Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Digital art of a caterpillar attaching itself to the stem of a milkweed plant. The style of the illustration features crisp uniform outlines, some colored and some black, as well as stylized cel shading. The point of view is from underneath the milkweed plant, up at the caterpillar under the nearest leaf. The caterpillar is curling around itself, dangling from a bit of 'glue' it used to hang itself upside down. The milkweed plant towers into the sky.

Cocoon Year: A Retrospective of Drafts

I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d.

For both weeks, I decided to do a retrospective of past Warlock’d drafts and see if I could glean anything for use in my latest draft.  I’ve had eight major changes in story done, on and off, through the years.

Draft 1

My very first foray into this story was an outline I wrote in 2016 on my small Macbook Pro. I had never plotted or planned a story out before. The initial idea was a fantasy world where demons operated according to Asimov-like, “I, robot” rules, to set up mysteries that the reader could think about and solve while reading. Demons also conferred magic according to their sinful natures. It had a demonologist, a magical bird, and a knight. The setting was also random forests, random fields, all bland stuff I don’t really enjoy seeing in fantasy but was all I really knew about.

My motivation was, freewheeling fantasy adventure seemed like something people wanted in a longform story. I liked demons and wanted to flesh them out, make them make sense beyond typical horror film tropes. I had drawn nothing but user interface elements and simple dinosaurs over the past years and wanted to expand my drawing skills. The demons would give me wiggle room for exploring creative designs, and the human characters and settings would require me to return to fundamental drawing and coloring skills I’d been neglecting for years. All of these things were what I wanted from a project, if not money.

I looked into demons in a shallow way, turning up the assortment of names from the Victorian occult revival. I liked the idea of finding something different about them from further back in history, before movies and video games made demons into a particular rubbery, goat-hoofed entity. The Ars Goetia is a touchstone for a lot of investigations like this. I also looked into angel names because demons are fallen angels in literature. Again, a lot of this gets portrayed in Victorian revivals, often invented in the 1800’s but said to be a lot older.

The research wasn’t ever to be super accurate or academic. I knew so little about anything that actually interested me, and hadn’t ever seriously delved into any particular topics before. I had nothing in me to write about. It really felt like I was reviving something dead inside of me all by myself. I knew it was bad so I decided not to share it specifically with anyone, but I also chalked it up to being a beginner and not totally understanding what I was doing anyway. No reason to be even harder on myself. The way I learn is to do it the wrong way first and then see how other people are doing it.

What I learned from this draft when I started talking about it with people at writing meetups, very casually and not sharing anything, the sin-as-magic aspect had already been explored by other media. It wasn’t that unique or interesting of a concept. One person expressed absolute horror that magic would at all be evil or have some sort of cost. They chewed me out for exploring the idea. However, based on their fantasy writing sample that they chose to share, I think that person was going through some personal stuff so that may have provoked such an extreme reaction.

Draft 2

I decided to turn my outline into a badly-drawn comic, just to see where I was in terms of skill level. There is this concept of ‘ashcan’ comics, which are cheaply printed because people are going to chuck them after reading them. I decided, to remove the blockade of perfection, I would view this draft as chuck-able when I was done, and see what I’d learned. I also wished to avoid the common pitfall of a webcomic’s art changing as the pages progressed. I like looking at projects as a whole, complete thing — just working into the ether means I lose track of where I’m going.

I remember feeling like ideas were random, collecting like lint on my characters. I’d go out walking and think through something, then return home and add it into the comic. My story drastically wandered away from my original outline. Characters obtained traits that didn’t build into any sort of story, but exploring messily is kind of the best way to figure them out. I eventually learned that I wasn’t able to hew strictly to an outline, anyway.

The idea of a trilogy airily presented itself, but I wound up with a full book and the beginnings of a second book. There could be a ‘demons’ book and an ‘angels’ book, I thought.

I shared the finished product with trusted friends and learned the truth. In the end, my overall skill level was very low and no amount of edits could have saved this draft. The structure was fundamentally un-sound. My layouts were fine, but the writing didn’t work at all. There was no sense of buildup or conflict, or even an idea of what was going on. It was for the best that I did not invest much in the artwork. Some individual ‘moments’ were coherent, but it really meandered.

One comment that sticks with me is, to make a story, you make a character, then you give the character a goal, and then you put entertaining obstacles between the character and the goal. I felt so embarrassed for not realizing this.

A really important specific thing that I learned is that it’s not actually pleasant for magic to have a huge psychological cost — at least not when I’m making something that’s kind of more sincere than a lot of Dungeons and Dragons type stuff. I think some people can write this sort of tone enjoyably but I guess I wasn’t jaded enough to pull it off. The setting, the characters, the plot — it was at once too much and also weirdly empty.

At this point I’d spent a whole year creating this ashcan comic. It was time to start seeing how other people made their longform stories.

Draft 3

This is the draft where I started to read more. While it’s recommended to read current fiction, I was reluctant to go dive into contemporary fiction that was like what I wanted to write. The oddest thing I learned, as a child growing up with well-loved Narnia and The Last Unicorn and Catwings, is…that I actually don’t like fantasy as a genre that much!

