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Having trouble editing today, so I guess I'm on DW instead.
Tried a few different things to recover my working file and nope, that thing's lost forever unless I wanna get in and fuck with some code. It honestly would be easier to just redo my edits.
It seems to have taken the wind out of my sails a bit, though. I've been going through my new beta's edits (yo!) and adjusting but there's a couple of items that I just keep getting stuck on. The first I had managed to work on in my first edit file and wound up with something that I didn't hate after struggling with it for awhile, but every time I've approached it I just keep deflating. I figured I'd skip it and move on. But now I've hit a similar issue with a later part and I'm just. Like. Staring dead-eyed at the screen.
If I were smart I'd move on again to another section. But I'm having a morning where I'm easily distracted by other things. So maybe I'll just let myself be distracted a bit.
I'm going through a manga phase right now, largely because I kept wanting to find a book to read and nothing on my massive booklist was jumping out at me. I decided to pick up Genshiken: Second Season and holy Hell, I haven't been able to read it fast enough. Something that was really jumping out at me now that I actually pay more attention to the the images is what a strong visual storyteller Shimoku Kio is. His layouts are super clear and interesting, he knows how to pace a story utilizing individual panels, and if you're paying attention he gives you enough visual information to determine what's happening in the absence of dialogue.
I was noticing the same thing while watching an AMV for Penguindrum the other night, and from a storytelling standpoint, it's the same thing with Ikuhara. He doesn't hammer the point home with long-winded, unnecessary bullshit dialogue. His imagery isn't exactly subtle, but it does require you to pay attention and think about how what you're seeing onscreen relates to the story-at-large.
In both authors' cases, nearly every visual element serves a purpose in the story. Everything is very intentional; almost every element within an episode/chapter, sometimes down to a single frame or panel, is there for a reason. And they don't waste precious time or space explaining what the hell is happening or hand-holding the audience. They shouldn't need to. Everything's already there.
I know it's not exactly easy to do from a straight-up written standpoint, where all there is is just text, but the general principle of using strong visuals to tell the story whenever possible is something that's always in the back of my mind, and something I'm trying to actively incorporate into my writing. It also forces me to push my prose and make it more interesting to read. Or at least attempt to.
Alright, there goes that morning. Better luck tomorrow.
For those curious, here's the AMV I mentioned. Also, for something I didn't mention but also look to when I want a crash course in strong, economical visual storytelling, here's Every Frame A Painting.
It seems to have taken the wind out of my sails a bit, though. I've been going through my new beta's edits (yo!) and adjusting but there's a couple of items that I just keep getting stuck on. The first I had managed to work on in my first edit file and wound up with something that I didn't hate after struggling with it for awhile, but every time I've approached it I just keep deflating. I figured I'd skip it and move on. But now I've hit a similar issue with a later part and I'm just. Like. Staring dead-eyed at the screen.
If I were smart I'd move on again to another section. But I'm having a morning where I'm easily distracted by other things. So maybe I'll just let myself be distracted a bit.
I'm going through a manga phase right now, largely because I kept wanting to find a book to read and nothing on my massive booklist was jumping out at me. I decided to pick up Genshiken: Second Season and holy Hell, I haven't been able to read it fast enough. Something that was really jumping out at me now that I actually pay more attention to the the images is what a strong visual storyteller Shimoku Kio is. His layouts are super clear and interesting, he knows how to pace a story utilizing individual panels, and if you're paying attention he gives you enough visual information to determine what's happening in the absence of dialogue.
I was noticing the same thing while watching an AMV for Penguindrum the other night, and from a storytelling standpoint, it's the same thing with Ikuhara. He doesn't hammer the point home with long-winded, unnecessary bullshit dialogue. His imagery isn't exactly subtle, but it does require you to pay attention and think about how what you're seeing onscreen relates to the story-at-large.
In both authors' cases, nearly every visual element serves a purpose in the story. Everything is very intentional; almost every element within an episode/chapter, sometimes down to a single frame or panel, is there for a reason. And they don't waste precious time or space explaining what the hell is happening or hand-holding the audience. They shouldn't need to. Everything's already there.
I know it's not exactly easy to do from a straight-up written standpoint, where all there is is just text, but the general principle of using strong visuals to tell the story whenever possible is something that's always in the back of my mind, and something I'm trying to actively incorporate into my writing. It also forces me to push my prose and make it more interesting to read. Or at least attempt to.
Alright, there goes that morning. Better luck tomorrow.
For those curious, here's the AMV I mentioned. Also, for something I didn't mention but also look to when I want a crash course in strong, economical visual storytelling, here's Every Frame A Painting.
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