#they are just as likely to be true as the convoluted nonsense pony THINKS is true

[broareweabouttoviberightnow]

one aspect of the outsiders fandom I find absolutely delightful is that u can pick pretty much any detail n go 'Pony's 14 year old oblivious unreliable ass was WRONG' n just immediately have a case

[artdjgblog]

​Innerview: Jane Lerner / Print Magazine​ Regional Design Annual

July 2008 

Image: Gluekit

​Note: Q​&A on the​ Midwest's​ “State of the Union in Design​.​”

Question:​

I am mainly interested in your take on the “state of the union” of design in Missouri. In writing the regional essay, I am curious as to your thoughts on the quality of local design and designers, the challenges designers currently face in your area, the kinds of clients you are seeing more / less of, the influence of local art schools and the new crop of designers, the effects of larger social issues (the economy, the election, recent flooding, the housing crisis)—really anything you’d like to offer would be illuminating. I’m especially interested in any changes you may have felt in your business since last year, either improvements, declines, shifts in assignments, anything…I am just hoping to collect some thoughts from local designers in your area on the state of design in your area, with a special emphasis on how your work has changed, evolved, improved, or been challenged in the past year. Really anything you’d like to offer would be helpful and illuminating, but don’t feel like you need to put to​o​ much time or effort into writing anything up! ​Answer:​