Subject matter? Absolutely adore weird forests, dragons, heroes, mythology, spirits, old castles, everything.

But presentation? It’s rough out there.

I remember, at the age of fourteen, thinking I was definitely reading through a massive book with a castle and stained glass windows and maybe a mage on it, but I don’t remember what the book was called. I was outside on a lawn during an intermission of Twelfth Night and I remember just, understanding absolutely nothing that was going on in the book. I’m not sure if I finished that book. It had characters in it. They were doing stuff! A plot was happening. I wasn’t sure how I could have a college-level vocabulary reading score (according to my school) and still not understand this book. It was a total mystery to me and ever since, I rarely pick up books in the genre.

So what makes fantasy so poorly-written, or maybe just poorly-comprehended to me? I imagine because it isn’t written for other people. When someone writes a fantasy, they, too, are escaping, and I think fans of the genre are (necessarily!) forgiving of that. Story structure and familiarity is not a priority in fantasy fiction, nor should it ever be expected to hew to popular fiction norms. Typical story structures are also eschewed in a lot of sci/fi/fantasy communities, too. That’s totally fine and nice. Being creative and making something, and someone finding enjoyment in that despite rough edges? That’s not fantasy, that’s straight-up real magic. I love that connection between a writer and a reader. Writing the odd things and loving the odd things. I have absolutely no problems with that joy.

The point, though, was that I didn’t think I should reference other fantasy books, even if what I was writing felt like fantasy. I dug deeper into the general genre of ‘writing’ as well as medieval life. I don’t want to make something that’s only for me, or only for a specific (and extremely forgiving, or at least tenacious) audience.

For this draft, I switched up my software. Everyone said ‘Go Scrivener!’ and in the age of cloud payment plans this was a one-off purchase of $30, so that was an easy purchase to make. I explored it first on my own and found sectioning bits of story off into their own chapters to be helpful. Having nothing to reference, I arbitrarily set up a story in ten parts and wrote it all out. I had a lot of ideas for demons and magical birds and a rival for my demonologist investigator, but nothing coherent.

Mostly, I felt very alone during this draft.

Draft 4

This draft I ported out of Scrivener and back into Google Docs. It, of course, became a different story as it went. There was some subplot about a demon with a mirror for a face, and a cavern full of gold, that weren’t working out at all. I had all these clever ideas for setups and payoffs but nothing was materializing into anything read-able.

What I really wanted was a space for sharing my work and finding readers who could maybe do an equivalent exchange of reading and critiquing. I tried a general writing meetup but it was mostly nonfiction writers, so I felt uncomfortable sharing a silly story about demons. I turned my attention towards adjunct learning…something with a low barrier to entry. I typically don’t like courses geared towards beginning creative skills since they usually require generating new ideas to participate. However, when I landed on a course at the local community college that seemed geared towards existing long-form work, I decided to give it a try.

Little did I know, my skills were so inept, all I would do was annoy the instructor and force everyone to suffer through a lot of pointless drafts about an inn and a bird suffering from a broken wing and very little intent. I lacked an understanding of how story events build into each other and feed on each other. I stopped going out of shame.

My next try was the Society for Children’s Book Writers and Illustrators. There, I found a writing group. It lasted for a year until COVID killed it and there I learned about kidlit publishing, but I think the subject matter and age range was so wide it might not have been as helpful to my writing as it could have been. I didn’t know that some part of writing culture was to be part of some ‘cool kids’ group or else I’d have left earlier. I got encouragement but I definitely didn’t feel right about my writing, at all. The group wasn’t very focused on craft, mostly on socialization/support, and the type of books people worked on varied too widely. I mean, there was even a rule in the group’s bylaws that a draft could only be presented once to the group, then never return — and that’s not how writing works, at all. I need to be better about identifying social situations where I need to duck out sooner. In retrospect I was probably not helpful to anyone in there and for that I apologize. (They seem like the type to snoop so, hello. Sorry about everything. I’ll leave you alone, I promise.)

The one group that offered me a gem of advice was a local science fiction and fantasy group, regardless to my previous aversion to reading fantasy. There was a person there who suffered through my draft and then, with all the brilliance and clarity of Aristotle describing the rules of logic, said that what my story was actually missing was motivations for the characters.

Oh! So a character can’t just sit there and be described in a setting?

That made way more sense.

Make a character…Give a character a goal…Put entertaining obstacles between that character and the goal…

I deeply regret that I could not keep up with the regimen of reading other people’s drafts in that group. Fantasy is not a genre I enjoy reading, for its lack of structural tropes, or on the opposite end, its weird adherence to The Hero’s Journey. Then again, if the group had been more exclusive, I’d have never met that one person who clarified things for me so simply. So, it’s the double-edged sword that all students encounter. Someone who wants to learn something, wants to be around other people learning that thing, but also wants other people to be better at them at that thing. Still, I think everyone in that group was probably better at writing than me. I just lack character and tenacity!

Draft 5

This draft transformed into a romp through Paris.

It all started with an online zoom course through Push/Pull run by David Lasky. It was a shortform comics class. Several people in the class wanted to continue their studies, so we signed up for a six-month course called a Graphic Novel Intensive, which I have written extensively about in the past.

