Cersei : You Only Have Two Dragons Now 

Some Artist Tips you May or May Not Know

Just from personal experience.

1: Never try to draw on an empty stomach. You’ll make mistakes and be uncomfortable. (But don’t stuff yourself till you’re sick either.)

2: If you have to go to the bathroom, go. A full bladder or otherwise does serious damage to the attention and patience spans. Plus it gives you time to stretch your legs.

3: Before you ink it, leave it alone. Come back later (a few hours, a day?) and check for major anatomy mistakes. Work on something else while you’re waiting.

4: Stay hydrated! The brain and fine motor skills work better when properly circulated.

5: Do not have an excessive amount of sugar before sitting down to work. You’ll get jittery and impatient. Same goes for immense amounts of caffeine.

6: If you’re stuck, take a break to stand and stretch. Walk around the room. But don’t THINK of it as a break. Just take time to really focus on your body. Loosen it up, get a goooood long stretch and some deep breaths. (but don’t pass out!) It’ll jolt the mind awake and let you really relax a moment.

7: Keep. All. Your. Old. Art. I don’t care what it is. Keep it. Date it if it’s in your computer folders. Make a suitcase filled with it. (I personally have ALL my old art in a thick work folder.)

8: Keep your sketchbooks together, used and unused. If there’s a good sale on sketchbooks, get two or three! You won’t regret it later. There’s no such thing as too many. (I currently have about ten spankin’ new sketchbooks and I know I’ll need/use every single one of them.)

9: Date your sketchbooks. Put a start and finish date on them.

10: I’m afraid I don’t practice this one: date your drawings. You’ll be happy about it later. You don’t need to SIGN every drawing, but do date them. At least date pages.

11: ART BLOCK HAPPENS. Art block is pretty much a CONSTANT state of mind for artists. You’re never out of art block totally. But sometimes you get bursts of inspiration that make it feel like you’re out. So instead of feeling like you’re ill if you suddenly have artblock, remind yourself that this happens all the time, and you get out of it eventually, every time. c:>

12: If you’re REALLY stuck on some bad art block, do what I do.

Draw a brain barf. This is where you take a blank sheet of paper, and you just LET your hand be A.D.D. Draw whatever comes to mind, as it comes to mind. in the middle of drawing a hippo in a top hat but you think of a jolly rancher riding a unicycle? Switch immediately.

Let your brain just vomit all over the page. You’ll be surprised what comes up and what art block this can get you out of. It’s gotten me out of it various times.

13: Take advice from more experienced artists. But do NOT take everything as Gospel. Some people are just wrong.

14: HAND SHYNESS/ ART ENVY/ SELF CONSCIOUSNESS/ AND SKILL IMPATIENCE WILL EAT YOU ALIVE like a Titan. Do not let yourself get shy after looking at ‘better art’, do not let yourself think your art is worthless or your skills are worthless, and do not let yourself get frustrated that you cannot be at a higher skill level RIGHT NOW. Your brain will try to do this. All the time. Keep yourself in check. If you keep going at it, and keep working, you will get better. This is why you keep your old art. Look at it to remind you how far you’ve come.

15: Draw what you like. This is so important. (This does not apply for exploitative art. :l That’s just wrong. So long as you’re not targeting someone harmfully, I guess you’re fine.)

But don’t let people’s preferences dictate what you can and can’t draw. Draw whatever the heck you like. Accept that no matter WHAT there will be someone out there that hates it. Always. This is just a fact of life. But don’t let it get you down. I would have stopped being an artist at day one if I had.

16: You never. Stop. Learning. Ever. You will be old and grey and still be learning new things. That’s okay. That’s the nature of art. Even the ‘pros’ don’t know everything.

I hope these help someone out there~

Credit: Lifeofastoryteller.com

How do you write a fight scene without becoming repetitive? I feel like it just sounds like "she did this then this then this." Thanks so much!

I watch her as she fights. Her left leg flies through the air – a roundhouse – rolling into a spin. She misses, but I guess she’s supposed to. Her foot lands and launches her into a jump. Up she goes again, just as fast. The other leg pumps, high knee gaining altitude. The jumping leg tucks. Her body rolls midair, momentum carrying her sideways. She kicks. A tornado kick, they call it. The top of her foot slams into Rodrigo’s head, burying in his temple. Didn’t move back far enough, I guess.

