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)
Let’s address the skills required for those three factors:
Writing in the strictest sense is the mechanical conveyance of ideas from me to you. This is not a subjective skill. Most writing fails because the medium is too ambitious for the idea. Any idea can be conveyed to anyone given enough context and information. It’s just a matter of practicing the skill of writing until you’ve reduced the number of inconsistently relayed messages to nearly zero. The problem is that the ideas we come up with are subjective flights of fancy, fluctuating in facts sometimes by the sentence. The way I’ve seen writing fail most often is through a lack of strong cohesion.
Writing is best honed through brute practice.
Worldbuilding, which is not limited only to the realm of fiction, is keeping a narrative cohesion. The technical writing equivalent to worldbuilding is using the same terminology throughout an entire document. When I write a technical document, I’ll first go through and write everything to convey it as best I can, then I’ll go back through and edit for consistency. In the same way, since “The Story” is a borderline encyclopedic ensemble narrative covering several years and several more characters, coming up with character ideas, hypotheticals, and terminology enables later writing.
Worldbuilding is best honed through imagination practice.
Planning any project is all about the generation then execution of an idea. There are myriad methods of professionally executing projects that all inject subjective benefits and drawbacks, each with pros and cons. There is no objectively best project management style. The way I go about my professional work is this: I gather as much information as I can first to better enable me to make educated guesses on how I should apply the scientific methodology to achieve my goals. The more projects you’ve been involved with or have led through until completion, the more likely you will succeed in future projects.
Planning is best honed through project practice.
The more I write about John and Trishna, even tangentially, the stronger of a connection I develop. They become more nuanced as I throw more ideas at them, enabling me to build their world more fully. Instead of mindlessly wandering through life waiting for my next distraction, I’ll borrow ideas and consider hypotheticals for them. My career, fortunately, hasn’t been wasted. All of the small and large projects I’ve worked on have helped me refine my own process for telling “The Story.”
Complete smaller tasks first, attempt larger tasks, fail, then repeat.
|Sources: My professional experience.|
|Inspirations: Watching Gegege no Kitaro, I thought of how the show succeeded where others have failed. What if it’s purely a matter of mechanics, driven by depth and execution?|
|Related: Essays building “The Story.”|
|Picture: This originally was going to be an update to “The Story,” but I couldn’t figure out how to visualize it, so I just went with a quick, poorly-drawn diagram basically looping increasingly harder tasks and when you fail, return to what’s easy. I’ll redo this chart later.|
|Written On: May 25th, 27th, June 10th|
|Last Edited: June 10th|