I used Trello and a system of google docs to put this script together. I felt very pleased with myself, like I’d made something worth reading. This draft made it all the way to lettering and then layout phase.

What killed the story wholesale was attempting to explain a scene involving football to my patient spouse. Medieval football always kills me, and my stories. I’m not sure if I want to elaborate further, but it was bad.

I put Warlock’d away for a long time after this failure.

Draft 6

Having had a very successful SAWgust in 2022, culminating in a 48-page graphic novel, I decided to try my hand at Warlock’d again. This time, I made an outline centered around something I thought might have been enjoyable about my story — The relationship between a demon and a cleric (formerly a demonologist). I trimmed the story down to barer bones.

(Not bare enough, but that’s later!)

Problems arose:

The cleric had a name (Pierre) that sounded an awful lot like ‘Prévôt’, which is the title for a mayor-like figure in charge of Paris. I changed Pierre’s name to Stone, specifically Cleric Stone. There’s something that resonates with me about this name.

People couldn’t tell what Stone’s motivation was.

All this time I’d sort of neglected to investigate Stone and figure out what made him tick.

The ‘buddy movie’ beat sheet wasn’t quite hitting the notes I wanted to write, either.

This is a story about demons, about the backwoods of human thought, about things that were cut from the original codex…They’re not cops and they’re not on a road trip.

Draft 7

I made a pitch during a pitch event that gained some interest, positing the story as Murder, She Wrote, but in 12th century Paris, and with demons. I gained interest in it from a few people, but I worry that the Black main character may have been misleading as to who was writing it. Ultimately I have chosen to self-publish because I fear taking a publishing ‘slot’ from someone who might need it more than me.

This outline is the one that I started out with for my Cocoon Year. I thought for sure I was ‘there’, that this would be the story I could finally commit to a layout. I ran it through friends. It basically went like this:

“CLERIC STONE’S student, a girl named MARGOT, is found dead on the grounds of Notre Dame. A demonic barn swallow named MARGO approaches Stone. She swears she’s Margot’s lost soul, and her mother (BRIANDE) did not murder her. Stone must figure out who truly murdered Margot to clear Briande’s name. Briande owns an inn in a lucrative part of town. As a widow who inherited the property from her late husband, Briande’s ownership of it is vulnerable.

A lost pilgrim badge at Notre Dame leads Stone to wonder who dropped it. Was it Briande’s loyal bouncer, LEBEAU? It could also have been Lebeau’s twin brother, FERRAND. However, both twins still have their copies of the badge. They point Stone to their uncle, LIEUTENANT GRIMWALD, as all three of them picked up matching badges in Genoa.

Grimwald hates the way Briande runs her inn, and is also missing his badge. Stone escalates his investigation up to the ROYAL PRÉVOT. The Prévôt is like a king-appointed mayor of Paris, and Grimwald is his top lieutenant. The Prévôt refuses to entertain Grimwald as a suspect. Margot had been living in the Prévôt’s fortress for a few months because he wasn’t sure if she was his daughter. Margot was found dead of poisoning. The Prévôt didn’t want news to break out of a poisoner in his fortress, so he ordered Grimwald to hide the body somewhere.

Stone investigates Margot’s room and finds a smudged chalk circle there – an attempt at necromancy! Was Margot the subject of a curse? Stone finds Grimwald’s name written as the subject of the curse instead. When Stone is overly familiar with a nearby grimoire, the Prévôt suspects him of foul play. The Prévôt throws the book into the fireplace and kicks Stone out of his fortress. His ultimatum: Find the poisoner, or be accused!

Margo dives into the fire after the book, but is too small to drag it out of the flames. She rips out one page from the book and frantically double-checks it against the spellwork in the room. She complains that she did everything ‘right’, but the curse isn’t hurting Grimwald at all, just her mother. Margo flies to Stone’s side and demands he chew out the demon in charge of the curse. She takes Stone directly to Hell, where they meet the demon DEHYDEMES and its magic orrery that it uses for watching people on Earth.

Ferrand dies in a brawl with a living nativity scene, right in front of Briande’s inn. To determine Briande’s fitness to run her inn safely and morally, the Prévôt reluctantly calls for Judicium Dei, or trial by combat. Lebeau represents Briande. Grimwald represents Paris. Lebeau cannot afford to fight the only authority figure who somewhat accepts them, and forfeits, which means the inn’s deed gets signed over to Grimwald. Grimwald, still grieving Ferrand, disowns Lebeau for their display of cowardice.

Stone and Margo dismantle Dehydemes from overseeing the curse, and return to the inn to help Briande. Briande’s inn lies under siege by Paris’s own Night Watch. Briande burns the inn to keep Grimwald from seizing it for himself. Inside of the burning inn lies the drunk Lebeau. Dehydemes meant for Lebeau’s death to torment Grimwald with unresolved regrets. Stone convinces Lebeau to take a heroic last stand instead. Lebeau kills Grimwald.

