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2:45 What do you mean that you did such a mistake in your draft and there is no proof that you ever did it? We all know that your first drafts are always perfect because you are genius, so it couldn't happen. Also real writers should never revise their first draft anyway right?
In this day and age, Ground News is the only way to go. I recommend Psychological Horror Analog Horror Literal Split Personality Any of those are feasible Seriously, Love how much effort has gone into animating and writing these sponsorship segments. Very fine work. Very fine work indeed
I will say that Fanfiction writers can mostly get away with not describing the scene because, presumably, the reader is already a fan of the original work, and thus they probably know that the room would look like already.
Still lazy though plus if you're only ever having characters go to places they have already been to where nothing changes that can be described it's a very poor fanfiction.
Ehh... Fanfiction writers can get away with not describing the CHARACTERS. But the scenes? A lot of fanfiction takes place in settings that did not appear in canon, so no, I wouldn't say fanfic writers have it any easier in that department than other writers.
@@jakariashafin1695 Edit: Re-Read your comment, also I've read fanfiction taking place in places that the reader has already seen but still describing it in a unique way, or at least the trnsition in a unique way I get if this is your opinion, but I disagree, as I like fanfiction that is character based. In fiction based on relationships(can include familial, romantic, and enemies) between characters or a conflict with a character's self, they can sometimes be excused from taking place in a place the reader has seen before, especially if that place holds meaning to one or more of the characters. At least in my books. Not saying don't describe the setting at all, but you can just give a general vibe if we've seen it in game.
I agree but that wasn't what I was saying most people never do that they just ignore the scenery all together and just focus on dialogue@@rxndomfxndom7405
@@jakariashafin1695I mean sometimes the idea is just simple and doesn't need to take place elsewhere I usually don't get into detail about places that exist in canon, unless it's a less common place then I'll give more description
Self-justifying through 1st POV seems the easiest way to do this, especially since it's also arguably the easiest way to omit details the audience "should" see even if the character isn't consciously omitting details.
Its very simple. Ask "what does the character know?" If they lack expertise in a field they make a bad choice, if they lack information due to recent revelations but are not yet aware, is their opponent outmaneuvering them and guiding them into a tactical error? Are they smart, but a touch overconfident leading to a good sounding choice that ends up being bad? etc. Let the character make a reasonable decision based on available information and then show that the info is insufficient.
Good stupidity is done through playing the situation like Shakespeare. Show the audience everything, and then show the characters making stupid decisions because they don't know everything. There's a reason Shakespeare tended to not write stuff with twists or mystery elements, because if you hide information from the audience and then have a character act stupid, it can feel like the audience is just watching them make dumb decisions. If you can justify the stupidity and make it contribute to the forward momentum of the story, it can be really interesting.
Some personal advice that worked for me on the “murder your darlings” advice, because I both agree with it and don’t like it: once you realize a scene you like has to go because no amount of modification could make it have a purpose, first, think about why you like that scene so much, second take whatever element it is and look through out your story where you could fit that element in a different scene, those who plan their stories more might have an easier time while discovery writers like me might want to keep a digital notepad somewhere and paste it until you find somewhere it works. But if even that element can’t fit anywhere you might still have to murder your darlings, although it will be a much lower rate. An example might be you have a coffee shop scene, it does nothing in anyway but you like how your one character reacts to the taste of coffee, you take that bit and you see an opportunity to place it in the meeting room scene that is a useful scene where it could make sense still having your character drink coffee and have that reaction, and you’d probably add just like… a couple of lines of the result of this move. This advice comes from because a. You’re a writer and that usually means you enjoy stories in general, so if you can make something you like work you should just for your own enjoyment, and B. Doing this gives opportunities where you could find out you make the story flow better just by adding that element, like my coffee shop idea, maybe you needed a conflict where your character needs their boss to give them a disappointed look to establish who the boss is like, and you might add that element from the coffee shop and think “oh wait, this could work WAY better if had him reacting to the character’s reaction to coffee than what I had planned previously.” And you make the scene better for it, which wouldn’t happened if you didn’t add that element from the cut scene in there.