Honestly, for about forty minutes each Fall, I let Print’s Regional Design Annual treat me to a view of what they think is the state of design union in Missouri and beyond these borders. But, do I use it as my design doctrine or bible? Nope, just reference per the moment and mild-mannered time passing. And besides, it’s always about a year behind (har-har). The rest of the year I barely flip a design magazine or book page based upon today’s happenings and I don’t interact much with other design unless having a ba-jillion images pass by me on the web world bulletin boards, the grocery aisles and department stores or when I watch movies and play passenger in cars. Oh, so then again, I guess I DO flip through (and flip off) a lot of design out there! And geesh, I can barely read most restaurant menus these days! I get confused and convoluted from a lot of design overload. Though, I guess I do care. I do celebrate design. I do love it and hate it on occasion. I do get too serious at times and then feel the need to step it back because I have to be a human being. Publications like Print must be doing something right being that they’ve been in print for decades now. And I might read it more if I could afford a subscription. But, I still think that all design is relative to the viewer who makes contact and then it’s up to them. Them being, both the general people and the people who really push the production, politics or peep show. But, mostly it should be left up to the uneducated design people (I mean that in the best way possible) that the end product is placed within eye-shot. They have to look at the whole spectrum majority of the junk, not knowing what is good or bad in design aesthetics, but what feeds them on a personal level or how hungry their pockets are. For the majority of my own nest-kick-chicks, that would be street level. I think I’m not too far off by putting my poster work in the same batter as that of street vending / food cart. It’s cheap, catchy, quick and not for everyone. But for those few minutes (or seconds pending on how fast you digest) it may or may not treat you right and then you pack up and move on to the next pickings. Sometimes you might want to try it again and that means a lot to me in this age of quick tastes and slick takes. On the other hand, I wouldn’t mind for each experience to be a new taste / take. In some cases, multiple tastes / takes in one bite. So, lots of different street vendor selections or even toppings? Maybe more like one big thing of flavored beans? Canned or candied? Of course the design hand-picked for a design magazine is done so by designers. They do a fine job, but is design all relative to designers too? Maybe we should start letting non-designers pick the work just for the heck of it? I think it would be a great experiment to see what truly works on a popular vote in the culture instead of designers controlling the pop culture waves of their own profession. Something I learned about this “profession” a long while back is that there is no good or bad design, only smart or stupid (I think there are “pretty” and “ugly” categories too). I find joy pulled from all sides. More times than not, I find more breathable life in things made by the hands of unskilled makers of things. Though, it depends, I guess. And for the most part, whether it is folk art or a church secretary’s thumb prints, the egos, arrogance factor and financial bullpens typically come in less shades of gloss and floss as well. Still, one can’t help but think there is a fine line once all the meat is boiled with any “design” job. I guess that is where my formative training and “I think I know it so-and-so’s” come to bite me in the rear. I try to not think, but end up thinking too much when these questions come. What does all of this nonsense say about the state of the union? Should we even care about a state of the union with design? I have no idea. Tricky question, nonetheless. Designerly reality hits when I feel that a lot of non-designers think they are designers and that a lot of designers think that they are designers too. Though, this has probably more-so been a “thing” with many since the personal computer came into play and that’s a subject that has been beaten to death. It’s good and bad and smart and stupid and pretty and ugly. Oh, and the ability to change colors and images on myspace pages and cell phones has got the “modern” world in a hoopla of cool-aid. Everybody’s got an agenda to style and decorate everything, non-designers and designers. Whatever and way-to-go…each to their own scarecrow. I try to stay out of design dogma, fads and politics for the most part. But, it can be challenging when the “profession” feels a lack of respect compared to what it may have had decades ago (I’m still a young pup so I wasn’t around, but I love to look at old makers of things working in a room without a compouter), when brains were illuminated instead of monitors. I’m not sure if this is my area of the box to bash. But, it makes for interesting passing through. And I have a pooter too. I stick to my guns as much as I can, but still it’s a game of roulette with each day cause I never know what I’m personally going to get out of it or if what I get translates to if he or she or they or it wish for tickets to the gun show. But, I try to always do my best work per that moment and keep true to whatever direction of the dotted line it fits. Unfortunately some days make for more paper dolls than snowflakes. Personally, whenever I pull from all things, the cannon of life that I’ve built and have come to know, this is when I’m tickled most within the work. But, it shouldn’t be about me and I am no specially marked pre-packaged product. A healthy dose of all angles and ingredients apply for this position. Design calculators are nice and all, and knowing what you think you know is more than just knowing as it becomes powerful like OCD to the core and every drip and wink of life becomes that. It can be fulfilling and it can also make you want to dive in a landfill. Anyway, it’s a strange brew and I’m best when I stir and just let it happen. And I’ve had to work a full-time day job (and some) since starting on my personal design odyssey seven years ago, so I don’t know enough of “much” to really qualify for this question. I’m in constant scrape for scraps of my own eye lids. But, then again, Print Magazine has kindly donated some fine-printed room on their pages the past six years for my silly D.I.Y. bump and grinds. As if I couldn’t confuse myself even more, I found out that Print picked a piece of my mind to help represent Missouri that I didn’t think was anything too special on a whole and now they want my opinion on the state of the union. Design is all relative even among designers. I don’t get out too much, but Kansas City has had a hot bed of art and design activity burning bright for several years now. And ever since I was making visits from the farm to the city as a child, I’ve thought the architecture alone in this town stands for itself old and new. Right now there is a lot of development buzzing and lots of expensive looking structures and changes filling out formerly anorexic lots and buildings. Supposedly we are making a dent in the landscape all-around with the arts, which is kind of exciting. And there is a great sense of hometown pride right now. Though, how does that add up in comparison to the higher crime rate, poverty, loaf of bread, gallon of gas or milk? Or, anywhere? I guess in designerly terms, Print will let me know for sure later this year what is exactly going on as they summarize the Missouri plot. All I know is that the loop is small here in Kansas City and I myself have somehow managed to remain fairly anonymous and out of the loop, yet have been fortunate to grasp a few goggles. But, like I said, I don’t get out much and I don’t get to do design full time. At times, and in these times, I wonder how some individual designers and larger design firms keep all of their monitors turned on. Maybe I should hang around some of these kids who are getting by on their arts and crafts alone and learn a trick or two? But, I will just keep riding my little pony now. I suppose the new crop of talent has been a constant for a long time with the Kansas City Art Institute being here and all. Though, many newbies come in from all areas of surrounding towns and other states, not just for formal schooling. And I’m sure the location between big college towns like Lawrence, KS and Columbia, MO draw in the post-graduates. It seems like a lot of people that transplant or migrate here stick around and drop anchor for a bit. The central location, four seasons and big-little city atmosphere help make for a comfortable stay. You can throw an iPhone and hit somebody who makes stuff or plays in a band or something in the area of the arts. It’s fairly easy to find kindred spirits, comfort and a bit of headlines if you’ve got something to say. And in some cases you don’t need to say much to get attention. But, I think that in most any city now you can find a lot of people who are pushing towards titles of artist, designer, writer, filmmaker and so-on. However, the “everyone’s an artist” tag line doesn’t bulge the waist line here as much as in a city like say, Portland, OR. But, I think that there is an edge here with milder mid-west manners and a cheaper and comfortable cost of living in comparison to equally-sized and more artistically-endowed cities. Still, gas and economy prices are rising all the time so added whoopee cushions are deflating a bit. But, cats are cheaper than kids so my wife and I almost have my formal art and design education paid off. Whoopee, for real. Though, most of the natty resources I’m in constant search of right now in my pockets are time, energy and clear conscience. In my own personal art department, internet advertising on social networks mixed with small town word-of-mouth and an incestuous music scene of like twenty people pretty much makes the concert poster secondary information today. At least it seems that way on some days…some days like today. And some days feedback comes in the vein of, “It’s alright I guess, but I think we’ll just make our own in OUR style.” I have no idea what that means, but it seriously cracks me up in a “you and me take ourselves way too serious” kind of way. Stuff like that makes me realize that all of this that I push and pine for means nothing when all the images are stacked up. I like the idea of the time line and of the paper trail with life and celebrating creation, but a lot of it can take life out of context. I’m guilty a lot. Fooey…I don’t think the concert poster is a dead art and I must add that I’ve had great response and clientele to work with here. To top off this tearful tier, I have no idea what else I could do. This is the only thing that I’m told that I’m somewhat “OK” at. When fitting their “style”, of course. So, Kansas City…I simply fell into the right position with you and I enjoy you sometimes and sometimes I don’t. But, that is how the hamster ball scuttles. Though, much of my smoke stacks have cut back collaboration with concert stuffs due to just wanting to take it easier on myself and to see where else I can crawl with this pile I’m sitting on. And I come back quick, up and down. I think there will always be an avenue for printed products, plus for a long while now the concert poster in general has become a pretty hot item. Though, that is not why I do it. I just do it. Out of the gutter and onto the milk crate. Regardless, I’ve taken a step back from my typical trappings anyway to just breathe a bit in life and to avoid burning my torch out. I’m also seeing what other areas to plow. Though, I think I’ve recently caught a bit of fire again and I’m burning my brain and yours in this windy waste of writing. Adding it all up, I’m well down my seventh well here. I like it, but I have itchy roots that dig into my country backbone woods. There’s a piece of me that wants to get a piece of rural property to see some stars again and have a little full tank of time making things shack out back. And just close enough to the city for a fix of my secondary roots here if need be. But who knows what the next wind will blow? -djg