Word spreads that the inn is protected by unearthly forces. Briande is allowed to retain its ownership. Margo gives Stone the missing page from the book. It reveals that Margot wasn’t savvy enough to omit a booby-trap ingredient in the spell, and died of aconite poisoning. Stone feels obliged to keep Margo around, not only as a reminder to walk his students through dangerous magic more carefully…but also as his friend.“

I made a beautiful pitch packet with meandering writing because while I made the pitch pages I hadn’t quite nailed down the above outline.

This came so close to becoming a full script, but there was one glaring problem that I’ve been omitting from my past cocoon year posts:

It wasn’t any fun to write.

I passed it around to a couple more people to check it out and my ‘expanded’ outline (where I described various scenes) was also a bit much. I feel like there are elements in this story that are interesting enough for a sequel, but…So too did the previous drafts have elements that would have been good in a whole series.

One thing at a time. Just this one book. That’s what I must create.

Draft 8

The current outline has been stripped down even more. Stories are made of simple scenes. It is about Cleric Stone and why he works with demons, the true nature of demons (not evil!), and medieval folk spirituality, which is so much different from Christianity it’s pretty much not Christianity at all. I’m going to give each esoteric concept enough time to breathe and develop.

I’m still allowing myself to dart around the story to different points if I need to skip a difficult section, but I’m no longer writing the whole thing out of order. This feels better, although I’ve already walked back several scenes and forced them to build on and expand particular themes.

Stone was the main character all along. I’m ashamed that I was trying to make him mysterious by not developing him. I will fix this in this draft. He will have hopes and dreams. He will even be a little naieve. But by the end of the story, Cleric Stone will be the closest thing 12th Century Paris has to a private investigator.

Care to read more?

Cocoon Year: Weeks 27 & 28

Cocoon Year: Weeks 27 & 28

Cocoon Year: Allowing Synopses to Build on Each Other As I write, I learn new techniques for visualizing entire stories. Learning to understand synopses has been really important for me. One important thing I’ve learned about them is that they’re good for sharing with...

Cocoon Year: Weeks 25 & 26

Cocoon Year: Weeks 25 & 26

Cocoon Year: Finding the Character in Objects Writing progress became confused, dismal. I figured something out between the way I approach problems and the way my spouse approaches problems. When we play a puzzle game called Picross together, we often mess up the...

Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Cocoon Year: A Retrospective of Drafts I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d. For both weeks, I decided to do a...

Want to chat about this?

Cocoon Year: Weeks 21 & 22

Cocoon Year: Weeks 21 & 22

Digital art of a big, fat monarch butterfly caterpillar. It's covered in a cacophony of black, peach, and white stripes. It has big black feelers on its head and fake feelers on its butt. The remains of leaves that it has demolished in its everpresent hunger are scattered around where it steps.

Cocoon Year: A New Start
I keep saying I’m not going to restart the outline, but I wasn’t having any fun writing my rough draft and I think that’s a sign. Re-simplifying the story should help get the finish line closer.

 

Cocoon Week 21

I wrote things. Mostly, I went deep into Stone’s relationship with a new character named Jean. From the most recent discarded draft, I rescued an opening sequence where clerics in 1191 AD discuss that Christians believed the world would end in 1000 AD. I want to portray medieval people as being capable of skepticism. Without knowing any better, I’d say pop cultural belief that they were all unerringly and unquestioningly religious has roots in Victorian misconceptions at best and fascist propaganda at worst. I don’t think there has ever been a time where all humans in a given area have stringently and similarly believed the same things. In other words, ‘everybody was good and Christian in medieval times’ is not really a thing. I know that clerics would often express skepticism although this is a creative process blog so I’m not obligated to cite a particular thing.

I’m trying a new technique where I’ve defined the finish line as 125 pages of script. Screenplays are a lot lighter than prose, and 125 pages is the given length for a 90-minute movie. Since graphic novels are a little bit like movies, and I err towards cinematography rather than literature in mine, the screenplay length makes sense to me. It’s also not something I’ve tried before so the novelty helps keep me focused for the time being. I went through and added pages and page breaks for specific scenes I have in mind. I am also checking a cozy mystery beat sheet and hoping that the connections I’m seeing aren’t just like, when someone randomly overlays a Fibonacci spiral on top of random images to ‘prove’ that spirals are everywhere in art and in nature.

Digital diagram of a golden spiral confusingly laid on top of a photograph of a spiral staircase. The spirals do not match up. The proportions are outlined via number and graph lines, but this still doesn't make any sense, nor is it supposed to make sense.  Photograph by: https://pixabay.com/photos/gaiazoo-spiral-staircase-kerkrade-7844381/ Fibonacci spiral diagram by: https://en.wikipedia.org/wiki/Golden_spiral#/media/File:Fibonacci_Spiral.svg

Legend has it, if you stick a Fibonacci spiral on top of any image, the image becomes well-composed. (This is sarcasm.)

Maybe beat sheets are more like for beginners and once I have a better grasp on how to write well, I can remix them more effectively. That’s also how a lot of compositional rules work.

