#process blog

[thesweetnessofsalt]

Process Blog #4: How I Make TSOS!

Just in time for Webcomic Day, it's a real actual process blog! We're going to get into the nitty-gritty of how I make pages of The Sweetness of Salt.

Let's go! :D

This blog was originally written for 1$+ TSOS Supporters and can also be read here on Ko-fi - free to everyone!

Chapter 3 Pages 29 - 32 (ALT text for pages here)

Leah's conversation on the balcony with Arlo is a pretty self contained scene in four pages, and will make a good case study for this blog. There is a full video timelapse at the very end, but I will be laying out my process for The Sweetness of Salt in detail here first!

Working From A Script

Since I'm the only person who works on TSOS, I keep my script pretty loose. I have a good idea now of how much of my writing translates into how many pages, and will sometimes mark significant page turns in the script or describe panel layouts if they occur to me while scripting. However, I generally don't know how I'll lay out the panels until I actually sit down with some paper.

My script mostly serves as an outline; dialogue, blocking, or entire segments can change when I put the characters through it on the page. Still, it's important to follow the script in order keep track of pace and continuity.

Here is the original script for this scene:

Script Excerpt - Chapter 3 (ALT text for script image here)

Compare the script to the text on the actual pages, and there are some big differences! That's pretty typical of my workflow for TSOS. There's an ever growing gap between the day I worked on the script and the day I actually make the pages. By the time I sit down and draw, the characters and story have developed even more in my mind, and there's lots of time for me to experiment and be inspired. (This is definitely a luxury particular to a long running webcomic, though.)

In this particular case, I felt like the conversation in the script wasn't familiar enough for their relationship, and I also wanted to start establishing context for Sha's conundrum a bit sooner than originally planned. 

You could apply these to just about all the script changes I make: they're almost always done to re-emphasize character and story beats. And sometimes the changes are so I could add a joke. Or both!

Thumbnailing

You've heard me complaining about it; you've probably heard me express euphoric bliss about it, too. Thumbnailing is when words become comics, and it's hard!! But it's also the most rewarding part for me, and it's when TSOS actually becomes real. 

There are times when I can thumbnail right from my brain, and  times when every single comic I own is out on the floor for inspiration. I need to be in the right headspace to thumbnail - focused enough to take everything I need to into consideration, but loose enough to visualize the story.

Here's a method that's worked for me lately: by setting aside certain number of pages and just writing out what happens per page, I get a good sense of pacing without having to draw anything yet. It's a good way to get the juices flowing!

It's often, though not always, easier to thumbnail on paper, especially for the early stages. I'm much less precious about my drawings on paper, and feel more comfortable trying several iterations of a page than I am with digital drawing. The undo button and zoom button are enemies of thumbnails!

My thumbnails do ultimately get finalized in Clip Studio Paint, though - I have a template for this tailored to my workflow. The page layouts are in the middle, and are paired the same way they are on Webtoon (where pages post in pairs and need to be harmonious). There's also room on each side for the text/notes, though as you can see I don't always write something if I plan to follow the script.

Thumbnails for Pages 28 - 33 (I'm sorry but I'm not ALT texting this chicken scratch)

When I know I need to work on my thumbnails, I try to fill that week with lots of sketching and a healthy reading diet - including my own script and comic! You want a warm hand and a brain full of comics for thumbnailing, but also lots of energy for your own story.

Scott McCloud's books are, as always, indispensable (Understanding Comics for general theory, Making Comics for more specific techniques), but these guides from Hannah Vardit have also been really helpful in getting my brain around thumbnailing.

Page 31 will be our example page moving forward, so here is that thumbnail in full:

Page 31 Thumbnail

LOL - thumbnail Arlo is my favorite Arlo. 

Though not included here on Page 31, I do generally jot down balloons in my thumbnails, too, which you can see in the other thumbnails. It's good to account for your text early!

I keep these drawings super simple - they're just an indication of blocking and expression. I work more on character acting in the pencil stage.

Tools of the Trade

Alright, now we're getting into the nitty gritty!

One note before we proceed: TSOS is NOT print ready, and nothing about my process should be considered print ready or as advice for print readiness. This is just what's worked well for my webcomic, for the sake of consistency and mobile/web versatility. 

