam's Quick Tips for Starting Your Very First Webcomic

Howdy! Here are the three bits of advice I tend to give people who ask me about getting into webcomic-making. Maybe they can help you jump into the fray with a little less fear.

1) Make Your First Chapter a Pilot Episode

You will be told by webcomic veterans to start with a short, simple comic idea first - which is wise - but if all you can think about is your big magnum opus, then you might as well hop in, right? Otherwise you'll just be glancing back at the other cooler project forever.

But if you can't start with a small simple story, start on a small, simple part of that larger story. Your first chapter should be a snapshot of the main conflict - show us a simple scene with few characters, ease us in slowly, keep things clear and focus on emotion/impact/clarity. Get the audience to care by offering something easily digested, but full of promise.

Once you're done with that 'pilot' chapter, and you're feeling more comfortable with the whole comic process, you can open the gates and show us the larger world. At that point, you'll be way more ready.

2) Simplify Your Art Style For Your Own Sanity

Always try to make your webcomic's art style as simple as possible - the standard rule is to use only 75% of your artistic skill for every comic page you make. Otherwise you will burn out quickly and terribly.

But you also need to be PROUD of your art style. If you're really feeling itchy, add a couple bells and whistles to your style so you can look at the finished page and say "Yeah, looks cool." You'll find the right balance the more you draw.

Also, don't be afraid to change your art style as you go along. Ultimate consistency is often impossible in webcomics anyway - so embrace your desire to try new things, streamline your work, whatever you feel needs to happen to be happiest. Sometimes the coolest part of reading a webcomic is noticing that style change - so don't hesitate to embrace it!

3) Resist the Reboot! RESIST!

The curse/blessing of drawing the same things over and over is that you'll inevitably get better at drawing those things. The trouble comes when you look back at old stuff and start thinking "Damn, I could draw that way better now."

You must recognize that this feeling never goes away. Not after a hundred pages. Not after three hundred. Not after a thousand.

I think everyone should be allowed one soft reboot for their first webcomic. Redraw some panels that bother you. Change up some dialogue if it doesn't make sense with your new story ideas. Do maintenance, basically. One of the beauties of webcomics is that they can be easily edited, without reprinting a whole book or remaking a whole game.

But if the ultimate purpose of a webcomic is to tell a story, then constant reboots will just be retelling the same story - slightly better each time, but the same at its core. We've heard it before. Most audiences would rather you save your strength and just keep going, rather than circling back year after year and going "Wait wait wait! I'll do it better this time."

Reboot early, not often, and only when you absolutely must! You're a storyteller, and you're constantly getting better at telling your story. Don't be ashamed of it - look back how much ground you've covered, and keep walking!

---

That's a good start. Happy webcomicking - don't be afraid to jump in, but be prepared to learn a lot very quickly. And if this advice doesn't work for you or adhere to how you did it, that's absolutely fine - webcomics are diverse by nature, and so are their creation processes. Feel out what works best for you, and good luck!

[celestialtarot11]

Astrology Observations 🤍✨

Hi friends! Welcome back to another post 💅🏻 today we’ll be looking at astro observations! Please like, comment and reblog to help this blog grow ✨

Aries + Taurus pairing as friends/couple are the show stoppers. They draw attention wherever they go, there’s so much fire between them. Although Taurus is an Earth sign, Taurus does enjoy the finer things in life and passion! Aries helps to bring the heat in the connection and the two have a lot in common. Aries is headstrong, Taurus is as well. Both are self starters and independent. Both know what they want (taurus is a fixed sign) and both know what it takes to create + sustain it.

Aquarius sun experienced being the quiet one in group settings, especially if they were with people they didn’t necessarily understand or get along with. Its not that they aren’t smart, or capable of human interaction. They’re actually great at it, they just preserve their energy for better people/interactions.

Gemini’s love to story tell and embellish their stories! They love adding jokes, flare, and drama to their stories. They’re a bit like Leo-great at storytelling and communicating! Both Leo and Gemini love to entertain 🤍✨

Transits in your 4th house-family will require your attention more, and specifically the Mother could be around a lot more. Physically, emotionally and mentally even if you may not have a great connection. She may try to wiggle her way in your life during these 4th house transits. If you work with ancestors, they will be sending you dreams and messages day to day even more than usual. Expect the things that you need to liberate yourself from will come up in dreams, or day to day. Dreaming of your childhood for example can be triggering to some, whether the dream was good or bad.

Sagittarius are often quiet but have a lot to say when in a proper group setting. They think a lot of the world around them, and I notice they like to be in situations where they can mansplain 🤣 but offering advice and mediating conversations is their specialty. They’re blunt, honest, and get to the point.

Leo women often walk with a lot of respect, flare and spirit. Their head is held high.

Cancer women love going out and love staying home! They have their homebody moments too 💅🏻 cancers love a good time! And are not stuck in their shell as ya’ll may think

Cancer women may also be the type to have fairy tattoos, or tattoos that are delicate. They have tattoos that have a whimsical charm to them, even if it may be considered “dark.” There is an ethereal vibe to it!

Virgo women love planning, decorating and getting family together! Or who they consider family. They love setting the mood, setting the atmosphere, environment. They would be great party planners/wedding planners!

Pisces women may be into cars 👀

Scorpio moon women may get into nursing at some point or considered studying that!

Gemini women may love doing their own nails, and being proud of their art! They love to show off anything that expresses their skill.

Gemini Venus women want to speak different languages but may get frustrated at the effort required 😂 as a gemini venus myself yes

Capricorn moon women may enjoy having a minimalistic setup in their room, colors that are light and simple, but with a dash of darkness or vivid color! They love creating balance in their room and have an eye for intensity through detail

Leo rising commands all the attention in the room for themselves. But I’ve noticed if a Leo rising is not feeling confident in themselves, they can come across as arrogant, and self absorbed. It’s because part of them needs their own attention and space, but the native isn’t realizing that. Or the native doesn’t know how to meet their needs.

Thank you all for being here! I really appreciate it 🥹💗 Please enjoy the little observations I put together! Feel free to like comment and reblog ✨

Paid Readings 💗✨

[k-eilonwy]

decided to get back to my roots for a bit and tackle redesigns of my all-time favourite mlp G3 dream team : 3 these five have shaped my early 2010s and helped me to grow both as an artist and storyteller (i started writing silly little fanfics and my own take on the then-hypothetical G5 based on G3 and these five characters in particular), so they have, and always will have my entire heart.

i came up my own kind of au version of G3 and here are some of my small headcanons for each character!!

Rainbow Dash:

her parents are Parasol (G1 pony) and Barnacle (G1).

she is the oldest (and the tallest!) of the five.

she is a major fashionista and diva, but with a hint of adventurousness and even ferocity behind those eyes. Dash is a fan of all things beautiful, be it bright colours, grand celebrations, and more down-to-earth values.

naturally, her craft is related to rainbows - she draws them with the special paint she makes herself, and it's a very rare knowledge among the Ponyville citizens (Unicornia's rainbow-creating magic works on the same basis as Dash's paint, she just makes it without the unicornian magic involved).

oftentimes she is the voice of reason for her friends.

in her free time she designs clothing in collaboration with Sew-and-So and funds/runs fashion shows.

isn't the biggest fan of sweets (thinks it spoils her figure and coat).

absolutely adores rainy weather (cause rainbows).

is a sap for romance and cheep romantic novels.