Already I’m seeing a lot more flexibility as I move chunks of script around. Trello should be more apt for this, right? Well, not really. Trello was probably just making the plots more detailed than they needed to be. Or, they just don’t work with my writing explorations, which are probably also part of my process as well. I’m sure plenty of writers have piles of pages they used to get to know the characters behind their stories. I know I am kind of annoyed when I see someone’s first draft and it’s clear that they haven’t explored anything outside of hitting outline beats. It’s also quite possible that my previous strategy of using Trello is no longer novel so now I’m grasping for reasons why I shouldn’t use it anymore. It’s still possible I might return to Trello or even real physical notecards but that technique would need some sharper rules to keep the scene count from ballooning out of control.

I started doing the final colors on my Troubled Histories anthology. This means taking flats and adding highlights and shadows. I’ve erred towards a lighter touch since these pages will be quite small, chapter-book sized. Overworking images or having too much shading and highlights can make otherwise simple imagery confusing. Having simplified my color selection and shading process helps make these a breeze, so long as I’ve flatted the panel correctly.

Lineart of a king in a throne room toasting a groveling peasant. The lines are thin. There are two other images of process, and the final image will more completely describe what is going on in this comic panel.

Lines. The color was actually added to the lines after I figured out the highlights and shadows, but I’m too lazy to show this in the image itself.

Flatted colors of the above lineart. It's mostly reds and golds, with blue for the focal point of the king. Full description of image is in the version below.

Flats, with some flats acting as highlights and shadows.

Fully-colored and detailed comic panel made with digital art. The style is cel-shaded with special attention to points of interest, and allowance of colors to sit flat with no shading in areas where there shouldn't be much interest. Overall, the panel is very threatening and red in color, with gold accents. A king sits on a throne in a blue cape. He toasts a groveling peasant with a golden chalice in his royal hand. The king is surrounded by helmeted, cloaked knights in crimson capes. This all takes place in a throne room lavishly decorated with red curtains, a podium decorated with paintings and gold leaf, a fancy throne with dragons on the arm rests, and marble tiles in a checkerboard pattern for flooring.

And now I get to define shapes and pull the panel out of ‘flat’ land.

Once coloring is done, the lettering finalization will take place. I am languishing on this project and would like to focus on other things (…Warlock’d…) so I am not feeling anything super fancy or experimental on the letters. This will be a completely normal comic which is fine.

One other thing about this week is that my spouse, in pursuit of mental health, popped open Unity and started doing some hobby-level game dev. I’ve been mildly obsessing over pixel art in my off time so I decided to give him little ‘treats’ in the form of pixel art that he can program to do silly things. We both enjoy games where characters change visually so I’m experimenting with a pixel ‘doll’ that can be dressed up as it goes on an adventure.

Digital pixel art of a naked, doll-like character. It is so simplified it doesn't even have eyes or a mouth, or a bellybutton. The art is intended to be seen at 32 by 32 pixels, but has been enlarged to three times the size so as not to be actually tiny on a webpage.

Nakey 32×32 adventures!

Cocoon Week 22

Digital art of a 12th century lock found on a church at one point in time. This square bronze lock has clearly seen wear and tear, but originally it was an ornately crafted piece with animals entwined in detailed bronzework. It has an enormous crude keyhole in the middle. Dragon heads sprout from its corners. The lock has been posed on a checkerboard-like pattern that alternates between different shades of maroon.

It’s complete! My Troubled Histories anthology entry, ‘We Need to Talk About Locks’ is done. I submitted it this week to remove it from my plate. It helped me refresh my experience with the gaudy Warlock’d palette and how to keep it under control, as well as where and when to expand it. I’m looking forward to seeing this in print although I do wish I’d had more passion for it.

Screenshot of a color palette organized around four bold bands of orangeish red, goldenrod, ultramarine blue, and a very pale, almost neon, seafoam green. There are sixteen other colors gathered around these four main colors, in various shades of darkness, lightness, and saturation. An unimportant hex code remains on the red band from where the cursor was hovering as I took the screenshot.

This is the palette! It’s based on jewel tones used in medieval art. They liked colors. They weren’t sad gray people shuffling around dingy brown cities.

Warlock’d is going interestingly. I’m really slowing down on scenes and letting the writing chew the scenery. Readers can learn more than one thing about a character at a time. Not all of it is important. I can waste people’s time a little bit. I want to give them the sensation of hanging out with a character and really getting to know them, perhaps being fond of them. My points of escalation have also, for lack of a better term, de-escalated, into smaller steps that are more easily portrayed by this little setting. This isn’t an epic fantasy where you need to know a lot about the setting. I’m also trying to be less snarky and more earnest. The humor ought to come from characters remarking on their situations, not from me making fun of weird medieval things.

One thing I’m doing is porting around bits of writing to different sections helter-skelter. If something feels like it should be revealed earlier, then I move it up earlier. Scenes where I don’t quite know what’s going to happen yet become pages with page breaks for later. So far I am sitting at 28/125 pages in my count and hope to make every page count towards the whole. This story may feel ‘slow’ as a result — maybe that’s fine. If I can keep scenes mostly familiar and only introduce some esoteric thing every few scenes that might be better for readers.