Program: Clip Studio Paint EX

Working Canvas Properties: 2407 x 3675px 350 dpi (Sized down to 940px wide for web, Margins approximately 100 px)

Dialogue Font: Soapy Hands by Sara Linsley (15 pt with few exceptions)

Favorite Pencil: Gritty's Pencil from Frenden's mega pack

Favorite Inker: Real G-Pen (CSP Default)

Character Modeler: MagicPoser for iPad

Cottage Model: floorplancreator.net (Browser app - even works on iPad! Free + simple to use)

I also use Windows Sticky Notes keep track of things like line weights, layer properties, or methods for things that get rendered frequently, such as Sha's sweater. 

"Chapter 3 Style Guide" (ALT text here)

Roughing + Penciling

Before I start drawing, I make the panel borders and place all of the text.

I tend to fuss with my text for a long time, getting the line breaks exactly where I want them, and reading it out loud to make sure the page flow works. Balloons usually come later, once the art is done or mostly done and I can place the tails correctly. For now, the text is enough of a placeholder!

Everyone has their own rules when it comes to lettering, but I look to The Essential Guide to Comic Book Lettering as much as possible for general lettering conventions. It's the best resource out there for a reason, and I'm glad I have a physical copy to reference while I work.

Page 31 Rough Blocking + Lettering

If I need to, I will take references from my model of the cottage or MagicPoser. For this scene, the balcony was simple enough to draw from imagination. Still, I studied its one and only appearance here in Chapter 2 Page 29 -

- as well as my model. I use floorplancreator.net - here is the floor plan for the second floor of the cottage:

And here is a 3D view. Neat, right? It took some time to set up, but it was time well spent. Even if I don't screenshot a reference, I'm using it to help visualize backgrounds and blocking.

I also use my own character assets - essentially just a file with various lineart of character faces saved from previous pages.  I like to pencil from scratch if I have the time, but sometimes I just need to get a page out quickly. I'll drop these in and use them as an undersketch to speed things along.

My collection of 3/4 Facial Assets for Leah and Sha

For Arlo, I almost always sketch on top of a reference, and will reuse his lineart, too. I love him, but I'm not an expert frog illustrator.

With my references assembled, I can start sketching and get everything locked in. This was a page I needed to complete quickly, so I structured shots that could use the same background angle and made sure Leah + Arlo's positioning was consistent and easy to follow. 

Big differences between my thumbnails and final layout are often due to continuity adjustments like that. Important stuff!

Page 31 Pencils

I'm afraid I don't have much else to say about this part - if the thumbnails are where the story becomes a comic, this is where the comic becomes art. I get to be my most expressive and make these characters and places come alive. It's the drawing part, you know? Well, except for that other drawing part.

Inking

I tend to be a rough penciller, letting my inks do the heavy lifting drawing-wise. I suppose 'linearting' might be a better descriptor, because I don't ink with a great deal of toning, black shadows, or even line weights. TSOS is fully colored and rendered, so I tend to keep the inks simple. That's kind of just the style I've built for this comic. 

Background inks always come first, though. It's far easier to resize a character to the background than vice versa. This also encourages me to draw the entire background behind the character, so that art can be reused later. (You should also be finishing the art behind your balloons, by the way!)

Page 31 Lineart

Color + Rendering

Backgrounds come first again! I really do try to keep these as simple as possible, so they're easily replicated and don't suck up all my time. UNLESS: the backgrounds are especially important to the page, like an establishing shot. The overhead balcony shot on Page 30 took a lot longer than these, but with the new location established, I could let these pages be more about Leah's conversation and gestures.

This balancing act dictates my entire comic page process. Whichever element is most important to this page - the character acting, the environment, the action, etc - is the element that gets the most of my time, and I'll actively reduce effort in less important areas. It's good for time management, yes, but it also keeps the story focused!

Page 31 Flat Character Color > Rendered Character > Full Color Page

Each character gets filled in with white so their colors can be clipped to the layers above. Again, colors are pretty simple - it's more about the mood lighting here. MagicPoser lets you manipulate lighting, so sometimes I like to go a little ham with the rendering. It's one of my favorite ways to give a scene some 'oomf'.

Typical Layer Hierarchy for Characters (These are normally never labeled. I did that because I love you)

The MVP in all of this is the Erase Along Edge tool. It makes coloring so fast, and when I first adopted it, it cut my process time in half. 

The link will take you to its listing on the CSP asset store, which has detailed instructions for how to use it. Once you figure it out, you can set other brushes to erase along the edge, or even to color within an edge! Neat stuff. I especially like it when I need to color many small background elements.