Because I’m seeing people complement it, I’m going to coin the term “working with your darlings” now so people can spread it around easier to their writer friends and maybe come up with better/more readable wording for what I’ve explained here.
Man if only webcomics had taken off more. Those guys figured out the "Characters talking in a white void" problem long ago. They just had the characters talk in a colored gradient! Or hell, the really GOOD ones had the characters talking in front of a stock photo of a Game Stop/shopping mall/etc just hit with the blur tool in GIMP!
Garfield has had it figured out for longer than webcomics have existed. Magical colour-changing walls more than make up for reusing the exact same setting nearly every day for 45 years.
They did take off! …in South Korea, with a very different style from many western webcomics at the time. In English the medium as a whole just evolved past the 00’s/early 10’s style (and Webtoon/other webcomic hubs happened), though I still see a few white voids and gradient voids here and there when background is irrelevant.
Imagine if J.P. made a bunch of parody books based around the "lessons" in these videos called like The Best Fantasy Story Ever, Best Romance Story Ever, etc, and all of the stuff that isn't the actual story is just him stroking his ego and telling everyone that there will never be a better book than this
There’s a reallly good show called Garth marenghi’s darkplace that’s sort of like that. The guy from it has also released 2 books that are meant to be a satire on horror and the like
@@deadhouseplant1585 Ooh, I've wanted to write a book about characters realizing they're in a horror movie and rebelling against the author but I am too much of a wimp to actually watch horror movies and learn the tropes to parody. Those books sound right up my alley!
Its been 10 years. My aspirations of writing video game stories are rotted away. I am now a glorified handyman. I still love watching terrible writing advice. As long as you make videos I can still dream.
Unless you were planning to go indie, you dodged a bullet. Publishers have been ruining game development companies and it's not worth trying to work for them, top to bottom. Red Dead Redemption 2's writing team were working 100 hour work weeks
Fan fiction and role playing are pretty good ways to get started if you want to write. And of course, you can always make a game mod or indie game that's well written.
The obvious way to scene write is to be so vividly descriptive as possible about every minuet detail from the room to the characters mole under their left eye. Clarification is great! Therefore clarifying for three pages about a room’s dusty carpet while adding no progression to the narrative will be sure to neither bore the reader while not confusing them as to what to keep track of!
And go ahead, use your writing as an opportunity to include minute details about your favorite interests like cars, guns, clothing, etc. even if there’s no in-character, plot development, or setting-building reason for it!
Funnily enough I still feel the most "purple prose" I see is related to fashion and/or "sexy" descriptions of characters' attractiveness, though maybe those two just stand out the most because I care for the least. (Well that and I'm already less likely to read things where subjects I don't really care for sports or cars or guns are the main topic and draw anyway.)
online roleplayers actually think this automatically makes you a better writer and superior to all other roleplayers who don't type novels in a single response. it's saddening how severely RP tends to damage one's writing skill
About weird POV switches in scenes, I distinctly remember one chapter of My Immortal has the first-person POV abruptly change between Ebony and Draco without warning, but not before switching that same POV to a secret third character who is apparently also in the hallway but is never acknowledged by the narrative. I thought I had finally gone insane at that point. Edit: Towards the end the narration also contains the line 'You put on my clothes', implying that you the reader are secretly Ebony in some unholy way.