I was reading a draft of Idolon, the next story in my Amphiox world, and really hated how many new things I onboarded and explained. I think there’s also something to be said for presenting something without explanation as a ‘well what’s that thing’ and then explaining it later when it’s actually important. But. I do need to write Warlock’d and not Idolon.

So far Margot is a lot funnier as a living character so I hope that her death (and subsequent resurrection as a lost soul) is more interesting as a result. Currently it feels like the antagonistic church forces act too quickly for Stone to work alongside them willingly.

I have also decided that Stone is a burgher whose wealth comes from the gold trade — both selling and crafting. In other stories his status was frequently up in the air — was he an official demonologist? Aligned with the church? Outcast? A random ‘lay cleric’? The way southern kingdoms interacted with northern kingdoms in Europe was through trade. I’ve settled on gold as something that people would immediately recognize as a special part of medieval culture, and that would lend itself to Stone’s background, wealth, and power.

Most people think of medieval caste society as two castes. Royals and not-royals. Looking into this via Wikipedia (bless all wikipedia historians), the society was more formally recognized as three different worlds, that of laborers, royalty, and clergy. Clergy sort of had a subdivision between noble clergy (from the royal world) and lay clergy (from the laborer world). Then, burghers and craftsmen were experiencing more privilege during a mini-renaissance than other times, so this seemed like a good spot for Stone. He only gets pulled into the religious esoterica on behalf of his friend, Jean. The story transforms Stone into a private detective who isn’t beholden to the crown or to the cross. This sounds good to me so far. Who knows if it will change later, but it’s nice to have specifics.

Concerning Lebeau…They’re gone. This poor knight is now sequel fodder. Rest well, my dear enby knight.

In their place is a quasi-love interest and plot macguffin of a character who currently goes by the name of ‘Jean’, pending a name change. Jean is Stone’s close friend. In my head they have an extremely romantic relationship full of physical and verbal affection. Stone, however, is a very private person and would likely not have much in the way of sexual impulses, much less act out on them. So yes, clearly and openly gay, but due to character personalities and situations and medieval people in general being quite affectionate with each other, not a typical romantic relationship concerning sex. I’m really hoping no one misinterprets this as being sex-negative because I’m not, I just find it easier to make Stone asexual. I can understand a lack of interest in sex for oneself. Happy Pride month next week, I guess.

Jean himself seems to be a lay scholar who aspires to the Benedictine order as a monk. He is able to afford a Parisian education, so something in his background out to align with that. He and Stone met as scholars and became friends. That’s all I know about Jean so far. I made an ill-fated foray into researching what people might find sexy about tonsures on Bluesky and found a whole lot of bald thirst. I get what I deserve.

I feel like I need to keep up writing the draft until it is done so that another random direction doesn’t pull me elsewhere. Perfection is a fascist’s tool for keeping control, after all.

Game dev with my spouse has continued. I am having fun chewing on the problem of how to make tiling textures with organic edges. I wish writing problems were this interesting to me. I guess the more I learn the more interesting those problems will seem.

Screenshot of pixel art depicting a forest composed of neatly interlocking 32 by 32 pixel tiles. The trees are in all shapes and sizes and very organic, utilizing a manual anti-aliasing technique. They are a very understated shade of green, almost gray.

To Do Next Week:

  1. Writing!!!
  2. Web design for Codex Apis (short comics collection) (Didn’t get around to this)
  3. Or, web design for Warlock’d? Still haven’t gotten around to it. It still feels so far off!
  4. More pixel art for my beloved

Care to read more?

Cocoon Year: Weeks 27 & 28

Cocoon Year: Weeks 27 & 28

Cocoon Year: Allowing Synopses to Build on Each Other As I write, I learn new techniques for visualizing entire stories. Learning to understand synopses has been really important for me. One important thing I’ve learned about them is that they’re good for sharing with...

Cocoon Year: Weeks 25 & 26

Cocoon Year: Weeks 25 & 26

Cocoon Year: Finding the Character in Objects Writing progress became confused, dismal. I figured something out between the way I approach problems and the way my spouse approaches problems. When we play a puzzle game called Picross together, we often mess up the...

Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Cocoon Year: A Retrospective of Drafts I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d. For both weeks, I decided to do a...

Want to chat about this?

Cocoon Year: Weeks 13 & 14

Cocoon Year: Weeks 13 & 14

Digital art of an arrangement of milkweed leaves, rendered in soft teal colors. It's a stack of leaves on a stem with one big leaf thrust into the foreground via foreshortening. All the veins can be seen in this one big oval leaf with a pointy end. Eating its tiny way through this leaf is a tiny caterpillar, near the tip. It has a lot of leaf to get through if it wants to become a proper butterfly.

Cocoon Year: March and April Summary
There was some meandering and then I came to a conclusion by the second week. I will continue treating Warlock’d like it is a webcomic that I am developing in spite of being out on pitch. It’s a risk but I will be fine.

 

 

Cocoon Week 11

I heard nothing back on the Warlock’d pitch packet (not that I was expecting a quick response). I went ahead and put together a ‘blorp art’ draft of my Troubled Histories anthology. ‘Blorp Art’ looks like this. It’s for lettering and getting the layout to agree with the artwork. I draw it directly in InDesign with the pencil tool, on my Cintiq tablet.