His head, it snaps sideways like a ball knocked off a tee. Skull off the spine. His eyes roll back, and he slumps. Whole body limp. Legs just give out beneath him. He clatters to the sidewalk; wrist rolling off the curb.

She lands, making the full turn and spins back around. Her eyes are on his body. One foot on his chest. I don’t know if he’s alive. I don’t know if she cares. Nah, she’s looking over her shoulder. Looking at me.

The truth twists my gut. I should’ve started running a long time ago.

The first key to writing a good fight scene is to tell a story. The second key is having a grasp of combat rules and technique. The third is to describe what happens when someone gets hit. The fourth is to remember physics. Then, roll it all together. And remember: be entertaining.

If you find yourself in the “and then” trap, it’s because you don’t have a firm grasp of what exactly it is your writing. “He punched” then “She blocked” then “a kick” only gets you so far.

You’ve got to get a sense for shape and feeling, and a sense of motion. Take a page from the comic artist’s playbook and make a static image feel like it’s moving. Try to remember that violence is active. Unless your character is working with a very specific sort of soft style, they’re attacks are going to come with force. So, you’ve got to make your sentences feel like your hitting something or someone.

“Ahhh!” Mary yelled, and slammed her fist into the pine’s trunk. A sickening crack followed, then a whimper not long after.

Angie winced. “Feel better?”

Shaking out her hand, Mary bit her lip. Blood dripped from her knuckles, uninjured fingers gripping her wrist. She sniffed, loudly. “I…” she paused, “…no.”

“You break your hand?”

“I think so. Yeah.”

“Good,” Angie said. “Think twice next time before challenging a tree.”

Let your characters own their mistakes. If they hit something stupid in anger, like a wall or a tree then let them have consequences.Injury is part of combat. In the same way, “I should be running now” is. When the small consequences of physical activity invade the page, they bring reality with them.

People don’t just slug back and forth unless they don’t know how to fight, or their only exposure to combat is mostly movies or bloodsport like boxing. Either way, when one character hits another there are consequences. It doesn’t matter if they blocked it or even deflected it, some part of the force is going to be transitioned into them and some rebounds back at the person who attacked.

Your character is going to get hurt, and it’ll be painful. Whether that’s just a couple of bruises, a broken bone, or their life depends on how the fight goes.

However, this is fantasy. It is all happening inside our heads. Our characters are never in danger unless we say they are. They’ll never be hurt unless we allow it. A thousand ghost punches can be thrown and mean absolutely, utterly nothing at all to the state of the character. This is why it is all important to internalize the risks involved.

The writer is in charge of bringing a dose of reality into their fictional world. It is much easier to sell an idea which on some level mimics human behavior and human reactions. The ghost feels physical because we’ve seen it happen on television or relate to it happening to us when we get injured.

You’ve got five senses, use them. You know what it feels like to get injured. To be bruised. To fall down. To be out of breath. Use that.

Here’s something to take with you: when we fight, every technique brings us closer together. Unless it specifically knocks someone back. You need specific distances to be able to use certain techniques. There’s the kicking zone, the punching zone, and the grappling zone. It’s the order of operation, the inevitable fight progression. Eventually, two combatants will transition through all three zones and end up on the ground.

So, keep the zones in mind. If you go, “she punched, and then threw a roundhouse kick” that’s wrong unless you explain more. Why? Because if the character is close enough to throw a punch, then they’re too close to throw most kicks. The roundhouse will just slap a knee or a thigh against the other character’s ribs, and probably get caught. If you go, “she punched, rammed an uppercut into his stomach, and seized him by the back of the head”, then that’s right. You feel the fighters getting progressively closer together, which is how its supposed to work.

Use action verbs, and change them up. Rolled, rotated, spun, punched, kicked, slammed, rammed, jammed, whipped, cracked, etc.

You’ve got to sell it. You need to remember a human’s bodily limits, and place artificial ones. You need to keep track of injuries, every injury comes with a cost. Make sure they aren’t just trading blows forever.

I’ve seen advice that says fights all by themselves aren’t interesting. I challenge that assertion. If you’re good at writing action, then the sequence itself is compelling. You know when you are because it feels real. Your reader will tune out if it isn’t connecting, and the fight scene is a make or break for selling your fantasy. It is difficult to write or create engaging, well choreographed violence that a reader can easily follow and imagine happening.

-Michi

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