Spike:

was born in a dragon tribe living far from pony societies.

was born wingless and with water-based powers, while most dragons breathed fire and had wings, so he's an oddball amongst the common dragons.

the dragons were supposed to work with pony royalty/leaders and protect them. The way the dragons chose did it was passing a test of obtaining a very rare flower only meant to be gifted to the royalty - the Royal Everbloom, a flower which was near impossible to maintain/grow but could bloom for forever.

Spike failed to pass his test of safely delivering the Royal Everbloom back to the tribe, failing to protect the flower from a bad storm so it withered under hard rain. However, Wysteria noticed Spike struggling to keep the flower safe just outside her cottage and brought them both inside - nursing the poor dragon and the flower back to health. It suddenly bloomed under her care, so by the old tradition, it meant that Wysteria belonged to royalty.

cue the events of Princess Promenade pretty much the same as they went down in the original as Spike played the role of mentor and royal advisor to Wysteria. She still rejected the title in the end, proclaiming that Ponyville didn't need royalty to govern over them and that she was no more special than any other.

Spike is humbled (and charmed) by her worldview and decides that he rather enjoys the simple life of local ponies - besides, he has grown deeply devoted to Wysteria and doesn't want their friendship to end, so he parts with his tribe and lives with the purple gardener in her little cottage.

he greatly helps Wystie with gardening - his water-breathing powers come in handy while working with plants! He finds that even if he doesn't breathe fire like "normal" dragons, he still can make his abilities work in other fields.

he is often the brains of the group - his exotic dragonic upbringing is a great contrast to the ponies' more down-to-earth worldviews.

is a vegetarian (idk if all dragons in this universe are or it's just him, but-).

is a big fan of literature of all kinds, especially poetry.

generally is a huge nerd and is prone to rambling about his favourite subjects. Not the most outgoing person, more of an introvert, especially in contrast to most ponies (that's why they match their energies with Wysteria so well).

absolutely adores Wysteria, they are something of platonic soulmates/life-partners. Can be very protective of her, even though he is usually non-threatening/pretty chill (he is her personal dragon guardian!)

Wysteria:

her parents are Blossom (G1) and Salty (G1).

Petal Blossom (G2) is her maternal older cousin.

Wysteria took to gardening and flower arrangement since early years from her mother. Participated in a lot of local fair gardening competitions through her fillyhood and won the majority of them (the trophies are kept at her parents’ house). 

moved out from her parents’ house once she had managed to save up enough money to purchase a small but neat cottage at the edge of the woods; it is located near Ponyville, but quite far from its centre. Pinkie, Minty and Dash like to visit their bestie and her dragon friend on weekends and each time together they plan some really fun activities. 

during spring and summer seasons, Wysteria lives off selling flowers and bouquets at Ponyville’s biggest market. Once autumn hits however, she and Spike stay at one of their three closest friends’, Pinkie, Minty or Dash’s, house until next spring - each year they stay at a different pony’s house. Wysteria and Spike help out with chores and share household duties during their stays, but even regardless of that their friends are simply happy to let the two live with them.  

Wysteria is socially anxious and quite solitary, content with keeping a limited circle of friends to spend time with. Akin to Snufkin she requires a lot of “alone” time away from others, that’s why she likes living so far from the town. However she is very dependable and very very kind, so a lot of ponies confide in her.

hates. weeds. so. much.

often feeds stray and forest animals coming to her cottage. Is fond of bunnies and birds the most.

Pinkie Pie:

her parents are Cotton Candy Snr. (G1) and Slugger (G1). Is a twin sister to Cotton Candy Jr (G3).

Pinkie runs a gift shop along with Minty, her bestie since fillyhood and a life-partner.

works as a party planner as her second job - generally just love celebrations and organising events.

she is a natural leader and is able to make even opposing groups come and work together. Sociable and easy-going, pretty chill to be around.

isn't easily scared and usually doesn't believe things she can't see with her own eyes or try out.

has a MAJOR sweet-tooth: her sister runs an ice-cream cafe, so there's that.

has a "supernatural" ability to come up with a solution to almost anything, - using Pinkie's squink (basically just squeezing her eyes tight and thinking long enough).

is drawn to photography and films.

Minty:

her parents are Minty Snr. (G1) and Steamer (G1). Ice Crystal (G1) is her maternal uncle.

everyone's favourite disaster-monger.

works in a gift shop alongside Pinkie. Generally can't function well without her supervision lol.

Clutzy and socially anxious, but in a different way than Wysteria, Minty is obsessive, hyperactive and makes up for her awkwardness with her pony-pleasing attitude. Enjoys helping others out, it makes her feel important.

can't sit still for long period of time, needs an outlet for her excessive energy.

collects SOCKS.

winter is her favourite season; it reminds her of warmth and companionship of her friends huddled close by the fireplace. Exchanging gifts and stories. Making others smile.

is surprisingly good at checkers.

is claustrophobic, hates being limited.

doesn't enjoy reading that much, but rather likes picture-book illustrations.

[ettawritesnstudies]

Etta's Guide to Writeblr (March 2023)

So you fled here from Twitter/TikTok... Where to start?

Welcome to Writeblr! Pull up a chair, open those documents, and pour yourself a cup of your favorite tea, coffee, or cocoa. The first thing you'll want to do is start following other writers. Check out this post for recommendations! Search through the notes to find hundreds more. Since I made that post, a bunch of people mentioned they're lurking and still trying to figure out tumblr, so I thought I'd make this post to help people get settled.

How to set up your blog

Make your blog name something not resembling a pornbot - it can be whatever you want, anything fun goes, just not [name###]. If you include "writer" or "author" somewhere in the url it makes it easier to spot writeblrs at a glance but it's not a requirement

Change your profile to something that's not the default, Make sure you have a blog title, and add a little description in your blog header if you feel like it!

Make a pinned post introducing yourself (pls don't use your real name or any IDing information for privacy's sake, this isn't facebook), a short summary of your WIPs, and links if you have an author's website/newsletter/ao3/etc. You can check my pinned post for an example

Make intro posts for each WIP! You can spruce these up with graphics (canva and unsplash are both great free resources to make edits/moodboards), excerpts, lists of tropes, character intros, etc. Link to the WIP intro in your pinned post so it's easy to find! You can update these as often as needed

If you want to make character intros, go wild. If you can't draw, piccrew is a great option. Just start talking about your WIP!

Come up with a tagging system to keep your blog organized. I recommend individual wip tags or at least one for your original writing in general so it's easy to search for your work on your blog

Keep track of Taglists for your WIPs. Whenever you post a new thing about your story, tag the people who asked to be notified to make sure they see it! Only tag people who ask to join the taglist, but it's a good way to keep track of interest. It's normal to have multiple taglists for each story+ one general writing taglist.