Brandon Sanderson once said something about describing environments, regarding using the spectrum of abstraction. You always want to go into the concrete, tangible details about a place first, before going into the more nebulous abstract stuff, in order to ground the reader into the scene properly. It is something I am trying to do in my own book I am working on, set in a dark fantasy setting with a gothic aesthetic. JP should do a video on establishing character introductions at some point. First impressions about a character matters, especially if its your main protagonist, and doing a great establishing character moment is important. In my own novel I am working on, i introduce my protagonist, a pre-teen elven girl, wishing upon a star and preying to be gods during a full moon night. I also introduce the protagonist's love interest using the balcony rundevuz trope too. Edit: In regards to dialogue, Brandon Sanderson also once said that you want to break up your dialogue between two or more characters with action beats in order to ground the characters back into the setting, otherwise you end up with 'white room syndrome" or talking head syndrome.
That's smart. These days with heightened concerns over environmental issues, you gotta learn how to reduce, reuse, and recycle, especially if you're into fiction writing.
The thing about screenwriting that's stressful is mostly you are taught (or at least I was) to avoid detailing sets, describing acting, or going too detailed with action (since the production designer, cinematographer, director and stunt coordinators are responsible for working that stuff out). I try to keep those in mind and make notes on a separate document (plus I like storyboarding).
@me-myself-i787 i watched the video. it's about writing in general (especially since at one point he specifically says something like "especially in novel writing" in regards to setting the scene). Plus it opens in screenplay format. I just felt like adding a relevant comment to do with my particular discipline 👍
3:42 I don't know why but this one image is really interesting. Mary Sue, the trope of an over powered character, is presented with the existential terror that she's a shallow character in a shallow world controlled by an ego maniac.
*“Self-proclaimed know it all’s who revel in ignorance are the best guides of course!”* Why do I feel like that describes most people in any positions of authority. Not all of them just the vast majority of them.
I think it's mostly a selection bias where generally, people who want to be in charge of things have to have high self-confidence, but most of the time that self-confidence is misplaced.
Honestly, I unironically really like the talking in a void scenes in books. Sometimes, context for a conversation isn't really necessary. One of the best aspects of books as a medium is leaving things to the imagination. This would just be the extreme end of that. I like when scenes and descriptors are kept ambiguous and blurry, especially when its deliberately done to convey something, rather than just being a byproduct of laziness. "They're Made out of Meat" is a great example imo.
Yeah, that is fun! Although, there are few reasons why you would want to keep description ambiguous. It is really, really cool to read a book where the characters turn out to be a nonhuman species all along and you never realized because they weren't physically described. But what if that's not the type of story you want to write? Or a scene with a surprise twist - the characters sound like they're chatting casually, only for it to suddenly be revealed that they're actually in prison, or in the middle of a battlefield. Scenes like that are really cool, but that's not a large proportion of all possible scenes. Most of the time, ambiguous or absent description just doesn't work. If you just wanted to talk about how cool these scenes are when they DO work, I totally agree. But I also agree with JP's point that it's best to not have a lot of ambiguous description. It's a technique that has to be used sparingly.
5:10 THIS! This image right here. Some fanfics will be so well written, you genuinely forget about all the “fanfic is bad” stereotypes. Then some incredibly weird and/or highly sexual happens, and you are suddenly reminded just how fanfic it is. Not cause it’s bad, but because there is no way this would get past a publisher without major edits.
And then there are those fanfics that read like part of the canon in tone and themes, but have such a delicate and well thought-out plot that there's no way the original writer(s) could have made it.
This is the best piece of media, much better then the likes of One Piece, The Lorax, or the Wikipedia of cheese. This has changed my world view, and made me realize the true meaning of the universe. As a wise man once said "I edge to your videos."
I personally find that fanfiction tends to lean on the over-descriptive side, rather than the under-descriptive. If I have to read one more scene being interrupted by the complete run down of someone's all white/cream living room mood board...Also, amateur writers tend to focus a lot on visual appearances, while better writers use setting descriptions to create a certain mood. It's the difference between being told the exact color and material of each piece of furniture in the living room and being told that it was cozy and inviting or devoid of any personal touches.