Finishing and Lettering

A long time ago, TSOS's balloons were very fussy, tedious, hand-drawn squovals. When I made revisions to Chapter 1+2, the bulk of it was just re-lettering it all to something simple and consistent.

I've only just recently started experimenting with the joined balloons you see on this page, so I've got a lot to learn and a lot to try out. There are a couple of things I keep in mind for legibility, like giving the letters lots of room inside the balloon's edge. Clarity is way more important than being fancy.

Curve Balloon tool > place four points only

Manipulate points for symmetry, fit

Add tail

Done!

Since I placed my text early and kept adjusting it along the way, I don't have to worry about my balloons having enough room or looking nice with the art. I can just click my lil points and be on my way!

Page 31 Finished Page

Still a few finishing touches left: the whooshes, the eye shines, and of course, the sparkles. What's left to say? This is objectively the best part.

Wrapping It Up

Whoo, another comic page down! Excluding the time spent thumbnailing, pages take me about 8-10 hours to make. Ideally, I do this across two days, with inking one and coloring the next. 

Here is the full video timelapse of the page! Click through the video to check out the description, where I've timestamped the whole process.

The timestamps on this one definitely made me laugh - I jump around a lot more than the ideal, linear process described in this blog. You can tell I struggled with the lineart on this one, because I keep having to come back to it. But there's always something else to work on - I try not to let myself get stuck in one spot for too long.

There you have it! Those are all my trade secrets. Just over 2k words, and I don't think I can add anything more. But if you want to know anything else or have any questions, you can leave them here and I'll add them to the next blog!

Thanks for reading!

This blog was originally written for 1$+ TSOS Supporters and can also be read here on Ko-fi - free to everyone. Become a 1$+ supporter and you get early access to all of my comic pages and process blogs!

[faggotisaacfloofs]

the person who helped today when I fell out of my wheelchair actually did a really great job, so I want to share in case other people wonder what to do. [Note: this is not universal, this is merely a suggestion from one person, every wheelchair user's needs are different! I am a person who uses a manual chair usually pushed by someone else who is also disabled.]

Scenario: you see someone in a wheelchair fall out of their chair, and you have the ability to help.

1. Approach and ask "are you okay?"*

2. Next question if they say no, are vague, or open to continuing conversation** is, "is there anything I can do to help?" Or "what can I do?"

If they say no to help, then that's the end, just leave and go do whatever you were doing!

If they ask for help or say they are mildly injured, ask "what would you like me to do?" And wait for an answer before doing anything! If they seem dazed or confused, they might have hit their head or had another medical event*, or they might just be like that due to regular disability. Be patient.

Do not touch the person unless they say to, or they are like, unconcious in the middle of the road, ya know?? Wheelchair users usually have conditions that mean being handled improperly can severely injure us, you could cause much more damage than the fall.

Some things they might need you to do:

Bring their wheelchair closer (mine went about 5 feet away after it dumped me)

engage the brakes of the wheelchair

hold wheelchair steady if it's an unsteady surface (mud, hill, ramp, wet, etc)

offer an arm for them to hold onto to get up (them grabbing you, not you grabbing them) or move another solid item closer for them to use (i.e. a chair) [only do this if you physically have the ability to!]

If the terrain is rough (i.e. a parking lot), they *might* ask you to push their chair to a more stable area once they are back in their chair

nothing

Something else

Do what they ask, NOT what you think would be helpful. If for some reason you have to do something (i.e. you can't stop oncoming traffic and need to get them out) ASAP, tell them what you plan to do

Keep in mind they might also be D/deaf, have a communication disability, be stunned after the fall, have a head injury, not trust other people, etc. Be patient and treat them as a person with autonomy and agency! They might need to just sit on the ground for a few minutes to recover before trying to get back in their chair. They might want everyone to leave them alone. They might ask you to call someone specific. Their chair might have broken and that can be extremely distressing. All of this is like if your legs spontaneously stop working when you're out and about!

A lot of wheelchair users (NOT ALL) have ways to get into their chair on their own once the chair is close enough and brakes engaged (but it's hard from the ground!). Here's what brakes look like on a lot of manual wheelchairs, in case they ask you to lock the brakes. They're levers on each side and pushing the lever pushes a bar against the wheel to hold it still.

ID: A manual wheelchair with the brake levels circled in red and labeled "user brake levers"

*There is also the possibility of course that a person fell out of their chair due to a seizure or other medical event, so that is why it is important to ask if they are okay. If you saw them hit their head, tell them so. If they had a medical event, follow protocol for that, I'm not gonna get into it here (thought I could).

