Little white mouse out for bloooood

Little white mouse out for bloooood

New Year, big question

Today I am answering one question:

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In life I was vermin


In death I am a prizefighter

In life I was vermin

In death I am a prizefighter

The apartment I’m living in now has a floor-to-ceiling wall of windows in the bedrooms. Sitting on the floor watching the city go by is relaxing, but watching space would be even better.

The apartment I’m living in now has a floor-to-ceiling wall of windows in the bedrooms. Sitting on the floor watching the city go by is relaxing, but watching space would be even better.

"The Cat" by Tove Jansson, from The Summer Book

nyrbclassics:

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(Pssst. Our Tove Jansson collection is currently available at 40% off the retail price.)

IT WAS a tiny kitten when it came and could drink its milk only from a nipple. Fortunately, they still had Sophia’s baby bottle in the attic. In the beginning, the kitten slept in a tea cozy to keep warm, but when it found its legs they let it sleep in the cottage in Sophia’s bed. It had its own pillow, next to hers.

It was a gray fisherman’s cat and it grew fast. One day, it left the cottage and moved into the house, where it spent its nights under the bed in the box where they kept the dirty dishes. It had odd ideas of its own even then. Sophia carried the cat back to the cottage and tried as hard as she could to ingratiate herself, but the more love she gave it, the quicker it fled back to the dish box. When the box got too full, the cat would howl and someone would have to wash the dishes. Its name was Ma Petite, but they called it Moppy.

“It’s funny about love,” Sophia said. “The more you love someone, the less he likes you back.”

“That’s very true,” Grandmother observed. “And so what do you do?”

“You go on loving,” said Sophia threateningly. “You love harder and harder.”

Her grandmother sighed and said nothing.

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I’ve been reading NYBR’s translations of Tove Jansson’s books - Summer Book, Fair Play, and The True Deciever. If you read and liked the Moomin books, with quietly honest & philosophical undertones underneath all the adventure, you’ll probably find something great in these. I’m learning valuable things about being an artist and making art from the characters in these books, approaches to problems I’ve been struggling with.

If you haven’t read the Moomin books, what are you waiting for!? 

I’m glad she wrote them. They’re like letters from the big sister you never had. 

Questions, answering some questions -

Ways to practice pitching, animation programs, stagnation and sound.

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Writing as a drawing tool

Writing as a drawing tool - yeah, that sounds weird. If you wanted to work with words, you’d be a writer, right?

This isn’t beautiful writing, though. This is organizational, planning writing that I’m going to talk about. Writing out a scene beat by beat. Outlining an entire story.

Full disclosure: I’m not a visual thinker.

If I’ve only met you a few times, I recall you in terms of a general impression and descriptive words. I have no picture of you in my head. It’s kind of crazy that I’ve gotten this far in this field without a mind’s eye, but using writing as an intermediary between intention and drawing has helped me a lot. If you’re a visual thinker you probably have your own methods of working, but either way I hope this is useful.

When I jump straight into boards or thumbnailing, it can be easy to get lost or forget the point of view I intended to convey in the scene.

When I work straight ahead - in either writing or boarding - it’s easy for me to go down the rabbit hole of possibilities. The farther down the rabbit hole you go, the harder it is to distinguish which choices are serving your goals, because this option is awesome — wait, and this one is, too. All of them are interesting and worth pursuing, and sometimes you forget where you were going in the first place.

While that exploratory work is useful, it can be deadly when I’m crunched for time.

Not LITERALLY deadly but deadly to productivity for sure.

So that’s where writing comes in.

When I write down where the scene should end up, what each character is doing, that’s one thing I don’t have to constantly grip in my mind. I’ve got it on my notepad, and my mind is freed up to explore within the constraints I’ve set down.

It all seems clear in my head, but it helps to write it down. Seeing the whole thing down on paper gives me a good look at where the disorganized areas are, so I can make adjustments. When I go straight ahead, it’s easy to tell myself I’ll figure it out when I get there… but this brings me to another point:

Writing is so, so much faster than drawing.

I’m not talking about flowery description. I’m talking about basic “she goes there, he feels this, because of this she does that,” etc. You can knock this out in five minutes. Even looking at the bare bones it’s easy to see where you’re losing the spirit of your pitch.

I’d much prefer to find out that I’ve lost the spirit of my pitch in five minutes than an hour later, after thumbnailing the whole thing.

Here’s another advantage: I can write down my plan, approve of it in sound mind, and have that paper with my plan for the scene or story written on it when I am:

  • tired
  • drunk
  • in the throes of self-doubt
  • seduced by the compulsion to change everything at the last minute
  • wondering whether this was ever a good idea and what is on TV (very subtly different from the throes of self-doubt)

If you’re not convinced, you’re not convinced.

If you are, here are some guidelines:

When you’re beating out a scene, think about WHY the audience is watching - like, what do they want to find out? Think about what they probably EXPECT will happen (so you can support that) and what ACTUALLY happens (so you can surprise them with it).

Write down everything that happens in the scene. Descriptive words help (because again, when you’re tired and can’t decide what the acting should be, you can look at your descriptive word and just do that).

  • She looks up, confused.
  • Above: wasp nest on a tree
  • Wasps buzzing around it
  • She is horrified
  • She runs

For an outline - for your whole story - things are a little different. A general guideline I use for writing out an outline is that each of the following gets a paragraph:

  • the concept of the story
  • who the main character is
  • what is her place in the world
  • what goes wrong (inciting incident)
  • how does she try to fix it (act 1 break)
  • brief description of complications (act 2)
  • what really goes wrong (midpoint)
  • low point
  • resolution (act 3)

It seems counter-intuitive that almost half of the outline would be setup for the story, and that the end would be just one paragraph, but this really does work and make sense when you need to see your whole story in just a few pages.

So next time you have a story idea, try writing some things down before you start sketching your favorite moments. Maybe you’ll like it.

More questions!

This week: set planning, NDAs, dropouts, and film races

(sorry about the walls of text; the formatting is acting up for some reason)

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A 1 hr talk by Michael Arndt (writer of Little Miss Sunshine and Toy Story 3 - Oscar win & Oscar nom respectively). He’s great at breaking things down and clear explanations… and he’s great at explaining endings.

Interestingly he talks about how he was watching a kids’ beauty pageant on TV and how it would be great to see a little fat girl get up there and you think she’s going to embarrass herself but that she would be great… so in a certain way he held that idea of the end and worked backwards into the rest of the story.