A Little More in Self-Discovery

Partway through my cover design phase prior to NaNoWriMo next month (less than two weeks!), I've realized what I thought would take a month is actually much quicker. It's very possible to have those four covers done by the end of October. As usual, I'm taking progress screen shots to tease prior to book release, but I'm beyond thrilled with how they are turning out. Blending for realism is a lot different than comic art so I thought it would take a lot longer. However, I'm getting the results I want  and I'm partway through the second cover already. Doing the third and fourth will only benefit from what I've learned already.

I've seen a lot of amazing artists on YouTube, many doing realism or comic art and even a hybrid like I aim for. I've been able to look at light and shadow differently and makes lists of things I want to try next. I didn't really have a lot of confidence I'd pull it off, so it was surprising that I have been able to find it intuitively rather than on purpose. 

There's a lot about drawing that requires me to let go, to confidence levels at all. Realism looks horrible at first. I can't immediately enjoy it like I do with line drawings. Yet once the colors start to deepen and shapes start to form, I understand why I endure it. When I start to manipulate them with unnatural, saturated colors and exaggerated proportions and forms, it's really fun. I never realized how much blending creates such subtleties in form. It's something you don't really see until you're manipulating it directly.

I never really pictures my characters quite like this before. It's not that I pictured them as cartoon characters either. I've always had a general idea of their features but visualizing them for cover art is new for this series especially. Again, I wasn't sure if I should do character art, but it's also what I enjoy doing, so it always wins. I'm not married to the idea of people thinking they should see them that way, but I do want people to see what I enjoy. Multi-talented people, this is our golden age, so always take advantage of that! Writers are not just readers-- we're also artists, crafters, pioneers for the benefits of taking control of our creative properties.

I'm grateful for every day I can pursue this. Anything can change that so I cherish it. I take every opportunity to draw and write when I can. To craft gifts and find a new problem to solve. It's made me a better person to be around. I have better relationships and bigger ideas and happier nephews. I love that I can pass on my knowledge with them, show them why it pays to pursue things you enjoy, bounce ideas off of them while we walk to and from their school. Right now, it's drawing. 

I find that big chunks of writing OR drawing tend to make either feel more profound. It's really funny how every time, I feel like I'm going to be rusty, so my confidence is an asshole. Yet, it's the time away that also creates this sense of wonder that I've actually developed some skill in the other that really shines in the transition.

Eventually my attempt at a comic book is going to rock. I'm going to sit down to do it, thinking otherwise. It's not humility or even lack of confidence because I feel like it's just practical. There's no preamble or procrastination in getting going, so it's more like underestimation for something I just haven't done in a while. The world will go away-- not because it's a bad world to be in, but the transition is about surrounding myself with a space that needs to be filled. It's not about escape but feeling as if I've been commissioned, an au-pair to a cast of characters wandering without direction, the architect of the mountains, valleys and cities to come. Like a favorite movie, I watch it in stages-- rough and new, engaged and developing, ripe and rich, burgeoning and complete. Every stage is trembling, on newborn legs to first love to frail old age. 

My eyes get a big workout. When writing, I sometimes stop looking at the keys or the screen and start rapidly looking around the world I'm in. Drawing is constantly drawing with my eyes what isn't there yet. I've laughed about how much work I do with my eyes, but I wasn't entirely joking. My eyes do tend to strain and twitch from use. Hand-eye coordination is big for crafters of all kinds. They tend to work together but it's not unusual for them to wander on their own.

Well, off to bed. I'll probably pop in with more progress updates. November will probably be more of the same. I may get more blog organized by December and think of a fun series to share. Until then, let's keep at our goals!

More Fun with Words

Since I put in a few thousand words today, I'm allowing a little break to blog. Don't worry; I'm keeping this one light. We're all entitled to a little venting here and there, but fixating on it is poisonous. Get it out, let it run its course, get back to what moves you to make the world a better place.

My current book is a challenge in that I not only threw in a mute bard that found magical ways to communicate (I discussed that he was why I was playing with bracket use HERE), but there are also other creatures and characters that needed special ways to announce their thoughts. Communication is something we struggle with in its simplest forms, so how do you create special differences in creatures that speak with their minds or other languages or even different emphasis.

Sometimes your big dumb guy gets all CAPS when he talks. Because only your grandma who can't see the screen (teach her how to zoom the screen with accessibility options, you ungrateful offspring) and egotistical morons on Twitter use all caps, it stands to reason that maybe the ones that aren't so good at volume control would too.

I know some people enjoy integrating fantasy languages they make up, but I'm really not trying to assume anyone is trying to commit that much to reading a book. A new language is risky. Often, I might ease this burden by italicizing the conversation in two languages under certain conditions: 1) No one else can understand what one of them is saying. 2) It's communicated in a way that no one else can hear it (minds or inaudibly). This person is speaking the common tongue, this one the other-- one understands the italicized language, but the other speaks so that anyone overhearing would only understand the non-italicized language. In this way, I use font styles to communicate very specific events that the reader can pick up on. 

Many people wonder about the strengths and weaknesses of using different media and this is one way that books have an edge over other media. I wouldn't advise getting too creative with alternating fonts if you're going to use digital (keep in mind unless it's fixed format, the user gets to mash it all into the font of their choice-- if you do use different fonts for the print, I'd advise double-spacing the unique font into its own isolated paragraph, maybe even with indents removed, so it still stands out even in flex format. This applies to font size differences-- those might also be stripped in ebook flex formats). The best way to play with language appearance, is to stick with your chosen font (usually one of three defaults-- please look at your publisher's preference before you end up with a mess to reformat). Remember, if you're using italics, make sure you're not switching font types or those could get removed by your word processor and you'll have to hunt them down again. One way to make it easier to relocate any italicized sections-- use a symbol within your chosen fonts that you will not use anywhere else in the document and CONTROL/COMMAND+F that symbol to check your italics. When you're done messing with fonts, just make sure you remove those symbols before publishing.

I don't want to make it sound too technical here, since I do have posts for that. It's mostly my intention to open people up to some of the many ways you can style your manuscript for ideas that might get too complex in the description of them. Making a concept simpler is one of the many skills an author should endeavor to strengthen. If you don't know if it works, get someone to read it and offer suggestions. I'd make sure you keep the original copies and any changes and have future readers read each sample. If you find there's confusion anyway, you might want to attach some notes in the foreword explaining the usage. Tread lightly with that even-- you don't want to info-dump a 'how to read' section. Ouch. Big no. Some people will be able to follow it just fine. Even a little glossary in the back might be a useful addition, but also be aware that some people will just bail if you make too much homework for them. Your primary goal is still being an interesting storyteller. You may just have to approach it differently altogether if it doesn't take.

Sometimes a thing hasn't been done or isn't popular for a reason. It's great to be ambitious but when you're having fun with your ideas, ultimately you want the readers to have fun too. Reading is an escape, and one that is even losing its appeal with video games and movies and shows becoming so visually stunning. This is why bestsellers tend to be simplistic reads, quick, easy, done. It's wonderful that some writers go bigger and more complex and those can certainly succeed too, but this can be very dependent on genre and your storytelling abilities.

Do you have any fun ways of working with styles and words?