**sometimes a person will be clear after the first question i.e. "I'm all good thanks" clearly means they do not need you to ask another question, you can just leave them alone. Keep walking and don't stare. A lot of the time people will be a bit banged up but be totally fine and able to manage on their own.

TLDR: Ask the wheelchair user if they're okay, then what they need, and then do exactly that, including leaving them alone. Thanks!

[writers-potion]

Writing Character Accents in Fiction

Hey there, thanks for the question! I speak English as a second language; most English speakers I encounter aren’t native (yes, including fictional people); thus, this is a concern I’ve explored personally when I write. 

I think the core principle regarding accent writing is this: it shouldn’t be distracting. 

For the same reasons why Stephen King prescribes the basic dialogue tag “said” rather than fancier alternatives like “whispered”, “shouted” or “screeched”, dialogue must be first and foremost easy to read. It must flow like a real conversation – the pace and tone are a lot more important than how specific words are being pronounced by the character. 

Focus on what effect the accent has:

Using adjectives to describe their voice in general. Different types of English (American, British, Australian, etc.) will give off a different vibe, also partly dependent on how your character speaks in general:

Lilting: Having a smooth rise and falling quality; sing-song like. Welsh accent is often described as singing. 

Posh: from a high social class. This is the term generally used to describe the upper-class British accent.

Nasal: this happens when the sound goes through somebody’s nose when they’re speaking. North American accents are more nasal than, say, British pronunciations. 

Brash: harsh, loud, indicative of sounding a little rude. 

Slur: speaking indistinctly; words merging into one another.

Using metaphors.

Her voice was cotton and fluffy clouds. 

When he spoke, the ‘r’s scratched the insides of his throat. 

Mentioning their accent with a brief example(s). 

“Would you like to drink some wine?” she said, though her Indian accent gave extra vibration to her ‘w’s and ‘r’s, making the words sound more like ‘vould you like to drrrink some vine’.

“I want some chocolate.” His syllables were choppy and ‘l’s rather flat, saying ‘cho-ko-lit’. 

Some Tips:

Don’t phonically spell out everything. Perhaps give a few examples in the beginning, but stick to standard English spellings. 

Pay attention to word choice, slang, and colloquialisms. 

An Australian person would say “tram”, not “trolley; “runners” instead of “sneakers”

A Canadian may refer to a “fire hall” – what Americans call a firehouse or fire station

If your character comes from a non-Enligsh background:

Use vocabulary from other languages. 

“What time was the exam, ah? Two o’clock? Jiayou!” → putting “ah” or “la” at the end of sentences + Jiayou means “break a leg” in Singlish. 

“I can’t believe that 4-year-olds have their own SNS accounts now.” → “SNS” is short for “social networking service”, a term used to refer to social media in Korea. This would a subtle difference – even though it isn’t technically Korean at all!

Transpose grammar from different languages. 

For example, in French, plural nouns take plural adjectives (whereas in English, you would speak of ‘white cars’, not ‘whites cars’).

─── ･ ｡ﾟ☆: *.☽ .* . ───

💎If you like my blog, buy me a coffee☕ and find me on instagram! Also, join my Tumblr writing community for some more fun.

💎Before you ask, check out my masterpost part 1 and part 2 

[writer-logbook]

How to introduce your character in 3 steps

A friend of mine was the source of this very pertinent question. So I decided to write a blog entry about it. Because how do you introduce your character without sounding fake ?

Remember that, in real life situation, no one calls you by your name. Have you noticed that none of your friends is adressing you by your name, unless they're trying to get your attention or that something serious is happening ? That should be the same in your story : find a situation where it is relevant to use names. Or stick to nicknames, which is a more common way to address your friends.

Use another character. If you can’t come up with a situation, you can always rely on a side character to introduce your MC. It’s also the perfect way to describe your character rather than simply using mirror, which is convenient yet very cliché. But the fun thing to do is to make several characters talk about your MC : their opinion might go in different directions due to their relationships, their own sensibility and attention to details. It’s also a good way to breath life into your side characters so please consider that option seriously.

The reader doesn’t need to know everything, especially on the very first page. Unless the info is relevant to the plot, there is no need for the reader to know MC’s favourite food or eye’s color. If you’re on character-sheet-side (which I’m not btw), you should be careful about wether the reader the story will progress or not. Try to be balanced !