Scene writing is a funny thing, it's something you never seem to think about or notice in the moment, but it's SO noticeable when it's bad or poorly done. I've had some scenes that just went on and on, entire paragraphs dedicated to internal exposition and prose so exotic it makes me think the author was maybe a little too enthralled about a random smell or sound they felt one day. Also with how much more JP is bringing up fanfic this episode, I can't help but wonder if there's any fic specific tropes that will get an episode in the future.
I really love your videos, and if I may, I'd like to suggest topics I'd personally like to learn about. 1) "Villains' Redemption Arc," and specifically: How many words does a Mary Sue have to say to shake a centuries-old villain's beliefs? How do you skip the "redemption arc" part of the "villain's redemption arc"? And what to do with the villain's new personality - distort it beyond recognition, or change nothing at all? 2) "Revisions" (which we know aren't necessary, but I'm still curious): How chaotic do you have to be during this process? How many years can you spend fixing a character's name that appears once in the entire book? And how do you fixate on scenes without thinking about the overall flow of the story? 3) "Detective Story": How do you make your main character another copy of Sherlock Holmes? How do you cast suspicion on suspects in a way that leaves the reader in no doubt as to who the villain is? Or should you make the story so convoluted that only you know what's going on, thereby demonstrating your intellectual superiority? 4) "Red-herring": How do you fit them into the setting in the most obvious and bizarre way possible? How many hundreds of clues do you have to leave the reader with before they realize something? And do you even need to explain the red-herring you've introduced into the story?
On the other hand: over description can get REALLY boring, I was reading a book I was enthralled in and then there was this ABSOLUTELY boring long description of a hotel and just when I thought we were moving along, BOOM more hotel description!
a series that does "talking in a nondescript abyss" well is Chikn Nuggit. the emptiness of everything actually became a huge plot point in Chikn starting to realize he's the forgotten god
Moving scenes around!? Impossible!!! *has been finalizing her outline for weeks* Seriously tho, moving even only part of a scene can do wonders. Whats better still is taking some of those single duty scenes and smooshing them together. Next goal: Make every scene be a love triangle of plot, characterisation and exposition!
General Tip: place yourself in the position of the character from which PoV you are writing the scene. This can include the "omnipotent watcher", who in the end is still just an invisible, all-seeing character. Play through what this character is doing/seeing/thinking in your head and that's what you should describe to the reader. By this, you can also avoid to write page after page of description, since you (should) only focus on what the character really is focussing on - not just everthing, as you yourself also do not walk around in a city and just see everything, your gaze will wander and focus on a few selected things, the rest is there, but just in a general case, not in details - and when you are distracted by something interesting/important, you will likely see even less. You can and should also work with this, that your character might be surprised by something you didn't mention before, simple because it was just a random part of the background. Meanwhile you can also use this to show, that the character is for example alarmed - and in that case you go more into details, since the character is actively looking around, searching for anything that might be wrong or dangerous. If you just always describe everything, this will not work, of course.
as someone who just today has been struggling with scene setting and flow, this is perfectly timed for me also, my advice about "murder your darlings" it isnt actually as necessary as people say, or at least not to the level people act like it is, if a scene doesnt serve a purpose or move anything forward, consider altering or adding to the scene so that it has weight, find either development that youre struggling to introduce, worldbuilding that youre having a hard time coming up with, or characterization that you can use the scene to employ rather than falling into a false dichotomy of a scene either being useful and good, or not useful and needing to be cut. editing and moving things around is a great change to make scenes better or more impactful.
I actually thought of a writing strategy for this... Make it like a script, and have you and another person do the words and then improvise actions... (OFC this is if ur both theatre kids) Then film said scene. The way, when you play it back, you can still get the dialogue, BUT you can also have a more concrete medium for the small actions. Like a head turn, or a hand gesture, or like the direction they're looking.