[ravenmorganleigh]

25 THINGS YOU SHOULD KNOW ABOUT PLOT

Previous iterations of the “25 Things” series:

25 Things Every Writer Should Know

25 Things You Should Know About Storytelling

25 Things You Should Know About Character

And now…

1. WHAT THE FIDDLY FUCK IS “PLOT,” ANYWAY?

A plot is the sequence of narrative events as witnessed by the audience.

2. THE WRONG QUESTION

Some folks will ask, incorrectly, “What’s the plot?” which, were you to answer them strictly, you would begin to recite for them a litany of events, each separated by a deep breath and the words, “And then…” They probably don’t want that. What they mean to ask is, “What’s the story?” or, “What’s this about?” Otherwise you’re just telling them what happened, start to finish. In other words: snore.

3. A GOOD PLOT IS LIKE A SKELETON: CRITICAL, YET INVISIBLE

A plot functions like a skeleton: it is both structural and supportive. Further, it isn’t entirely linear. A plot has many moving parts (sub-plots and pivot points) that act as limbs and joints. The best plots are plots we don’t see, or rather, that the audience never has to think about. As soon as we think about it, it’s like a needle manifests out of thin air and pops the balloon or lances that blister. Remember, we don’t walk around with our skeletons on the outside of our body, which is good because, ew. What are we, ants? So don’t show off your plot. Let the plot remain hidden, invisible.