What I really want to stress in this article is the importance of action when introducing your character. You want the reader to know your character is courageous ? Put them directly into a situation where they can show courage. You want to describe their hair color ? What about that moment when the light is flickering in a way that gives their hair a peculiar effect that catches the eye of another character ?

Don’t worry, your creativity will always find a way ~

[theriverbeyond]

tbh I can't stop thinking about how i went into Hadestown being like "this is a tragic love story based on a greek myth I enjoy :)" and I came out the other side covered in blood being like "this is a thesis about how capitalism inevitably leads to both personal and global ruin, and so we are duty bound to resist it even as we lose, again and again and again. no matter how impossible it feels or how many times we fail and hit a wall and fall, we try again"

[aitadjcrazytimes]

[magpiesketchins]

It's midnight so I'm posting bi/pansexual men

I have a lot of feelings about Logan with an ownership kink please someone give me an excuse to talk about Logan with an ownership kink I'm dying

[boytransmission]

Boy room boy bed boy butt boy cunt etc etc

Top surgery fund <3 Wishlist

[harmoonix]

🦢 нєανєη 🦢

Astrology Observations by harmoonix

🦢 - Mars in Leo/Cancer/Gemini/Virgo can easily feel under pressure when they're stressed, they can feel like the world is ending!!

🦢 - Mars in Libra/Mars in the 7H are so complicated. Finding the peace and the harmony within your romantic relationships can be stressful

🦢 - Gemini Saturn/Virgo Saturn/3H Saturn/6H Saturn are possible anxious places for Saturn! They're so heart-warming, though!! At some point every anxiety attack will end

🦢 - If you have malefics in your 11H like Saturn, Pluto, or Mars, if you have friends that talk bad/shit about their other friends, be sure they talk the same to them about you!! Is so predictable!

🦢 - Cher has a Gemini Venus that makes her look young even though she is 78. DO YOU BELIEVE IN LIFE AFTER LOVE ???

🦢 - Your 2H can talk about your metabolism!! Since it is heavily associated with food! For example, a fire sign in the 2H can talk about a fast metabolism

🦢 - Having Sagittarius in your 2H or 2H ruler in the 9H, it can make you proud of your traditional/cultural food!!

🦢 - Leo Placements have a dark side like all of the other zodiac signs, because they're always in the spotlight. It is quite hard to know how they feel or if they fake their feelings. Not everyone knows how they feel behind close doors

🦢 - Sagittarius/Scorpio and Aries Mars can have a bad temper at times, some even anger issues, and is because Mars gets crazy in those placements

🦢 - If you have your south node in the 9H/Sagittarius, the school or some educational institution can get stuck in your memories/past forerver

🦢 - Jupiter aspecting Moon makes someone to radiate kindness! That person you wanna protect from bad people

🦢 Pluto - Mercury aspects can make someone have a deep voice indeed, which is also that typo of person to their voice hoarse most times

🦢 - Venus in Cancer/4° 16° 28°/4H Venus will make someone love you so passionately! They will build a castle inside your heart

🦢 - I feel like Capricorn Placements are always the ones to stress/overthink about the future 🙁, there is always something 'What if that will happen'

🦢 - Venus/Moon in your 9H can make your relationships/marriages blessed! Is a very beneficial house for those planets

🦢 - Mercury in air signs have a specific way of communicating! It can be a fast reply to your messages, instant calling, using a lot of gestures while talking!

🦢 - If you have Sagittarius Mercury/Mercury in the 9H, you probably have a very good type of humor! Makes everyone to laugh

🦢 - Pisces Mercury and the 12H mercury are also people with good humor! I honestly appreciate their energy

🦢 - Can someone tell me why like Cancer and Capricorn Saturn BOTH give a very nurturing energy?? Is like I connect with mother nature

🦢 - Libra Placements are honestly precious! They appreciate the beauty of everything! They can find beauty even in bad things

🦢 - I have no major Saturn - Venus aspects, but I have quincunx instead, which can be manifested as such sad energy because you basically don't feel anything at times

🦢 - Lilith and Sun aspects are the symbol of a black diamond! Always shining after all they have been through

🦢 - If you have major 6H placements especially Pluto in the 6H, your health both mentally and physically is VITAL. Always prioritize that!!