How to make writer friends

Reblog their work and add nice comments, either in the tags, comments, or the reblog itself People notice regulars in their notes and appreciate the attention. I promise it's not weird to compliment a total stranger

If that's too intimidating, community events are your friend!

Weekly Ask Games: These are weekly events that are loosely themed where writers send each other asks about their WIPs! The most common are Storyteller Saturday (about the writing process), Blorbsday (aka Blorbo Thursday about characters), and Worldbuilding Wednesday (about the setting of your story). If you answer these late, nobody really cares, but it's a fun way to receive prompts and learn more about other people's stories.

Ask Games/Memes: These are posts with lists of questions you can reblog from other people, sometimes themed or listed with emojis. It's common courtesy to send an ask from the list to the person you reblog it from, then people can send you questions as well, so you can talk about your stories! You can search for dozens of them

Tag games: There's a ton of different types of tag games, but basically someone @s you with a challenge/question, you reblog with your answer, and then @ a bunch of other people to continue the chain. Some common ones are Heads Up 7s Up (share the last 7 lines of your WIP), Last Line Tag (share the last line you wrote), and Find the Words (ctrl+f the given words in your doc and share the results, then give new words).

Formal events: These are community wide participation challenges organized by certain blogs! @writeblrsummerfest is every July?? August? I think? It's run by @abalonetea a few years strong, and there are daily prompts and ask games! @inklings-challenge is a month-long short story entry for Christian writeblrs. I think there was a valentines event in February. @moon-and-seraph is hosting a pitch week soon! Since these are more organized, it's very easy to find similar blogs and support!

Misc. Notes on using Tumblr

Follow the tags #writeblr and #writeblr community to find other writers, as well as other tags that interest you like #fantasy for example

If you want to bookmark a post to read later, you can like it and/or save it to your drafts

The queue/schedule function is very useful if you want to space out posts or have a backlog to keep your blog running when you get busy. This is good for the community because it gives older posts a chance to be rediscovered! You can change the posting frequency in the settings.

REBLOG YOUR OWN STUFF. People aren't always on at the same times and so it's the best way to account for people with different schedules and timezones. If you're worried about being annoying, you can tag those #self reblog or something similar and other people can filter the tag, but otherwise it's a welcomed and accepted practice.

If your excerpt is pretty long, put it under a cut. On desktop you can do this by selecting the squiggly button on the far right when you make a new paragraph, on mobile type :readmore: then hit enter.

It's polite to add descriptions to images and videos for visually or auditory impaired people. If you don't know how to write descriptions, here's a good resource

In your dashboard settings, it's best to shut off the options "Best Stuff First" and "Based on your Likes". These function as the website algorithm and suppresses the blogs you actually follow, which defeats the purpose of the site, letting the dash be in reverse chronological order. Also turn off Tumblr Live because it's malware as far as anyone's concerned.

Curate your experience, block the trolls, and be nice

Update for March 2024

How to shut off AI Scraping on your blog

Go to settings and find the Visibility tab

Scroll down to the tag that says "Prevent Third-Party Sharing"

Turn that knob over so that Automattic can't steal your work for their language training model databases >_<

The other settings will just hide your blog from search engines so they're useful for hiding from nosy parents or other Tumblr users but if you're trying to build an author platform you can leave them off.

Again, welcome to the community! I hope you have a ton of fun!

[traceyc-uk]

I love your art and comics so much!!! You are like the queen of HL comics for me!!! ❤️❤️❤️ So much so you've been inspiring me to start making my own comics (it has been since high school since I made comics and let's not get into how long ago that was 😂).

I was wondering if you would be willing to share some of your comic making process, especially in the early stages? I had much of a process in pre-planning stages, but now I'm trying it to see if it will help with my storytelling.

I hope you have a great day!! ❤️❤️

Thank you! 😭 that’s so cool you’re making comics again! And bashful by your ask as I do it for lols and still figuring it out myself. I refer a LOT to a couple of my favourite comic artists too, which I think is noticeably incorporated in mine but I’ll try and show my workings best as I can

Think it’s already obvious I love drawing expressions, is usually my first starting point doodling idly what would become the key frames

Of course study your favourite artists! The ones I look to is Akira Himekawa - Zelda Twilight series and Adam Warren - Empowered (not for under 18s)

I dragged out some previous comic pages I think are appropriate examples of the initial paper scribbles, rough lines to final.

venomous valour is an example of messing up as I focused too much on the faces and the speech gets cluttered.

Crucio attempting to draw the eye where it needs the main focus.

A couple of pages from Shadow Mountain, the fight was drafted more to keep a consistent line of action and not let it get disoriented on the geography, personally I try and stick to the 180 rule. The arc here was more a happy accident but helps lead movement across the page

Dialogue I like the least, but this page the speech bubbles lead the page layout so it’s read in the correct order reading from left to right

Generally I try not get too fussy about the details and aim overall for readability:

- Clear silhouettes, in figures, framing and composition. I often check rough pages within drafts on my tiny phone screen, does the focus get drawn where it should

- Is there enough information on what is happening or about to happen, like an anticipation in a pose to lead into the next panel

-Show intentions without having to say it, ask myself if no dialogue is the intent still there? Using your lovely Serena and the Fifth-Year as an example

It shows when I get lazy and draw my panels like a film frame and I use principles more rooted in animation so I make blunders or newbie mistakes when translating into a comic format but it’s all in good fun. Anyway I hope this helps you in your process and look forward to seeing more of your comics too! 💕

Extra: the ineligible scrawls of the shadow mountain and ancient magic drafts

[dailyadventureprompts]

Tableskills: Making a Game of It

Recently I learned a bit of an unspoken truth that I'd brushed up against in my many years of being a dungeonmaster that I'd never seen put into words before: If you want to liven up whatever's going on in your adventure, figure out a way to engage the players in some kind of game. It's simultaneously the best way to provide a roadblock while making your player's victories feel earned.

This might seem redundant, since you're already playing d&d but give a moment of thought to exactly what portions of d&d are gamified. Once you learn your way around the system, it becomes apparent that D&D really only has three modes of play:

Pure roleplay/storytelling, driven by whatever feels best for the narrative. Which is not technically a game, nor should it (IMO) be gamified.

Tactical combat with a robust rules system, the most gamelike aspect.

A mostly light weight skills based system for overcoming challenges that sits between the two in terms of complexity.

The problem is that there's quite a lot of things that happen in d&d that don't fall neatly into these three systems, the best example being exploration which was supposed to be a "pillar" of gameplay but somehow got lost along the way . This is a glaring omission given how much of the core fantasy of the game (not to mention fantasy in general) is the thrill of discovery, contrasted with the rigours of travelling to/through wondrous locations. How empty is it to have your party play out the fantasy of being on a magical odyssey or delving the unknown when you end up handwaving any actual travel because base d&d doesn't provide a satisfying framework for going from A to B besides skillchecks and random encounters (shameless plug for my own exploration system and the dungeon design framework that goes with it).

