Nothing is more frustrating creatively than being unable to execute upon your imagination. You might perfectly envision something while laying half-asleep in bed, yet when you ready your tools, something doesn’t translate! The writing’s flat, drawing’s weird, or project’s just not progressing. How do you fix that? For my development of “The Story,” it’s simple: don’t give up! Keep writing/working, worldbuilding/developing, and planning on what’s easy, constantly working on harder material, until it’s all natural!
Spoiler Warning Scale: None (brainstorming tactics) WANNA CONSIDER WHY YOU SHOULD BALANCE SMALLER AND LARGER PROJECTS? AND WHY YOU SHOULD GO THE DISTANCE WITH YOUR PROJECT? CLICK HERE TO KEEP ON READING!
Where do we store our imagination? Do we go about our days observing our reality only to occasionally dip our toes into the vastlessness of a communal pool of imagination? Are creatives and worldbuilders just siphoning that imagination into sippy cups we all can enjoy while mostly-engaged with reality? The more focus I place on “The Story,” and the more time I spend trying to create it, the more I wonder about these abstract concepts.
Spoilers?: Minor (my worldbuilding process)
WANNA CONSIDER HOW, IF YOU HAVE A DREAM, THE MORE TIME YOU SPEND WORKING ON IT THE MORE LIKELY YOU WILL BE TO ACHIEVE IT? CLICK HERE TO KEEP ON READING!
If my ambitions for “The Story” include comprehensive commentaries on the nature of our reality, how much nuance should go into those commentaries? A thoroughly-built restaurant might evoke patron conversations idly chatting over the fine flatware or reveal restaurateuring price negotiations for finer flatware. The narrative should always guide the focus. It’d waste your time and my effort if Trishna (left) and John (right) only visited Zbigniew’s (center) Teriyaki once. But if they go frequently…?
Spoilers?: Minor (worldbuilding, character development)
WANNA CONSIDER BALANCING WOLRDBUILDING DETAIL BASED ON THE NARRATIVE WEIGHT OF THE LOCATION? CLICK HERE TO KEEP ON READING!
The world of “The Story” can’t just anecdotally revolve around John and Trishna. Learning about related and peripheral characters can help enrich the overall narrative, especially as I start digging into details. Why do Trishna’s parents, Divit (left) and Brigit (right), own a farm? It’s hard work compared to our current digital work. Was it out of appeal? How much of it was out of necessity? Are farms even profitable in their world? Let’s explore.
Spoiler Warning Scale: None (just world-building… no fatalities) WANNA EXPLORE WHY CHARACTERS MIGHT BUY THE FARM TO LIVE IN PEACE? CLICK HERE TO KEEP ON READING!
“The Story” will mainly tell the story of two characters: John (left) and Trishna (center). During a summer they spend together on Trishna’s family farm before heading off to college, after years of chatting exclusively online with the occasional phone call, they learn about each other and the world. They’ll talk with her parents Divit (center) and Brigit (right) about these topics, in passing, cemented with one serious conversation that should help them stay safe.
Spoiler Warning Scale: Minor (backstory and worldbuilding)
WANNA SEE THE BRAINSTORMING BEHIND THE BIG TALK? CLICK HERE TO KEEP ON READING!