I like these notes that pop up with useful information you've started adding that have the green question mark icon you tend to use when giving useful information before sarcastically denying it
I've actually received conflicting advice regarding talking heads scenes. I was told to cut down on gestures and actions (referred to by the advice giver as clunky "stage directions") and just let the characters play off each other, with the already established scene implying background actions to allow for better narrative flow. I still include those actions for the sake of breaking up the dialogue with some movement, but not so much that it gets in the way of the dialogue. As for conflict, I honestly have trouble finding the point of injecting conflict into the low-stakes scenes I tend to write. It just tends to derail the plot for the sake of "conflict is necessary for a story". I honestly feel that advice needs to be phrased better so as not to lead writers into thinking that their characters getting into fights all the time is "good writing." I've never been very big on the "murder your darlings" advice either. If I like a scene I wrote but it doesn't have a place, to me that means it's better suited somewhere else with revisions than cut altogether. I always try to write scenes seamlessly into the story, only taking them out if I can't manage to do that. In all, this was a great video. It made me think about how I write, and honestly that's all I can ask from a writing advice channel.
Re: conflict vs. plot: I believe that common writing advice says "conflict is necessary" because in many stories, conflict IS the plot. So your dilemma, where conflict and plot do not go well together, is not something that they ever imagined being possible. What is your plot? If there is no overt conflict, perhaps your plot has more internal conflict? Then that would be the sort of conflict to emphasize in the scene. If the plot doesn't have much internal or external conflict, then it must have something else to make up for that, and I guess that something else is what should be emphasized. Really, scene writing advice at its core boils down to "have your scene contain something important." What's important depends on what kind of story you're writing. If the story doesn't call for conflict, then conflict is not important. You know what kind of story you're writing. Trust yourself. You got this. :D
Ama-lama has the right idea. What each scene needs to do is move the plot forward. *That's* the conflict. Not "loving family suddenly getting into a screaming match in the car on the highway and forcing the mom to walk home after making up and telling their child how much they love the kiddo in the previous scene"
9:50 Not a fan of Quentin Tarantino but he does some excellent "no conflict scenes". He seems to use them, not for character development, but to reveal the character's nature.
I'd like to have some clarification of what classifies as 'conflict'. I always considered any level of clash between perspectives, personalities, beliefs or anything that one character dislikes about another to be a type of conflict even if it doesn't result in violence. Outside of fully neutral 3rd person I find it's a good way to illustrate character contrasts. You can have a brief inner monologue by the perspective character when the person they're talking to does something that grates on their nerves and why it does, or the opposite when they do something they find pleasant.
TWA has good Quality/Quantity Ratio, his upload schedule is nice with this but i think he needs a collab or shout-out. Maybe shouting-out similar-to-him channel like Hello Future Me and Krimson Rogue will make them react in kind?
If he's planning a collaboration, I wouldn't be surprised if he was saving it for his 100th episode. "Terrible Writing Advice: How (not) to write crossovers!"
"The last scene featured an orphan burning to death not long after his newly adoptive parents were crushed trying to rescue him." Man J.P what the fuck are you reading?
In all fairness, you CAN often skip some setup in fanfiction because the readers are already familiar with the characters, and you can skip many setting descriptions if you're writing fanfiction of a show or movie, because the audience has quite literally seen it already.
One of the most jarring things about reading Dune for me was the way the narration would jump between different characters' thoughts within a single scene. Just instantly threw me out of the narrative the first time it happened.
Sometimes, the best scenes one can craft....are the ones you don't share with the world! In fact, just keep that story scene in your head so long that even the minute details are so thoroughly described that it takes entire chapters dedicated to it. I'm sure it won't make people want to scream "Come on!" In Angrish
On the topic of headhopping, I'd wonder what the limit to it is. I think in earlier drafts of earlier stories I did it, but at least recently the 'headhopping's in on the level of multiple scenes. As in, each scene has a different character who *might* be the 'main' perspective. Really though, I don't like to put a singular perspective into focus in any scene. Internally, I consider all the characters' perspectives, externally, I just have them say things, do things, and express things outwardly based on their perspectives I have in my head, while letting any potential audience extrapolate what each of the characters are thinking individually. To this end, I do not usually like to directly write down what the character is thinking in words. That forces a perspective to be the focus, and is a very easy way to get trapped into headhopping. It just feels less cluttered when I headhop only on the level of my *own* head, without choosing and shifting perspectives within a single scene. Between multiple scenes, I do it, but within a single scene, I try to avoid it.