Screenshot of four comics pages in grayscale, with very quick, gestural art under lettered speech balloons.

I sent this draft in for editing but a friend also offered to read it for me. I sent it to my friend who pointed out a lot of clarity issues and things I needed to think about. Even though I value the editor’s feedback over at the Sequential Artist’s Workshop, I hadn’t heard back from them, so I decided to work on the artwork and get the drawings set in stone. The story has wound up with a little background story that goes on under my narration and it didn’t quite make sense, so I’ve been wrangling it and trying to get it as polished as my main message.

Digital sketch of a very ornate old lock, meant to hold a church door closed. It has crosses sticking out of it everywhere, as well as guardian animal heads and ironwork creatures twining around each other. A large crude keyhole is in the center of the lock.

Here’s the rough of my ‘cover’ page for the anthology. I’ve well and truly fallen in love with this 12th century lock that used to be on a church — perfectly conveys the meaning of ‘security theatricality’. This lock would be simple to pick, but you don’t want to make the person who owns such a fancy lock angry, would you? There’s so many dragons guarding this place…

Cocoon Week 14

I made the executive decision to proceed with working on Warlock’d as if it is not out on pitch. I need a rough script anyway. Back to my usual hijinx with a Trello board and Google Docs links, then!

Screenshot of a Trello board with stacks of digital notecards in columns. The background is a wood texture with metal studs poking through.

I like separating the story into arcs because I feel like, within a larger narrative, the reader looks for ups and downs, but they may not keep track of every single detail. ‘Oh yeah’ moments and other twists do need to be obvious but they can’t be hidden in flavor descriptions, small character interactions, or other unfair nooks in the story. Arcs set something up, bring the reader somewhere new, and resolve a setup so the reader no longer has to worry about that information as they read. After I make an outline and a detailed synopsis, I like to separate out arcs and then name them.

The arc labels could work as chapter names, but there’s only so much room in a graphic novel so I typically don’t like to separate longer stories into chapters. Separating them spends a page per chapter and every single page matters in such a visual medium.

Ideally, I want to have a rough draft of the whole graphic novel ready for whenever I secure an agent. I have several rough drafts in the past but this is the first draft that feels like it’s snapping and like I won’t regret adding detailed art to it. The writing gets riskier the closer to polished it becomes, because editors may want to have a say in what I’m writing. If it hits layout stage then it’s extra difficult to edit. However, I still think that treating this like a webcomic is my best bet moving forward. Nobody gets to dictate what I get done until they buy it!

I’ve been flipping between Warlock’d scriptwriting and more detailed roughs on my Troubled Histories project. I got notes back from the editors that matched my friend’s notes fairly closely, so I sent in a new version of my anthology submission that has more drawings on it.

 

To Do Next Week:

  1. Do perspective guides on Troubled Histories pitch.
  2. Clean up my 5-page synopsis for Warlock’d.
  3. Try not to regret sending in my pitch ‘too early’.

Care to read more?

Cocoon Year: Weeks 27 & 28

Cocoon Year: Weeks 27 & 28

Cocoon Year: Allowing Synopses to Build on Each Other As I write, I learn new techniques for visualizing entire stories. Learning to understand synopses has been really important for me. One important thing I’ve learned about them is that they’re good for sharing with...

Cocoon Year: Weeks 25 & 26

Cocoon Year: Weeks 25 & 26

Cocoon Year: Finding the Character in Objects Writing progress became confused, dismal. I figured something out between the way I approach problems and the way my spouse approaches problems. When we play a puzzle game called Picross together, we often mess up the...

Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Cocoon Year: A Retrospective of Drafts I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d. For both weeks, I decided to do a...

Want to chat about this?

Cocoon Year: Weeks 11 & 12

Cocoon Year: Weeks 11 & 12

Digital art of a teeny tiny baby monarch butterfly caterpillar chowing down on its own eggshell. The caterpillar stands on microscopic milkweed fibers and lifts the eggshell overhead, chomping away. The caterpillar is light peach in color, with a black head, black legs, and black spikes running down its body in rows. Its butt is facing the viewer. The eggshell and the milkweed leaf are seafoam green. A watermark in the corner reads: http://hmcgill.art

Cocoon Year: 2nd Half of March Summary
This is the week I completed all of the art and writing for my pitch packet…at least, completed it enough to send it out. In that sense I’m emerging from my little microscopic shell, and now I have to focus on eating it.

 

 

Cocoon Week 11

This week was spent wrapping up additional character and prop art for my packet, as well as decorative borders to make it look more medieval. As I got closer and closer to the end of the pitch packet, it became harder and harder to work on. The next step after this is revealing it to people who don’t know me well, and who have no reason to love this on sight.

I went through all my writing, on both the short synopsis and the long synopsis, and added more to them where necessary. Lebeau’s new backstory has evolved into the tale of a saint with two skulls and an abandoned tomb. I scanned more through the book on serfdom and slavery, but didn’t find a whole lot more that would be specific to Lebeau’s case. I am also making an ‘historically inspired’ vs. ‘historically accurate’ decision to assume that if Lebeau can live in Paris and prove themself a good citizen, they’ll be free from tending an old tomb for the rest of their days. I don’t know specifically what law in Paris existed to accommodate this. Since it’s such a melting pot of a town I assume that King-appointed leadership might decide to protect its citizens, no matter where they came from.