The secret sauce that's made d&d and other ttrpgs so enduring is how they fuse the dramatic conventions of storytelling with the dynamics of play. The combat system gives weight and risk to those epic confrontations, and because the players can both get good at combat and are at risk of losing it lets them engage with the moment to moment action far more than pure narration or a single skill roll ever could.

I'm not saying that we need to go as in depth as combat for every gamified narrative beat (the more light weight the better IMO) but having a toolbox full of minigames we can draw upon gives us something to fall back on when we're doing our prep, or when we need to improvise. I've found having this arsenal at hand as imortant as my ability to make memorable NPCs on the fly or rework vital plothooks the party would otherwise miss.

What I'd encourage you as a DM to do is to start building a list of light weight setups/minigames for situations you often find yourself encountering: chase scenes, drinking contests, fair games, anything you think would be useful. Either make them yourself or source them from somewhere on the web, pack your DM binder full of them as needed. While not all players are utterly thrilled by combat, everyone likes having some structured game time thrown in there along with the freeform storytelling and jokes about how that one NPC's name sounds like a sex act.

A quick minigame is likewise a great way to give structure to a session when your party ends up taking a shortcut around your prepared material. Oh they didn't take that monster hunter contract in the sewers and instead want to follow up on rumours about a local caravan? The wagon hands are playing a marble game while their boss negotiates with some local mercahnts, offering to let the party play while they wait. The heroes want to sail out to the island dungeon you don't have prepped yet? Well it looks like the navigator has gone on a bit of a bender, and the party not only need to track them down but also piece together where they left the charts from their drunken remembrances as a form of a logic puzzle.

Artsource

[phantomrose96]

I feel like it takes A Lot to collectively traumatize a fandom as fond of vivisection as the Danny Phantom fandom, but damn that'd do it. Fantastic fic!!!

Also I *love* the detail of the news report in the background of the breakfast scene. At first I was like "oh cool they're talking about PTSD, which he definitely seems to be developing" then I read it again and I was like "oh *fuck* they're talking *about Danny*" which is *chef's kiss* superb

(Prometheus)

Achievement unlocked! Danny gets to be an easter egg in his own story!!

I'm a fan of the trope (I guess it's a trope) of the secret-identity character who just has to listen powerlessly while the talking heads on the tv muse about what's happened to them. Doesn't matter if the broadcast is sympathetic or damning. Either way it hits for me.

When I was first piecing that scene together, I was intending to have Danny, Jack, and Jazz pay attention to the broadcast when it became obvious the reporters were talking about Phantom. It would be the vehicle to communicate to the audience that Phantom is slipping and Danny's definitely grappling with PTSD at this point.

But when I thought about it more, I wasn't actually in love with it as the delivery vehicle. Yeah I like the trope but it felt a little too much of just "I'm saying story details at the reader and using the newscaster as a mouth for that." It felt contrived in a way I don't like.

And what would everyone's reaction be? There wasn't a meaningful place to bring it. Like sure maybe Jack could scoff and say something like "Ghosts don't have complex feelings" or something else dismissive, but that wasn't constructive to the narrative I was building. What Jack thinks about Phantom isn't important to this kind of story. I could have Jazz maybe try to talk to Danny, but there's no way to do that with Jack in the room, and Jazz wouldn't need the newscasters for this anyway. It's her own baby brother, she'd have seen this before any tv host. And there's nothing important for Danny to gain from this. Other than maybe knowing his slipping is visible, but he knows.

So I came to a much better conclusion: ignore the news cast.

It does not need to be a contrived narrative device. It does not need to steer the scene. It does not need to misdirect me into unimportant conversations.

They ignore it. And THAT is so much more thematically potent to what is happening. Danny fighting through his denial. Danny shutting his friends out. The elephant in the room is ON THE TV and no one is even allowed to address it.

Tv host saying "Phantom has PTSD" isn't the vehicle I need for this "communicate to the reader Danny has PTSD" scene. THAT is much better done with Jack, and with his invention, and with the chekov's gun he's been dismantling and remantling the whole fic. It's done with Jack pointing a weapon at Danny - a thing which has occurred a THOUSAND times before - but it's different NOW, because of the trauma Danny is not coping with.

To be cliche, it's the show-don't-tell answer here. (And to be fair, there are PLENTY of places where "tell" is an entirely acceptable route and is often a necessary part of maintaining narrative velocity.) But in this case, the chill Fenton family breakfast atmosphere (tv ignored) snapping cold in the instant Jack draws the weapon on Danny is what the scene needed. The snap-change to Jack and Jazz's attitudes as they notice Danny's reaction. The "this isn't normal anymore" to a morning that was perfectly normal until this moment. And, only after that moment, revealing to the reader that Danny is crying.

The news cast gets to serve its best purpose as environmental storytelling. Confirming to the reader that this is bad enough to be impacting Phantom's ability to fight, to supplement the narrative which (coming from Danny's POV) is trying to not admit how bad it is. ("Super healing is cool!")

It gets to serve its purpose by being completely ignored. Until it's too late.

[stevelieber]

Thoughts on giving critiques to comics artists.

Seeing lots of discussion from students about sour experiences with an unhelpful art teacher, so here's a long, long post about giving critiques.

NB: I have no formal training as a teacher, but I was a student, and I've spent decades giving artists feedback on their work.

When someone brings me a portfolio, I like to establish my limitations & clarify my perspective. My work is firmly rooted in traditional US comics storytelling (i.e., not manga or art-comics.) I can give feedback on other approaches but they should know where I’m coming from.

“We've only got a little time for this, so I'm going to spend that time focusing on things to correct. That doesn't mean you're doing everything wrong, or that there’s nothing good here, but it’ll be more helpful if I identify some problems and show you how to fix them.”

Why? Because for many young artists their entire sense of self worth is wrapped up in being good at what they do. (It was for me!) In school they were probably the best artist in their peer group. But now if they're hoping to turn pro, they’re at the bottom.

Sometimes you know what’s up when you see page 1, but try to keep an open mind. Some build their portfolios by sticking new pages at the back & don’t weed out the old stuff up front, so the work gets better as you go. When it’s like that I ask: “Show me your best 8 pages.”

I ask questions: "What's the goal? Do you want to be hired to work on someone else's project, or to get the story you're showing me here published?"

If 1, I steer towards a portfolio that'll showcase hirable skills. If 2, I look for what tweaks will make that particular story more effective.

"Do you have teachers giving you regular feedback? What are they telling you?" Sometimes a student is getting bad advice. In cases like that, I'll do my best to be extra clear WHY I'm giving them advice that's 180 degrees from what they've been hearing.

“What artists are you looking at? Is there someone you admire or try to emulate?” This often helps me understand choices they're making, and I can sometimes incorporate things those artists do into my suggestions.