4. SHIT’S GOTTA MAKE SENSE, SON

The biggest plot crime of them all is a plot that doesn’t make a lick of goddamn sense. That’s a one way ticket to plot jail. Do not pass GO. Do not collect $200 dollars. Do not drop the soap. The elegance of a great plot is that, when the events are all strung together, there exists a natural order as if this was the only way they could fit together. It’s like dominoes tumbling. Your plot is not a chimera: random parts mashed together because you didn’t think it through. Test the plot. Show people. Pull the pieces apart and ask, “Is there a better way?” Nonsense plots betray the potency of story.

5. THE QUINTESSENTIAL PLOT

The simplest motherfucker of a plot is this: things get worse until they get better. A straight-up escalation of conflict. It goes from “Uh-oh, that’s bad,” to, “Uh-oh, it’s getting worse,” to “Oh, holy shit, it can’t get any worse,” to, “I think I maybe maybe fixed it, or at least stopped it from being so totally and completely fucked.” When in doubt, just know that your next step as a storyteller is to bring the pain, amp the misery, and escalate the conflict. That’s what they mean by the advice, “Have a man with a gun walk through the door.” You can take that literally, sure, but what it means is: the bad news just got worse.

6. IN LIFE WE AVOID CONFLICT, IN FICTION WE SEEK IT

Fiction is driven by characters in conflict, or, put differently, the flame of fiction grows brighter through friction. A match-tip lights only when struck; so too is the mechanism by which a gun fires a bullet. Impact. Tension. Fear. Danger. Need to know what impels your plot forward? Look to the theme of Man Versus [fill-in-the-blank]. Man versus his fellow man. Woman versus nature. Man versus himself. Woman versus an angry badger riding a unicorn. Find the essential conflict and look for events that are emblematic to that.

7. WANT VERSUS FEAR

Of course, the essence of the essential conflict — the one below all that Wo/Man versus stuff — is a character’s wants versus a character’s fears. Plot grows from this fecund garden. The character wants life, revenge, children, a pony — and that which he fears must stand in his way. John McClane must battle terrorists to return to his wife. Indiana Jones must put up with snakes and irritating sidekicks to uncover the artifact. I must put up with walking downstairs to make myself a gin-and-tonic. Everything that stands in a character’s way — the speedbumps, roadblocks, knife-wielding monkeys, ninja clones, tornadoes, and sentient Krispy Kreme donuts sent from the future to destroy man via morbid obesity — are events in the greater narrative sequence: they are pieces of the plot.

8. GROW THE PLOT, DON’T BUILD IT

A plot grows within the story you’re telling. A story is all the important parts swirling together: world, character, theme, mood, and of course, plot. An artificial plot is something you have to wrestle into place, a structure you have to bend and mutilate and duct tape to get it to work — it is a square peg headbutted into a circle hole, and you’re the poor bastard doing all the headbutting.

9. THE TENSION AND RECOIL OF CHOICE AND CONSEQUENCE

An organic plot grows like this: characters make decisions — sometimes bad decisions, other times decisions whose risks outweigh the rewards, and other times still decisions that are just plain uncertain in their outcome — and then characters must deal with the consequences of those decisions. A character gives up a baby. Or buys a gun. Or enters the dark forest to slay Lady Gaga. Anytime a character makes a choice, the narrative branches. Events unfold because she chose a path. That’s it. That’s plot. Choice and consequence tighten together, ratcheting tension, creating suspense. Choice begets event.

10. PLOT IS PROMISE

Plot offers the promise of Chekov and his gun, of Hitchcock and his bomb under the table. An event here leads to a choice there which spawns another event over there. Foreshadowing isn’t just a literary technique used sparingly: it lurks in the shadow of every plot turn. Plot promises pay-off. A good plot often betrays this promise and does something different than the audience expects. That’s not a bad thing. You don’t owe the audience anything but your best story. But a plot can also make hay by doing exactly what you expect: show them the gun and now they want to see it fire.

11. LET CHARACTERS DO THEY HEAVY LIFTING

Characters will tell you your plot. Even better: let them run and they’ll goddamn give it to you on a platter. Certainly plot can happen from an external locus of control — but you’re not charting the extinction of the dinosaurs or the lifecycle of the slow loris. Plot is like Soylent Green: it’s made of people. Characters say things, do things, and that creates plot. It really can be that simple. Authentic plot comes from internal emotions, not external mechanics.

