Writers | deeintrigue

I once threw an egg at the brick wall outside of my apartment building. Any activity to battle the bouts of boredom was worth the worried looks of my neighbors. I cleaned the mess afterwards.

I’m approaching this post in the same matter.

It’s been several months since I’ve blogged. In-between that time I’ve poorly manage to finish two other essays on what I’ve learned last year and the joy of spending money on books I’ll never read. I know the content I want to post; it’s having to edit and condense those essays that’s a problem. I’m also writing a pilot story to use as portfolio pieces to present at one of the comic conventions near me[1][2]. Those are simpler to write.

Please don’t ask how my drawing time is going.

My personal life is in worse turmoil than my professional life, but since the few people who’ll read this assume I’m doing alright, I’ll maintain the lie by not going into detail. Any signs of stability comes from prayers and lectures I took from James Clear’s Habit’s Academy. I don’t usually order anything that isn’t a baked good covered in glaze, but the quality of his free newsletters convinced me. I’m not sponsored by him so I won’t explain his courses, but I will give you a link to both his website and the courses [here] or [here]. It’s worth getting his free newsletter if you’re slacker skills are around the same level as mine.

What I will promote is my Instagram page. My Facebook profile is for dank memes and wasting my life away. It’s also how I stay ill-informed to everything political, religious, and health related. My Instagram is quiet from lack of content, but eventually I would unplug myself from social media throughout the day to produce work to show……on……social media. I’ve been a good boy on following only artists and writers on Twitter.

I remember the phrase ‘To know something and not use it is the same as not knowing.” That is my predicament. I own five career books for concept artist, comic book illustrators and logo designing; more than ten books on writing which range from improving grammar, screenwriting, creative, and comic script writing; at least six books on comic theory; and a sleuth of Art of books from games I played or watched on YouTube; yet here I am, not any closer than being a professional artist than I was eightyears ago. I bought my first laptop on the merits of having access on information to aide a career as an artist. Turns out I’ve done the opposite. The most productive activity I’ve achieve was finding how a thousand degree knife would cut crayons. I focused on improving everything external without correcting what has really been the culprit to my slow progress in life; poor daily habits.

Still, it’s too late to quit even when striking out for this long. I’m convinced of the plan I’ve made for my professional life will work when I put it to practice. So here’s to not giving up out of stubbornness! I’m throwing yet another declaration on striving for a fan base and improving as a storyteller and illustrator.

Here’s to hoping this mess looks more interesting than a cracked egg.

[1] Wizard World Con

[2] Gump City Comic Con

Hello to the unexpected visitors who has randomly found themselves reading a blog from a potential nobody that would pretend his previous – and only – two posts has never happened. I can’t promise you’ll enjoy the ride because I’m making my first round trip too.

Watching a few television shows over the past months has reminded me of a book I’ve read in my earlier years of comic book writing called You Can Do a Graphic Novel by Barbara Slate. A friend and wonderful art mentor loaned me his copy, and I tried to read that book as many times as four weekends would allow me. The book was catered to the audience I was in (new, aspiring storytellers for comic book/ graphic novels) and about a third of the book is in illustrations, making the near 200 pages possible to read in an hour sitting.

It was great to reread it again, noting the advice I’ve repeated with a different tone form other art books read after hers. The chapter that stood out the second go-round was The Plotline (Chapter Six) explaining when she learned the proper way to plot stories and shares the method with the reader. The plotting she uses seems to work best when writing series, but don’t take my exact word for it. When working with several main and subplots that reoccur, her approach would make the planning more organized.

If anything, I would totally recommend this book to any and everyone new to comic book writing. For some, just that chapter on plot lining is worth the price of this book. I was fortunate enough to check it out at my local library. But that’s not to say I won’t order my own copy. I prefer the pleasure of picking up a book in the comfort of my own personal library without the consequences of late fees.

Another thing that I hate as much as late fees is a simple life. I might try to take a few favorite (albeit, short) TV shows and see if I could recreate the Plotline for each episode. This’ll be something worth failing right at the start of making an introduction for them. Or updating every two years.

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