I ask myself questions about what I’m seeing. First: Is there a narrative? If not, I make it 100% clear I'm not speaking as any sort of expert. I'm good at critiquing storytelling, but don't have anywhere near as much to offer illustrators or designers.

Can I follow the story? Or am I confused about what's going on? Are the characters and settings drawn consistently? If not, is the artist at least making use of tags (distinctive clothing, hair etc.) to keep the characters recognizable?

Does the artist demonstrate a good command of basic academic drawing? If not, Do I think they need it? Do I focus on "how to draw" or on "what to do when you can't draw?" Is the artist putting the viewer’s eye where it needs to be to tell the story effectively?

(At this point I’m usually doing little doodles to go with my instructions. I scribble out ugly little 5 second diagrams that I hope will clarify what I’m talking about. Or they might make me seem demented. Hard to say!)

Is the artist making choices that are creating more work than necessary? Is there a particular weakness? I once spoke to an artist with a portfolio full of great work when he was drawing animals and monsters, but his humans were amateurish in comparison. I spent that critique talking about drawing people.

A crit can be a grab bag. In addition to big-picture advice, I'll point out tangencies, violations of the 180-degree rule, wonky anatomy, weird perspective, places where the artist neglected to do important research, odd choices in how they spotted black, whatever catches my eye.

I also try to make a point of defining the terms, so that jargon like “tangency,” “180-degree rule,” and “spotting black” don't go over their heads. Find simple, concrete ways to talk about these things, & clarify why it's a problem when they aren't done correctly. Draw diagrams!

Recognize that even a perfectly phrased explanation might not sink in. Some lessons can only be learned when a student is ready, and it might take a year or two of work before they can understand what you were saying. It's good to plant seeds.

Are there other artists who are particularly good at solving the problems the student is trying to solve? I steer them towards that artist's work. And I always recommend life drawing & the use of reference to give work specificity, variety, and authority.

Despite what I said earlier about focusing on what's wrong, I try at the end to find something encouraging to say. And if I’ve really piled on the criticism, I emphasize that I only spent the time and energy to do so because I take their efforts seriously.

If I've done my job right, they'll leave my table with tools to make their work better. And maybe in a few years they'll be looking at some younger artist's work, surprised to discover just how much you can learn when you're asked to teach.

[casualaruanienjoyer]

What kind of D&D character would these Aot characters play as?

Armin: forever DM. He'd love to play but no one else is organized enough to run games. This man is an excellent storyteller, able to vividly describe events unfolding. Players find him to be very scary sometimes.

Annie: Barbarian. She likes smashing, she likes raging. Hit first, ask questions later! No multiclassing, she hates when things get complicated. Has to constantly check what her abilities do beside HIT.

Mikasa: Rogue. Assassin usually. No one ever sees her coming. Does the most damage in one go out of everyone somehow.

Jean: Fighter, Battle Master. Absolute control of the battlefield. Always in the spotlight! He loves the Gladiator background. He also has a massive collections of painted miniatures.

Connie: Bard, College of Creation. He loves cheering everyone up with his songs but also loves using riddiculous spells against the enemy. His most used spell is Tasha's Hideous Laughter.

Reiner: Paladin. Righteous. Classic, balanced, elegant. But his character somehow always ends up in a bad spot. He's been on saving throws more times than he can count.

Pieck: Warlock, Pact of the Fiend. A literal devil. Her characters are usually extremelly attractive and use spells like Charm Person. She likes fucking with everyone and often gets the team into trouble. Also often late to sessions.

Hange: Wizard. And she loves multiclassing, so much so that she ends up forgetting her abilities all the time. Loves Polymorph especially if it's friendly fire.

Sasha: Ranger. Comes naturally. Also, she likes being able to control the field from all the way over there! Plus, she gets a cute wyvern!

Historia: Cleric, Life domain. She's the mother of all healing. Always there to bring people back up if needed.

Ymir: Druid, Circle of the Moon. Loves transforming into big scary beasts. Dire wolves are her favorite form.

Levi: Blood Hunter. He just thinks it's neat. As much as Levi didn't want to start playing D&D, he's now got the most kills of everyone.

Onyankopon: Monk. Way of Astral Self. This man knows how to fight! But he's also so elegant. Like a punch ghost! Sadly, his rolls are almost never succesful.

Gabi: Swashbuckler Rogue. Flamboyant, over the top charistmatic characters. She's surprisingly good at roleplaying and likes putting on a show.

Falco: Wild Magic Sorcerer. He has loads of potential, but random things keep happening to him out of nowhere. He also enjoys drawing out maps for them to play on.

Eren: Fighter, Champion. Often likes stealing kills from Jean. He always asks Armin: Can I do this?? Can I do that??

[nights-at-crystarium]

You know what, I assume that people always read my pinned, or notice the pointer "new reader? start here" in every new Fragments' episode. I might be deluding myself. So hi hello lemme TALK ABOUT MY COMIC.

Before I get too rambly (and I mean RAMBLY), here's a quick intro. Fragments is a comic focused on feels and slice of life, made by a queer guy, aiming to ~character study~ the main cast (Vivi, Raha, Alisaie, Feo Ul) and fill in the gaps in canon (or linger in canon moments that needed more air imo), the tone ranging from angst to fluff to meme. Good punches require a good windup, so please don't expect angst anytime soon :3c

The story's segmented (fragmented, heh) into episodes. Episodes 1-11 take place in ARR, you can enjoy them with no worry about spoilers. Episode 12 onward is ShB, with all the spoilers and lorebending.

My storytelling style assumes you haven't only played through ShB, but know it like the back of your hand, i.e. it's for nerds and thinkers. Of course there's plenty of silly moments that don't require any deep knowledge, but the overarching story does. Often I skip canon events, only hinting that they took place, simply because I don't wanna retell the msq 1:1, I've got plenty of original scenes waiting to be drawn. You're in for a treat if you like obsessing over emotional and moral implications of things. And, yes, this's a story about a morally grey mc. Don't expect to be spoon-fed "and this's why that thing's bad, kids".

Currently I've outlined all the main story beats up until post EW, so it's like, not being winged as I go. Yes I refine things here and there, but I know where I'm going. I'm going ham!!!! With the lorebending post ShB. Initially I didn't plan to, but the more I learned about Vivi and personally grew as a writer, the more courage I got to "divorce" from canon. The general xiv story may still be good wherever it's headed, but it's not suited for an established wolgraha, so I'm making food for myself.

Everyone imagines the lil scenes from their wol's life, I'm taking that a tiiiiiny step further. Fragments tells a cohesive story that's looking to be the longest project at least in our corner. I can and will hyperfixate on this for years.

I started out just like many others, being hit with ShB like a truck, I wanted to put a catboy under a microscope and rotate him forever. Although I'd already been drawing for decades, I didn't have the comic-making skills yet, or eloquence to write the dialogue, so I spent the first half of 2022 self-studying, just because I needed a mouth to be able to scream about my ship.