12. CHART THE SHORTEST POINT BETWEEN BEGINNING AND END

One way to be shut of the nonsensical, untenable plot is to cut through all the knots. If we are to assume that a plot is motivated by the choices and actions of characters — and we must assume that, because who else acts as prime mover? — then we can also assume that characters will take the most direct path through the story as they can. That’s not to say it’ll be the smartest path, but it will be forthright as the character sees it. No character creates for himself a convoluted path. Complex, perhaps. Convoluted? Never. Characters want what they want and that means they will cut as clear a path to that goal as they can. A convoluted, needlessly complex plot is just the storyteller showing off how clever he is. And no audience wants that. Around these parts, we hunt and kill the preening peacocks and wear their tail-feathers as a headdress.

13. ON THE SUBJECT OF “PLOT HOLES”

Plot holes — where logic and good sense and comprehensible sequence fall into a sinking story-pit — happen for a handful of reasons. One, you weren’t paying attention. Two, your plot is too convoluted and its untenable nature cannot sustain itself. Three, you don’t know what the fuck is happening, and maybe also, you’re drunk. Four, the plot is artificial, not organic, and isn’t coming out naturally from what the characters need and want to do. Five, you offended Plot Jesus by not sacrificing a goat. You can’t just fix a plot hole by spackling it over. It’s like a busted pipe in a wall. You need to do some demo. Get in there. Rip out more than what’s broken. Fill in more than what’s missing.

13. IF THE CHARACTERS HAVE TO PLAN, SO DO YOU

Many writers don’t like to outline. Here’s how you know if you should, though: if your characters are required to plan and plot something — a heist, an attack on a moon bunker, a corporate take-over — then you’re a fool if you think these imaginary people have to plan but you don’t. This is doubly true of genre material. A murder mystery for example lives and dies by a compelling, sensible plot. So plan the plot, for Chrissakes. This isn’t improvisational dance. Take some fucking notes, will you?

14. SET UP YOUR TENTPOLES

A big tent is propped up by tentpoles. So too is your plot. Easy way to plan without getting crazy: find those events in your plot that are critical, that must happen for the whole story to come together. “Mary Meets Gordon. Belial Betrays Satan. An Earthquake Swallows Snooki.” Chart these half-dozen events. Know that you must get to them somehow.

15. THE HERKY JERKY PLOT SHUFFLE PIVOT POINT BOOGIE

You’ve seen Freytag’s Triangle. It’s fine. But it doesn’t tell the whole story. This is the Internet. This is the future. We have CGI. We have 3-D. Gaze upon the plot from the top-down. It isn’t a linear stomp up a steep mountain. It’s a zig-zagging quad ride through dunes and jungles, over rivers and across gulleys. You’re a hawk over the quad-rider’s shoulder — watch it jerk left, pull right, jump a log, squash a frog. More obstacles. Greater danger. Faster and faster. Every turn is a pivot point. A point when the narrative shifts, when the audience goes right and the story feints left.

16. PLOT IS THE BEAT THAT SETS THE STORY’S RHYTHM

Plot comprises beats. Each action, a new beat, a new bullet point in the sequence of events. These establish rhythm. Stories are paced according to the emotions and moods they are presently attempting to evoke. Plot is the drummer. Plot keeps the sizzling beat. Like Enrique “Kiki” Garcia, of Miami Sound Machine.

17. EVERY NIGHT NEEDS A SLOW DANCE

I know I said that plot, at its core, is how everything gets worse and worse and worse until it gets better. Overall, that’s true. But you need to pull back from that. Release the tension. Soften the recoil. Not constantly, but periodically. Learn to embrace the false victories, the fun & games, the momentary lapses of danger. If only to mess with the heads of the audience. Which, after all, is your totally awesome job.

18. THE NAME OF MY NEW BAND IS “BEAT SHEET MANIFESTO”

You can move well beyond the tentpoles. You can free-fall from the 30,000 foot view, smash into the earth, and get a macro-level micro-view of all the ants and the pill-bugs and the sprouts from seeds. What I mean is, you can track every single beat — every tiny action — that pops up in your plot. You don’t need to do this before you write, but you can and should do it after. You’ll see where stuff doesn’t make sense. You’ll see where plot holes occur. Also: wow. A Meat Beat Manifesto joke?