Replying to your ex: No

Prioritizing your mental health: Yes

🦢 - If one of your parents have their sun in the same sign as your rising you can look a lot alike! Is honestly one one if the best combos to share with your parents

🦢 - Venus conjunct south node but also Libra south node gives me the vibe of a widow in a past life, someone who could've have suffered in love

🦢 - If your 3H is connected with the 11H you can be best friends with your siblings, if your 3H is connected with the 9H you tend to be best friends with your cousins

🦢 - Saturn/Neptune/Mars and Pluto in the 12H need proper sleeping if they're usually tired is a sign to just relax and take a nap

🦢 - Venus in the same house as your Mars can make you addicted to topics like art, music, sex, history, and even culture

🦢 - Mars in harsh aspects with Venus tend to flirt more than the good aspects, because Mars here is looking for competition

🦢 - Virgo Venus and Venus at 6° 18° can be picky with their partners, they can also have multiple types of people as their crush

🦢 - If you have got your 4H connected to the 7H your family can help you with getting into a relationship

🦢 - Jupiter in harsh aspects to Pluto tend to force their beliefs/religion/habits into others, something even without realizing

🦢 - Uranus in your 4H or Aquarius in the 4H can talk about your family can have quite unique habits, is like your family is different from the rest of the world because something makes them to just stand out

🦢 - People who have Sun in their 4H or IC at 5° 17° or 29° can really be known because of their family, is giving popular family

🦢 - Earth Signs over the 8H can be very private about their intimate lives and their sexual life

🦢 - Mercury aspecting Moon can make the native so empathic emotionally, you can understand everyone's feelings usually they're soft at heart

🦢 - Mercury in the 12H can be attracted into things that seem 'undiscovered, or unknown', they're always curious about things they dont have much info about

🤍🤍🤍🤍 harmoonix

[joseefinwrites]

Ultimate "Know Your Character Inside Out" Template

The ultimate template for creating a character, without losing your mind, while you're at it.

Character Background Template ... (open)

1. Name:

2. Age:

3. Gender & Pronouns:

4. Physical Appearance:

 �� - Hair color:

   - Eye color:

   - Height:

   - Build:

   - Distinguishing features (scars, tattoos, etc.):

5. Background and Upbringing:

   - Where were they born and raised?

   - What was their family structure like (parents, siblings)?

   - Describe their childhood environment and upbringing.

   - Were there any significant events or traumas in their past?

6. Education and Skills:

   - What level of education did they receive?

   - Did they excel in any particular subjects or skills?

   - Have they pursued any additional training or education since then?

7. Personality Traits:

   - Describe their personality in a few words.

   - What are their strengths and weaknesses?

   - How do they typically react under stress or pressure?

8. Motivations and Goals:

   - What are their short-term and long-term goals?

   - What drives them to pursue these goals?

   - Are there any fears or insecurities that motivate or hinder them?

9. Relationships:

   - Who are the most important people in their life?

   - How do they interact with family, friends, and acquaintances?

   - Do they have any romantic interests or significant relationships?

10. Past Experiences:

    - Have they faced any major challenges or setbacks in the past?

    - How have these experiences shaped their beliefs and values?

    - Have they experienced any significant losses or tragedies?

11. Worldview and Beliefs:

    - What are their core beliefs and values?

    - How do they view the world around them?

    - Are there any cultural, religious, or philosophical influences in their life?

12. Inner Conflict:

    - What internal struggles do they face?

    - Are there any unresolved issues from their past that continue to affect them?

    - How do these inner conflicts impact their decisions and actions?

13. Connection to Outer Conflict/Plot:

    - How does their personal journey intersect with the main plot or external conflict?

    - What stakes are involved for the character in the larger story?

    - How do their goals and motivations align (or conflict) with the central conflict?

 

(Shorter) Knowing Your Character Inside Out Checklist

Personality Traits:

   - Introverted/Extroverted

   - Optimistic/Pessimistic

   - Assertive/Passive

   - Empathetic/Self-centered

   - Logical/Emotional

   - Adventurous/Cautious

   - Honest/Dishonest

   - Ambitious/Content

Beliefs and Values:

   - Religious beliefs (if any)

   - Moral code

   - Political beliefs

   - Views on relationships

   - Attitude towards authority

Fears and Insecurities:

   - Common fears (spiders, heights, etc.)

   - Deep-seated insecurities (failure, rejection, etc.)

   - Traumatic experiences (if applicable)

Desires and Goals:

   - Short-term goals

   - Long-term aspirations

   - What motivates them to pursue these goals?