Vivi didn't exist prior to my obsession with Exarch. He was made for this, he started out as a reagent (or a foil, now that I know fancy writing terms) for a rich and fun chemistry, and keep myself entertained for years, first and foremost.

Me, a fool: okay let's make a guy that falls in love with Exarch in this particular moment, what kinda life must he have led to- Me: ....oh no

The chemistry quickly bubbled up and exploded in my face, involving not only Exarch, but other characters (first as a means to subtly tell about Vivi, then they also demanded their own screentime), and here I am, sitting with a massive script on my hands, drawing my blorbos every day. Thanks for enabling that btw.

I care about characters a lot. I ask a lot of whys and hows. I'm critical-minded and burned on many bad stories that did their characters dirty, and I wanna be an opposing example. What I'm doing is extremely ambitious and risky, yes, but I can only invite you to tag along and see if I stick to my word.

The internet's a cruel and unforgiving place nowadays, and here I am, pitting my passion against what feels like decaying humanity. I'm making this comic to keep myself happy above all else, being sincere and cringe because life's too short to be anything else.

Thanks for reading this, and if you haven't yet, read Fragments here!

[alpaca-clouds]

Why I loathe CoD Hector

Something I really wanted to write a proper blog on, is Hector. I answered on another blog on this before, and wrote a shorter thing about this before. But I really wanted to write something on its own. Because I will once again iterate: While Hector in the animated series definitely gets to finish out his character arc, he works a lot better as a character than his game counterpart. And that even though the game came out at the time, where Castlevania tried to go more for storytelling.

Yet, there is this thing, and that mostly comes from it still being an old action-centric game... How the need of making the main characters of action games until sometime in the 2010s into the stoic kind kinda made them worse characters.

I said it before: The Castlevania games for the longest part never really were that interested in telling characterdriven stories and focused more on the gameplay. Which is very much fine. But even when they tried to include more story, for the most part they still keep the brutish, stoic protagonist. Even Alucard, despite looking like a beautiful princess, is very much the stoic male protagonist. This is just a thing with action media that was going on for way too long. Sure, even stoic characters could make for good fan interpretation in stuff like fanfics, it often is an issue that the media itself does not want to actually explore the characters emotions.

Or, to make it fairly clear: This has very much to do with this idea of toxic masculinity. A lot of old action media (not only games, but also movies and such) will not allow male action heroes to show emotional vulnerability, because that would be unmasculine in the eyes of the writers. Which then boils the characters down onto the supposedly "masculine" emotions, like anger and the urge for revenge.

And this is kinda where we get to Curse of Darkness.

We have this whole backstory through the manga, that goes into Hector's background and all that. While I will say that here I prefer the animated version, too, I will fully admit that this is just a subjective thing (I like that the animated version draws some clearer cultural aspects into it, while also giving Hector the agency of killing his abusers, rather than having it happen as an accident), because I definitely can see why people would prefer the manga version.

Where this ends, however, is already at the moment when Hector joins Dracula. Yes, I will fully admit that I am not a big fan of game!Dracula in general, though I will not go into the why here. He works as a game villain, I will admit that, though.

No, what I dislike about Hector's story with Dracula is more the: "And he becomes like the best forgemaster. Like he is so amazing and so strong, and did we tell you how amazing he is?" It goes too much into the power fantasy to me. While I get that the game canon heavily drew on this idea of the main conflict between Hector and Isaac being one of jealousy... I will just say, that a conflict of jealousy is actually so much more boring than a conflict of ideals. And the backstory by far had enough going on there to make it a conflict of ideals, as Hector did still - like in the animated version - not like the idea of killing thousands. Which could have been used for a lot of conflict, but... yeah.

I will still say, that for the most part, the backstory works. While I roll my eyes already at everything with Rosaly, because Rosaly is very much the incanation of the trope where this pure hearted girl saves the soul of the corrupted man (I don't know how this trope is called, but it is for sure a trope), it does work so far.

No, where Hector as a game character stops working is... at the game. Or rather in the moment that Rosaly does do the thing that she as the sole female character in this entire fucking story has to do: She dies so that her death can motivate Hector. And that is to me where game Hector as a character does stop working.

They could have given Hector any motivation to face off against Isaac. They had put up more than enough story fragments in the manga that they could have build from. They could have made it that Isaac wanted to go for revenge and before he could do it, Hector tried to go in there to protect the people he had now learned to love. They could have made it that Isaac tried to ressurect Dracula. They could have made it that Isaac tried to continue Dracula's work until Hector decided that he could not let his former friend do this, because Hector now knows better. There could have been several interesting and good motivations.

But no. Instead they went with: "Girl dead. Boy sad. Boy angry. Boy wants revenge." The fuck?! This is just so bad in terms of storytelling. It is just the refrigerated woman trope, in its most lazy iteration.

They could have given Hector an interesting motivation and conflict. But no, instead they went for revenge. Ugh.

But that was not enough for the writers of this game. Ooooooh no. If it was just that, I would still hate it, but I would be fine with it. Because let's face it, a lot of games use the "revenge for loved ones" trope. Sure, this game is not using it in the most creative way, and it could have done a lot better from the backstory that was set up in other media, but... It is fine. This is fine.

What is not fine however is Julia. I hate Julia. I hate everything about her as a concept.

And again, mind you. I absolutely would not have a problem with Julia if she was just "some girl" or just "Isaac's sister". Then Julia would be fine. It would even be fine if Hector caught feelings for her, even though I would once again roll my eyes at this.

No, what makes Julia so offensive is the fact that she looks and sounds like Rosaly. Meaning, that she explicitly, not just implicitly exists to be a replacement for Rosaly. And that just makes it all so, so badly written.

Worst of all: This gets never explained. Julia just is Rosaly's doppelganger. Just because... Well, because the writers of this game wanted to have their cake and eat it too. They wanted to motivate Hector by revenge for a dead girl, but also wanted to have him end with the girl. And it is just... misogynic writing. I am sorry.

It portrays women as "things" that can be easily replaced. And I hate this so, so much. It is the reason why, even though CoD might not be the worst game in the series, it is by far the one I loathe the most.

And they could have so easily done it differently. Either by not motivating Hector through Revenge in the first place, or by just making Julia a different person from Rosaly. Make her strikingly different and then have Hector fall for Julia. That would have been fine. Just this: "I broke one doll, but I will just get a replacement" thing that game has going is... horrible.

And yes, additionally I will say that another reason why I do prefer the animated version of Hector is, that he is not the stoic kind of character, but he is actually fairly vulnerable. He is a bit of an idiot who easily fall for people. He definitely does not get to have his power fantasy. But it is exactly this that I like. Because it is a story we usually do not get with male characters.

The story of Hector in the animated series is very much a story that would have usually been given to a female character. And I adore this fact. I adore how they switched the gender stereotypes around for this.

Yes, I am well aware that some fans of the games hated this, too. But I honestly have to say: Look, the game characters might have some minor differences, but all in all they all fall under the stereotype of the stoic action protagonist. Yeah, the series needed to switch this around a bit, because it would have gotten boring otherwise.