Sounds like you're writing an omniscient pov. In that case, headhopping or 'zooming in' is a feature, not a bug. It's when it happens without the reader being on board when it turns into a problem.
yes it's omniscient POV. What I thought headhopping was, was zooming on specific characters' thoughts and switching between them. I don't like to do character thoughts anyway because it feels cluttery and I don't feel like perfectly describing absolutely everything and absolutely every reason behind everything.@@jasminv8653
the recommendation is making it clear when the swap happens, usually by the chapter changing (there's no set length to chapters or how many chapters a book needs to have, you can make every scene its own chapter if you want) or a page break and the new scene starts on the next page with some white space at the bottom of the previous in a new person's perspective. This is typically done for omniscient POVs as jasminv8653 said.
The way I write chapters is supposed to resemble episodes of a show. As in each chapter is supposed to be long enough to be its own minibook, meaning individual scenes, where who the focus character, if it's any of them, changes, exist together within a single chapter. 'headhopping' is inevitable, I just don't do it in the most literal sense of showing everyone's thoughts because most of the time, I show no one's thoughts.@@5peciesunkn0wn
your point about moving scenes helped me alot ! i had so many ideas i didnt know where to connect. not being rigid about the order of scenes i planned could easily fix that
You might say that especially theatre plays that happen in 1 room could be interesting. Ofc not to shake up the perspective or to underline the importance of that 1 room, but solely so that stage designers have an easier job.
Ah, yes, screenplays, not at all the type of writing that attracts the- worst- writers (oh no, not me.... totally me). Something about armature screen writers, possibly the worst about defending their crappiest writing the most fervently instead of just acknowledging they are beginners and going back to the ol' drawing board and trying again..... Not that I'm guilty of that.... I'm guilty of that. :-D One of your very best episodes, maybe your best. You've gotten very good at giving great pointers to beginners like me jacketed in hysterically bad advice that captures the worst traits of genres and new (and experienced) writers. Thanks for another excellent video.
My current story is set on a Starship to Mars. 10 people. 5 levels. The setting barely changes. The intrigue is in their interactions over the 7 month journey.
I just notice that One Piece uses a lot of head-hopping in its flashback like when it was revealed that Mother Carmel revealed in Big Mom's flashback that she worked for the World Government. Is that an example of head-hopping used poorly
One of your most ruthless ones yet. While talky slow pacingfeels like my biggest weakness at present even when breaking things up, I'll never understand 01:40 or the infinite coffee shops. The funniest thing about 01:40 is that a lot of time it feels like it applies to *not* describing the characters, I guess because fandoms automatically expect you to know what *every* character looks like off the top of your head even if they don't change things. That or they seem to go *way* overboard with (changing up) the elaborate or physical descriptions of people instead of names instead of realizing that they can do both as long as they're consistent (and short) about as well as clear as to who is whom and who the hell is talking or otherwise doing something. (I really don't care for height in these types of descriptors personally even if height differences migh be otherwise important. [/kink-shaming?])