19. BEATS BECOME SCENES BECOME SEQUENCES BECOME ACTS

Plot is narrative, and narrative has units of measurement: momentary beats become scenes of a single place, scenes glom together to form whole sequences of action and event, and sequences elbow one another in the giant elevator known as an “act,” where the story manifests a single direction before zig-zagging to another (at which point, another act shifts). Think first in acts. Then sequences. Then scenes. And finally, beats. Again, take that 30,000 foot view, but then jump out of the plane and watch the ground come to meet you.

20. YOUR SEXY MISTRESS, THE SUBPLOT

In real life, don’t cheat on your spouse or lover. Not cool, man. Not cool. As a writer, you don’t cheat on your manuscript, either: while working on one script or novel, don’t go porking another one behind the shed. But inside the narrative? The laws change. You need to cheat on your primary plot. Have dalliances with sub-plots — this is a side-story, or the “B-story.” Lighter impact. Smaller significance. Highlights supporting characters. But the sub-plot always has the DNA of the larger plot and supports or runs parallel to the themes present. Better still is when the sub-plot affects, influences or dovetails with the larger plot.

21. BENEATH SUBPLOT, A NOUGATY LAYER OF MICRO-PLOT

Every little component of your story threatens — in a good way, like how storms threaten to give way to sun, or how a woman threatens to dress up as your favorite Farscape puppet and sex you down to galaxy-town — to spin off into its own plot. Your tale is unwittingly composed of tiny micro-plots: filaments woven together. A character needs to buy a gun but can’t pass the legal check. His dog runs away. He hasn’t paid his power bill. Small inciting incidents. Itty-bitty conflicts. They don’t overwhelm the story, but they exist just the same, enriching the whole. A big plot is in some ways just a lot of little plots lashed together and moving in a singular direction. Like a herd of stampeding marmots.

22. EXPOSITION IS SAND IN THE STORY’S PANTIES

Look at plot construction advice and you’ll see a portion set aside for “exposition.” Consider exposition a dirty word. It is a synonym for “info-dump,” and an info-dump is when you, the storyteller, squat over the audience’s mouth and expel your narrative waste into their open maw. Take the section reserved for exposition and fold it gently into the rest of the work as if you were baking a light and fluffy cake. Let information come out through action. Even better: withhold exposition as long as you can. Tantric storytelling, ladies and germs: deny the audience’s expectation ejaculation until you can do so no longer.

23. ON THE SUBJECT OF THE “PLOT TWIST”

A plot twist is the kid who’s too cool for school — ultimately shallow, without substance, and a total tool. It’s a gimmick. Let your story be magic, not a magic trick. Not to say plot twists can’t work, but they only work when they function as the only way the story could go from the get-go. Again: organic, not artificial.

24. THE ENDING IS THE ANSWER TO A VERY LONG EQUATION

Plot is math, except instead of numbers and variables it’s characters, events, themes, and yes, variables. The ending is one such variable. An ending should feel like it’s the only answer one can get when he adds up all parts of the plot. This actually isn’t true: you can try on any number of endings and you likely have a whole host that can work. But there’s one ending that works for you, and when it works for you, it works for them. And by “them” I don’t mean the men in the flower delivery van who are watching your every move. I mean “them” as in, the audience. P.S., don’t forget to wear your tinfoil hat because the flowers are listening.

25. PLOT IS ONLY MEANS TO AN END

Speaking of ends, plot is just a tool. A means to an end. Think of it as a character- and conflict-delivery-system. Plot is conveyance. It still needs to work, still needs to come together and make sense — but plot is rarely the reason someone cares about a story. They care about characters, about the way it makes them feel, about the thing you-as-storyteller are trying to say. Note, though, that the opposite is true: plot may not make them love a story, but it can damn sure make them hate it.

* * *

If you dig on the apeshit crazy-face no-holds-barred profanity-soaked writing advice found here at terribleminds, then you may want to take a wee bitty gander-peek at: CONFESSIONS OF A FREELANCE PENMONKEY, which is available now! Buy for Kindle (US), Kindle (UK), Nook, or PDF.