And frankly. I am sooooo sick of protagonists being all stoic all the time. Give us some variety. It won't kill these characters to smile from time to time... Or, you know, be vunerable.

[heliphantie]

Happy second anniversary of Encanto movie!

I had (then and year ago) more ambitious idea of mock poster, but again, to execute it properly, decided to put it aside until skills and tools for it gained. So I opted for the piece reflecting on my personal take from the story.

The drawing is an experiment, drawn traditionally in complementary colors and put through color inversion in an editor.

I’m not a fandom person, admittedly. What piques my interest in exploring of piece of fiction is, usually, is its origins, history of creation, cultural background and, in some cases, impact it leaves on the art coming after it, rarely anything beyond. With all things I’ve had getting into recently, it was like that, generally observatory things. When I’ve got into MLP, it was a phenomenon of its large fandom, sheer variety of art forms it produced (from the music and games to automata toys), people of different upbringing and cultures being all inspired by it – fascinating to witness such a movement in present time. With The Simpsons, it was its legacy, its large influence in modern media – seeing the roots, the blueprint of it, getting understanding of why it was such a powerful piece of storytelling and visual direction to raise the cult around it. With Encanto, it got me curious at first to see aesthetic of magical realism being translated in form of animation, and I was surprised Disney decided to dip their toes into attempt of it. Generally, I’m more enticed by potential of the story and its artistic presentation, most of it is left in concept studies rather than in finished work, as often in mainstream production, possibilities and imagination and artistic talent poured into it is much more stunning than the product released to the public. I may feel reasonably cynical about modern Disney as company, but I can’t deny the imagination and immense genius of professionals who are still at work in it. I wish we’ll see the true Renaissance of what always was its major power - traditional animation.

So, what’s the outcome of it: while any piece of fiction that wins my full attention does make my creative juices flowing, nothing of it got to see the light of day until I felt the urge to express what was brewing in my mind affected by that new and hot thing, not to a lesser extent getting inspired by other people’s concurrent creative works, it did kick off renewal of drawing practice I had abandoned years ago and continued postponing for indefinite period. It still induces me to work toward my own progress, for it provides me with backlog of ideas to make into drawings when I really need motivation. It’s going to keeping up, hopefully, until some other thing sweeps me away or something makes my enthusiasm fade. And so, the movie in question is what had the most productive impact on me so far, it helps me keep going, and I’m grateful for that.

On the different note, Bruno in this image is based on Disney Magic Kingdoms's Encanto event video:

[thechekhov]

you mentioned in recent tags about a horror comic you drew- i understand not wanting to link publicly to it to avoid creating MORE misinterpretations, but i really like your storytelling and now i’m curious?? so if you could, that’d be great! no pressure either way!

(i’m sending this off anon so you have the choice to respond to it privately anyways) (love your art thanks) (and the dungeon meshi reacts)

Thanks for the kind message! And it's not a secret or anything, it's straight up this post:

I used language comparing humans and other animals as two separate things (for the sake of drawing the narrative conclusions I needed to, in order to make the concept understood in only a few pages), like this:

But because of this simplified language, people drew their OWN wild conclusions about me as a person.

For example, this guy on twitter:

I never actually said humans WEREN'T animals, never said humans were somehow 'above' biology...I was simply putting them into a separate category capable of a specific set of skills for the sake of the comparison I made in the last couple of pages as the punchline.

But they decided that it must "clearly" mean I believe X, Y and Z.

This has happened MORE than enough times!

Writing is difficult, and writing for varied audiences with different dialects, different levels of reading ability, and different attention spans is hard! Sometimes, people don't want to sit through 2 pages of 'well humans are animals but due to a specific evolutionary niche we fill our ability to use language and calculate mathematical equations to the degree that we do is really unique--'

Now, mind you... I STILL got grief for trying to be soft-boiled in my delivery. People (who don't have a linguistics degree) IMMEDIATELY also messaged me to tell me that chimps CAN learn language - and haven't I seen that one video with the gorilla, the dolphin, etc?

And that's it's own can of worms. (No, other animals cannot learn language the way humans can. Yes, they can communicate in complex ways. No, language is a very specific human thing as far as leading scientists are concerned, at least based on current data. Yes, I went to University for this. I have a degree. Please just trust me.)

It happens, I'm not actively mad about it... Humans tend to take whatever we read and run with it.

But we make this mistake often! I know I also make this mistake. We come conclusions based on scarce evidence! We jump to the worst case scenario! We presume that we know better than that person what they believe, based on minimal interaction with them.

It's yet another thing that's unique to humans thanks to... wait for it... language!

It's the price we pay for having memes.

[runawaymun]

Hey! Any advice on writing multi chaptered fics or just longer stories?

I feel like I'm okay for like snippets but have no idea how to write the middle of a story or move a character or story from point a to point b.

And asking you because you're writing is phenomenal and I'd love some advice.

(But if no brain space for advice I totally get that too and feel free to hide this ask or something)

(Anyway great updates on boundless and the one shot Brimbrond)

Sorry for taking so long to respond to this! I just wanted to take some good time to gather my thoughts because oh man oh boy I am a bit of a nerd about plot structure, even if I pants it a lot of the time -- because middles and structure absolutely plagued me when I was a beginner and so I spent a long, long time studying it and breaking it down.

I'm going to start with some very, very basic advice and then get into some more specific stuff. So let's talk first about how to structure a long-form plot first.

DISCLAIMER: this is how I personally structure plots. More often than not I veer off my own track. And this is a very western way of structuring a plot. It's well worth looking into how storytellers from around the world structure their work because it can vary wildly (Miyazaki is a great example of this). Take this with a grain of salt. It's a guideline which I find helpful. This is going to get very, very long. Bear with me:

When I'm first thinking about how to create a plot around a story I want to tell, this is the process I walk myself through, and it tends to work about 75% of the time for the stories I like to tell (I'm not much of a thriller or mystery writer and those tend to have different kinds of structure). Main recipe is as follows:

Status quo - establish the setting and the character. Do this by the middle-to-end of chapter one, preferably. You can get away with drawing it out a bit in sci-fi or fantasy works that require more worldbuilding, but try not to.

Inciting incident - I won't tell you to start in media res, as that varies from writer to writer and story to story. Generally you want to have this somewhere in chapters 1-3. Say we're talking about LOTR - I'd say the inciting incident is when Bilbo goes invisible at his birthday party and leaves for retirement. Everything sort of snowballs from there (Gandalf confirming this is The One Ring, the Ring being passed to Frodo, the adventure beginning, etc. etc). This is where your character can lose something, or be confronted with a huge problem, or gain some new information. This is the point where your story really picks up.

Point of no return - your character has been presented with a problem or is put in a situation and now they have to decide what to do about it. Sometimes characters choose to run away, or choose inaction. It's up to you and your character as to what they do next.

