Words, man. Words.
I found some old art books today called ‘Celtic Art: The methods of Construction by George Bain’ Which, I found interesting. I only have 4 out of the 7, they are very old (From 55 years ago). I thought I would just share some scans from them, some people might find them useful. :)
Ohhhh horror vacui neat to see tutorials on it.
NOTE TO SEEEEEEEEELF buy this book.
Too late. Already bought it. But I leave this up. Um… this is an art blog now, so I’ll sometimes reblog study/resources that I find real cool or helpful.
This is how I write porn. It starts off just fine, with normal sentence structure. You think everything’s okay. Suddenly, the sentences start getting a little longer, nothing crazy, but they’re no longer quite grammatically accurate, just a few too many clauses and not…
How to relieve menstrual cramps using pressure points.
I learned this method about a year ago and my life has been indescribably better since, so I decided I would share. :)
where was this when I needed it this morning 8(
FRIENDS WITH FEMALE SEX ORGANS! I HATE SEEING YOU IN PAIN!!! PLEASE TAKES THIS ADVICE!!!
kogiopsis YOU NEED TO SEE THIS AND PASS THIS AROUND
slowlysinkingunder asked: I finished my first book and I’m going to print it out later and start editing Monday (one day break haha). Anyway, what are your suggestions on editing the first draft? Should I read it through the first time and try not to edit? How many times do you think editing is necessary before sending it to beta readers and then a publisher? I know every writer is different so I’m still trying to find the method that best for me. I don’t want to take too long editing (one article was about takingOops! Looks like your Ask got cut-off, but I think I get the gist of it.
I really feel that four edits/drafts are the minimum you can get away with, but five is usually my personal goal. If you absolutely have to go with the bare minimum, try this:
- have a critique partner or trusted friend read through it to get their opinion on plot, structure, character development, pace, flow, continuity, and description. Ask them not to worry about spelling, grammatical errors, or typos.
- read through it yourself as though you’re just a regular reader and look out for the same things.
- Write a second draft incorporating your desired changes and taking your critique partner/friend’s suggestions into consideration. Look for unnecessary scenes that can be cut, and “fat” that can be trimmed.
- have a critique partner or trusted friend who is good at spelling and grammar read through it to look for spelling errors, grammatical errors, and typos.
- read through the draft yourself to look for the same things, then write a third draft incorporating the necessary corrections
- print it out and go through it line-by-line, word-by-word, to make sure there are no errors. You may *not* rely on spell-check for this. Have a good dictionary and style handbook nearby so you can quickly look up anything you have a question about. Use a red pen to mark necessary corrections.
- read through it one more time, but this time read it out loud. Pay attention to the pacing, flow, dialogue, description, and just how it sounds. If you have trouble with anything, it’s likely your reader will, too. Make notes of necessary changes as you go. Then, write your fourth draft, which will be your final draft and the one you can send to a publisher.
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Anonymous asked you:
i’m sorry if you answered a question like this before, but i couldn’t really find anything, so i apologize. i’m writing a scene where one character beats up another character in front of a large group of people, and the one getting attacked can’t fight back (which is part of the plot but it’s long and detailed so i won’t go into that). she had no idea about this plan to attack her beforehand, and i’m not really sure how i should write her humiliation or how she deals with the pain.
Firstly, in order to most effectively and honestly portray a character, you’ve gotta climb deep into that character’s brain. Take their psychological makeup and spread it out in front of you. If you’re a visual person, create a chart.
Let’s take the feeling of “humiliation”. What led to this humiliation? Any or all of these things might be it:
- Being forced into a compromising position.
- Weaknesses (both physical and mental) shoved under public display and dissection.
- Being treated like a “lower” or “lesser” human being.
- Physical trauma generating a sense of fear.
Secondly, find out what the feeling of humiliation causes your character to do. Really dig deep, find out what’s realistic for this particular character. Here’s a list of examples:
- Anger sets in and causes violent reactions or thoughts.
- Depression turns character completely numb or off to everyone around.
- Anxiety causes fear of others, surroundings, or even what might happen the next day.
When expressing these emotions, think in terms of showing, not telling. “Tendons swelled in my arms, and veins bulged between my knuckles as my fists shook,” versus, “I was angry and I thought of punching something.”
Of course, “telling” does have its appropriate times when used effectively. The two example sentences might even form a greater combination than they would singly if phrased like this: “Tendons swelled in my arms, and veins bulged between my knuckles as my fists shook. I wanted to punch something. Anything. I didn’t care what.”
Inner reflection is a good thing, as it conveys some things (like character voice) that simply showing through actions can’t. Just make sure to practice finding the right balance.
Thirdly, figure out how these emotions dictate their actions.
- Anger: Thoughts of revenge or retaliation. Character might plan something to humiliate their abuser in turn. Character might try to get into better shape and become stronger so they’re never put in that position again, and/or character might gather up materials to do something dangerous.
- Depression: Character pushes others away from helping, shuts door, cries out of thoughts of hopelessness. Character tries to find outlets to escape depression, anything from reading to drinking, or even more dangerous things. Can’t focus on daily chores or maintaining relationships.
- Anxiety: Panic attacks cause character to lose control of breathing or go into shock. A constant sense of fear drives character to check locks all the time and keep curtains drawn on every window, maybe keep a weapon of some sort handy or 911 on speed dial. Too scared to leave home or sleep at night.
Depression, anxiety, and anger problems are always best researched so that the character is portrayed realistically and respectfully, but these are some basic examples of how the character might react. A character might even react in a combination of ways, perhaps even contrastingly. Contrast and inner conflict build a stronger dynamic.
Also, in terms of traumatizing events, make sure to check out shock, and when considering wounds/physical damage, research the heck out of that. (As an example, one type of physical trauma that I see portrayed inaccurately the most is concussions. Make sure to always get facts straight on wounds.)
Think not only in terms of instant after effects, but also long-term effects. Reveal these things physiologically, through inner reflection, and also through action. Each of these things adds depth and conveys a sense of humanness that characters should portray.
Remember that characters aren’t cardboard cut-outs, but reflections of real, complex people. If you keep this in mind and focus on bringing this human element forward, a lot of things should fall into place on their own. Or, you can try checking when characters aren’t standing out.
I made a walkthrough of my process for drawing faceted stones! Judging by the timestamps from the screenshots I took, drawing this one stone took an hour and three minutes, although I know I went and checked tumblr a couple times while I was working, so let’s just call it an hour.
Now MISCELLANEOUS NOTES
- This walkthrough assumes you already know how to use layer masks, the clone stamp, and the lasso tool. There’s also one part where I didn’t label it, but I inverted the selection so I could keep my lines consistent. It’s in the third image.
- Unfortunately I can’t really help with colour choice and the actual colouring of the pinwheel shape that makes up the back facets, but you can kind of see that I tended to colour with lines that cut across the facets and and kept the outer parts of the facets darker. It would probably be best to find a reference to work from!
- This particular cut of stone is called the ‘brilliant’ cut.
- There’s actually a lot of internal reflection business that goes on in a stone, but I elected to ingore all of it since at a distance you can’t really tell anyway.
now GO FORTH AND DAZZLE YOUR FRIENDS WITH YOUR SPARKLE