You gotta have a tavern and campfire scene if it's a fantasy story, those are like staples of the genre. Same with coffee shop settings in contemporary and romance genre fiction. It's like an unspoken rule or something In my own novel, I have a tavern scene that is used to showcase how other characters in the world perceive my protagonist, an infamous mercenary and assassin for hire, and get the audience up to speed with that stuff, in addition to moving the plot forward by having the tavern owner inform the protagonist about a cat that needs saving from a wyvern, springboarding things from there (it's there for a bit of worldbuilding too)
@@unicorntomboy9736 Taverns are fine in a fantasy setting, even as someone who doesn't drink and who would agree they're often overused when other settings could work (for TTRPGs intros at least), since in the usually medieval-ish setting they tend to be the only enclosed public meeting places in fantasy towns that aren't private property. That's totally untrue of coffee shops in modern times though even if the abomination that is Starbucks is unfortunately everywhere. There's *so* many others modern public meeting spaces to use like libraries (since it's not like your conversation *has* to be loud), museums, non-coffee retail shops, diners, or, hell, even public parks. But, no, it's almost always a coffee shop even though most coffee shops I pass seem so full and crowded as not allow for anything resembling a private conversation, much less a cutesy or romantic one. That's honestly the most jarring thing to me even as someone who doesn't drink coffee. I'll admit that doubtless makes me biased against them (though I never claimed not to be), but that aspect is why I'm always like "...why is this supposedly romantic? How does this place stay in business with seemingly so few customers?"
@@5peciesunkn0wn As indifferent as I am to _Skyrim_ to be honest, I would *still* take that being used as an alternative to taverms some of the times despite it being a meme.
I absolutely went through a phase of "REMOVE NOTHING!" The hardest bad habit to break as a teen writer was the idea that everything must be perfect in the first draft, and therefore it's perfectly justifiable to spend 2 month on one chapter. If you told me to delete this darling scene that took me MONTHS to write, I would rather murder such an obnoxious beta reader. NOT MY DARLINGS! Nowadays, I "murder my darlings" by putting the scenes in an Outtakes folder. This calms my anxiety. (It's not totally gone, it's still available, and sometimes I realize the scene works better later in the plot.) After my 3rd or 4th draft, my outtakes folder can end up even longer than the novel itself. I also used to feel that skipping around while writing scenes was taboo; a story MUST be written in chronological order. If you're stuck on a transition scene but know what will happen next, tough Skittles! You sit there staring at that blank page until something comes to mind! My first attempt at a novel sat on my computer for years because I was stuck on a transition scene. I knew what would come next, but I didn't think I could write all of that until I finished this "travel from one location to the next" scene. Then one day, I finally say "to hell with it," wrote "By sunset, they had arrived," completely skipping the transition scene. In just 2 months, the novel was finished. It was a roadblock, and I had to learn that it's okay to hop the fence and keep running with the story.
I would argue that the reason why focusing on setting is so rare in fanfic is that typically fanfic will take place in settings from the original work, whichthe writer and the audience are going to be intimately familiar with.
I always kept descriptors pretty vague, other than how they mechanically interact with the world or there's odd traits that the carechter notices as carechterization or to convey emotional states. This way the audience can project whatever they want in terms of aesthetic.
Cutting a scene, moving it to somewhere else or getting rid of it is something I've done a few times. Wrote a couple of scripts for imaginary Hazbin Hotel episodes and originally the second episode I couldn't figure out what the story was. So moved it to the third and made up a new second episode. Ended up working out very well.
I'm always worried that my scenes will fall into purple prose if I start describing the setting too much. but that leaves me with a tendency to under describe.
... it just occurred to me that pacing might not be a static thing, but that it might depend on the sort of story being told, and that an otherwise "pointless" scene that should be cut from most works might not need to be cut in, let's say, a Slice of Life whose entire point IS to follow the characters on their interactions solely because it is amusing, not because there is some sort of greater plot behind it...
cant wait for your next upload. your videos are good! i feel like you got better at knowing which details to put in which parts of each video chapter. and your editing skills got better and go well with your style of visuals
What do you mean, the readers can't read my mind and see the picture I see when writing it? They should just know what the small town near my house looks like!
4:00 - 4:17 Why I didn't enjoy most live action films during my childhood in a nutshell. I've grown more tolerant of this as I got older but I guess it's good to know that my 7 year old self (24 now) feels vindicated about this.