Strengths:

   - Intellectual strengths

   - Physical abilities

   - Emotional resilience

   - Social skills

   - Unique talents or abilities

Weaknesses:

   - Personal flaws

   - Areas of vulnerability

   - Bad habits

   - Limiting beliefs

Backstory:

    - Family background

    - Childhood experiences

    - Significant life events that shaped their identity

    - Education and career path

    - Previous relationships

-Josie

[loosketches]

couldn't sleep so I made some iterations of my last work.

[starsandskies]

First post!

It's me, Lúa, StarsAndSkies, starting over.

My main blog got flagged and I honestly didn't have tha patience to wait for an answer, so here I am, starting over!

I'd appreciate a little bit of singal boost so people can find me again and I can find you all too!

Thank you in advance <3

[ashoss]

saw these pins on pinterest and felt compelled to do this

[writers-potion]

Editing Tips: Watch Out for Tautology

When you say the same thing twice with different words, it's a "tautology". They make manuscripts wordy.

Examples:

He shrugged his shoulders. -> He shrugged.

She clapped her hands. -> She clapped.

Her feet stepped back. -> She stepped back.

He hand picked up the knife. -> He picked up the knife.

If a movement is necessary for an action, the movement is included in the action and doesn't need to be spelled out separately.

He reached out his arm and took the book from her -> He took the book from her.

She lifted the glass to her lips and drained it. -> She drained her glass.

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[writer-logbook]

How to improve your writing style : a 5-steps guide.

Intro : I love the 5-steps format, don’t mind me. Again, this essay is based on my personal experience.

Read in different genres. Ok, I know you’ve probably heard this advice more than you can count but did you ask yourself why it is so important ? You probably wonder ‘‘How reading some historical fiction will help me writing my sci-fi novel ?’’ For that simple reason my friend : they meet different purposes. You don’t know how to describe a castle ? It’s okay, historical fiction got your back. Because it aims at something more realistic and accurate, it would tend to be more specific and detailed when it comes to describing clothes, furniture, places and so on. Why ? Because, most of the time, THEY ACTUALLY EXISTED. Take a closer look at how it is done and draw your inspiration from it (but please avoid plagiarism it’s bad - and illegal)

Take notes and CLASSIFY them. To make reading somehow useful, you have to actually make it concious, which means you have to write things down to remember them. When I come across a description I like, I tend to takes notes of the figures of speech that are used and class them, so when I have to write a similar scene, I have an idea of what have been already used, and weither or not it achieved its goal. I am NOT talking about COPY another author’s style !!!! It’s about finding inspiration and new approaches. I also tend to take notes of the new words I wish to incoporate into my writing. The thesaurus is my new bestie.

Rewrite the same scene from different POVs. First of all, it’s fun. And it’s a really good way to spot quirky formulations. For instance, if you describe a ship, the captain’s POV should be different from that of a simple observer. The first one would be naming each part princisely whereas the other would only be admiring the surface without knowing anything. If the caption is the same for both POVs, maybe you should consider write your passage again (or have a good reason, like a strong amateurism for the mere observer). It’s go hand in hand with coherence - but it would be an essay for another time (maybe).

Read your text aloud. I put major emphasis on that one because it’s as underated as reading books for various genres. You have no idea how much we DON’T speak the way we write. Even dialogues are crafted in our stories - so make sure to give them proper attention. (i even read my email aloud but-). I KNOW how cringey it might be as I am doing it MYSELF but the benefits are worth the 35-minutes shame I endure from my own mess. Before you can shine, you have to polish (shout out to the one who said that first if it’s not me).

Take a step back. I strongly advice you to let some time pass before reading your text again and profreading it. It will cast a new light upon your work and with fresh eyes you’d be more likely able to spot what needs to be erased or rephrased.

That’s all for me today. Since I would be entering my proofreading phase for my writing contest, the next essay would probably about proofreading (with examples from my own novel ?). Unless someone wants me to write on a specific subject first.

Gentle reminder that I’m still French and not a native so please forgive my dubious grammar and outrageous mispellings.

[cubbihue]

Have there been times the Turner parents have suspected something but shrugged it off?

They have never suspected Timmy Turner of anything! Despite often expressing regret or disappointment, they still very much love their son! And all the benefits he brings them!!

The Turners are a well established family in the neighborhood. It wouldn't bode them well to go around casting doubt against their own son. It'd affect their reputation terribly!

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