The annoying part - the most helpful way I've ever found to think about middles is in terms of a series of decisions and consequences. Your character must decide what to do (or try to get what they want), and this will then come with consequences to those decisions. I ignore a lot of writing advice because writers seem to be very cagey about how they compose middles and plots for some reason, but the one piece I heard that helped me was: "What does my character want, and what stops them from getting it?" -- and this can be anything, right? Frodo wants (has to) take the Ring to Mordor. Luke wants to learn to be a Jedi like his father. Inspector Poirot needs to catch the murderer. Odysseus wants to return home. Each of these characters are going to make a series of decisions toward their goal, and they may be working from incomplete information, or bad paradigms, or racing against the clock, or against impossible odds. They're going to make mistakes. Over and over and over again. The middle is a series of decisions, consequences for those decisions, and obstacles (more on that later).

Point of no return 2, electric boogaloo (i.e. the actual midpoint to the story) - the part right before the climax -- the climax IS NOT the midpoint of your story, nor is it the end. This is your midpoint where Everything Fucking Sucks. Your character's back is against the wall. They have to change, or fail.

Paradigm shift: your character learns something new, or develops in some crucial way that leads to:

The climax/confrontation: 3/4 - 7/8th of the way through your plot. Frodo decides to keep the ring. Luke uses the force to blow up the death star. Anakin's fear and the manipulation from Palpatine overtakes him and he turns to the dark side. Inspector Poirot gets his last crucial piece of information and gathers everybody together for the Big Reveal. Odysseus gets home and chases the suitors out of his house. Etc. Etc. This is that Big Point in the story we all think as the most important or crucial point (but it's not. That's the key here. THE most important point is the whole middle of how we got here).

Consequences and paradigm shift 2 electric boogaloo: varies from story to story, but this is the fallout of the last decision or confrontation. Your character may reflect on what they've learned. The killer goes to jail. Frodo returns to the Shire and it's saved, but not for him. The journey your character has been on has irreparably altered them, or the world around them -- for better or for worse.

Resolution: the place where you land the story ;) what is the final impression you want your readers to have of your character, or this world?

Alright so that's all kind of nebulous. Let me give you a slightly more specific form of this plot structure that I use pretty often, because I almost exclusively write character and relationship-driven stories since that's what interests me most:

So most of this looks much the same (the inciting incident is some kind of meetcute. The characters then have to decide if they want to have some kind of relationship -- I like to name this part the callback). Then we have a whole weird squishy section of building interest and tension, before once again we have The Big Fight (darkest before the dawn or what have you), before one or both characters have some kind of paradigm shift, they confess their feelings (or resolve the fight or whatever), and the security of the relationship is established -- happy go lucky times, everything is beautiful and nothing hurts.

So the middle here is of course still squishy and nebulous, but the focus here is still on "What decisions are the characters making? What are the consequences of those decisions? What are they learning, and how do they respond to it?" Maybe the tension is in one character being more reticent, while the other is more open. Maybe the tension is a sexual tension (will they, won't they?). Maybe a character is working off of incomplete information, or a misunderstanding, and that needs to be cleared up before the relationship (or even their own personal growth) can progress (both Elrian and Thalionel in Stars and Boundless Sky follow this pattern). The middle is a push-pull between your character's desires and outside forces that are stopping them from getting what they want, or achieving what they want to achieve.

So okay, that's all well and good. That's basic plot structure. Let me get into my thought process about middles specifically:

Begin with your ending in mind. I do not mean that you need to have like the whole resolution to your story fleshed out. If you're that kind of writer, great! But if you're more of a pantser like me, then that can be a big ask. Instead, ask yourself: what do I want my character to have learned by the end of the story? How do I want them to have changed, or grown? Do I want it to be for better, or for worse? Is there a specific plot goal you have in mind? (saving the world, or catching the murderer, solving the mystery, exorcizing the ghost, the couple getting together at the end, the found family finally gelling with each other, or whatever).

Once you have that thought in mind, now start to think about what your character might need to get from their starting point to their ending point. If it's a murder mystery, this is your information gathering section. You can lead your character to wrong or right conclusions. Have them make mistakes. Etc. etc. If it's a romance, this is where you create a string of scenes where the characters have opportunities to interact and learn more about each other (works for platonic slowburns, too). If this is a traditional hero's journey, this is where you plop in your actual journey.

Not to repeat this ad nauseum, but your middle is all about getting your character to your end goal, but in the most difficult way possible lmao. Let them make mistakes. Let them make bad decisions -- and then follow through with the consequences of those bad decisions. Give them bad information. This is where understanding your character's fundamental flaws becomes extremely important. Your entire plot, imo, stems from your character's fundamental flaws -- because ultimately that is what is going to slow them down the most from reaching their goal. Sure, you may have the big bad evil guy (bbeg), but we're not worried about him. That's an external factor and that's easy to drop in when you need a quick problem to place in front of your protagonist -- but that problem needs to be in service to your character or your worldbuilding. Teach them something. Give them an opportunity for growth. Aragorn needs to lead at Helm's Deep so he can inhabit his leadership role. The mountain pass of Caradhras needs to force the Fellowship through the mines so that Gandalf falls fighting the Balrog and comes back leveled up and ready to fight, and other characters in the fellowship have a chance to grow into their roles without relying on Gandalf for leadership. Your middle is all about crafting little opportunities for character growth, always while moving toward your end goal -- whatever that may be.

The paradigm shifts are crucial, and they can shift for better or for worse. It's up to you and your characters and the story you want to tell as to which it'll be.

If you're bored, your reader is bored. Only write what excites you, skip all the rest, and make it make sense at the end -- I'm so serious. Yes you need to add in breaks for pacing (like the whole Rivendell section in LOTR), but in those breaks still make sure that you're either expanding your worldbuilding, or giving your characters and opportunity for growth.

If you want to tell a really long (novel length) type of story, sideplots and alternate POVs are your best friend. They are structured exactly the same as a regular plot, they're just simpler or smaller and generally work in service to the main plot. Maybe there are side characters or side relationships you'd like to develop. Maybe there's a smaller mystery or a part of your worldbuilding you'd like to explore. Action plots can be side plots to romantic or platonic slowburn plots, just as much as it can be the other way around. And this is not something you need to structure out the gate. Just be curious and playful. Find points in your story that interest you, and explore them a bit. You'll find that they expand the story.

Biggest and best tip I can give you, when all is said and done, is to decide what kind of story you want to tell and then examine how other people are doing it. If you want to write a superhero story, pick out your favorites and look at how they're structured. If you want to write a mystery, same thing. If you're writing a romance or a drama, again -- same thing. Look at the pieces of fiction that you like, figure out what you like about it, and then apply it to your own work.

That's all the general advice off the top of my head. IDK how helpful this was lol. If you want more tips on middles I can try to look at it a bit more in depth, but to be quite honest middles are really what defines a genre. Romances have different middles to thrillers. Thrillers have different middles to mysteries. Mysteries have different middles to dystopian sci-fis. Etc. Etc. So take the general advice with a grain of salt and look more specifically at the genre of story that you're looking to tell.

Thanks for coming to my tedtalk <3