The only Capesian law I do know about is one protecting a widow’s right to keep her late husband’s land. This is not true throughout Europe as far as I can tell, but what was important about this law is that it indicates the people of the time were able to tell when someone in their society was vulnerable. Were they able to consistently enforce such a law? Now there’s the trouble. Not really, I would imagine. Just an absolute dumpster fire of dueling power structures and lack of resources going on there. While crime faced fewer negative deterrents I still have to believe that most people wouldn’t actively try to hurt each other for no reason. Otherwise, humanity wouldn’t have persisted for 800 more years.

Anyway! Most of this is guesswork that slants towards making a dramatic story. If I must jump to a conclusion then let it be an entertaining one. I only worry about how much historical information people tend to absorb from pop culture and entertainment media. There’s also the mistaken idea that ‘more suffering = more real’ and I’m hoping that some of Warlock’d’s core themes successfully point this out.

On that note, it reminds me of the story of a nasal spray vaccine that failed. I don’t know about you but I would love to get a nasal spray vaccine. However, people didn’t believe it worked because it didn’t hurt enough. I think the same attitude has been bleeding into fantasy and historical fiction reader tastes. If characters aren’t suffering enough, then it doesn’t feel real enough. I myself enjoy a good round of character-obliterating pain, probably far more than my intended audience would enjoy it, but at the end of the day any sort of conflict can be relatable as long as it’s punched-up enough.

I had to return the book on slavery half-read, because interlibrary loans are tough like that.

Cocoon Week 12

I began this week with a couple of query letter drafts and a final readthrough of my full synopsis. I think that’s all finally ‘there’. An actual story with stakes and a conflict and rising action and falling action and themes.

I really do not want to just…leave Warlock’d alone while it’s percolating. Do I have to? Maybe it’s time to noodle on an Amphiox sequel about adult Lyrat’s day job. Or, I could work on my middle-grade dinosaur pitch, or my adult romantic comedy/abominable fancy mashup set in an Italian Renaissance-ish fresco guild.

Yes, to be honest, it’s probably time to pull up a backroom project and examine that, then leave my schedule open for suggestions and edits on my pitch if I happen to get feedback.

I’ve also been dabbling more with pixel art and it’s become an enjoyable part of my day. Crowdsourced art direction is chaotic and not always helpful, but I like talking to people about craft. Every now and then someone absolutely ‘gets it’ and even if things get nitpicky it’s a lot better than being ignored. I call this ‘pixel art brain rot’ but Devin thinks it’s fine that I’m doing this.

I chose the first agent to query. A friend stepped in to help me when I was struggling with a query letter. They rearranged my sentences and it was magical of them. I uploaded all my stuff to a portal and clicked ‘submit’ for the first time. I’m not quite sure what to expect because my packet was designed a little bit differently from what the agent specifically wanted, but I also feel like I have more than what the agent usually requests.

In other news, I pitched to another Sequential Artists Workshop anthology (Troubled Histories). They’re not the type to turn pitches away so now I’m writing something about locks. Here’s how my editing is going with Karlo and Emma:

“Locks weren’t very good in the 12th century.

  1. There were few ways to combat thievery: You could pile all your valuables into one spot, making them more difficult to remove, or hide them, or petition your local ruler to do something about thieves.
  2. As far as security went, it was largely theatrical. Most castles never saw battle. Their size and shape implied fortification, which was enough to keep most thieves away. However, castles weren’t built on any foundation so most of them could be dismantled by a determined person with a shovel.
  3. Imprisonment in these structures is expensive and reserved for prisoners of note, not random misbehaving commoners.
  4. Therefore, you get records of inhumane punishments for thieves — mutilation or death — because there’s no other way to permanently deal with a thief. Even banishment wouldn’t necessarily keep a sentenced thief away.
  5. Today, locks are commonplace, and we don’t kill people for thievery. Even though mass production of locks means people can perfect techniques for opening a house uninvited, the very presence of a lock is enough to keep most intruders away, just by communicating privacy.
  6. However, we aren’t looking at better ways of dealing with thievery by dealing with root causes (poverty and mental illness)… we’re investing in prisons instead, which are just as expensive as they were in the distant past.
  7. Perhaps prisons are like castles, in that they look intimidating but can be dismantled by new ‘locks’, such as universal basic income and a wider availability of mental health services.

So, it’s an overly generalized view of locksmith/legal history and no citations at all. Maybe too complicated and in need of simplification.”

To which Karlo has already responded with the following advice, and I’m paraphrasing pretty baldly here:

 

 

“Please, H., you’re killing us. For the last time, do not do additional research.

Just make the damn comic.”

 

 

However, joke’s on him. I already requested an interlibrary loan of a book on locksmithing. I was meaning to look into it anyway!

I also think I may release the full version of my other anthology submission, from In the News, Again, on social media. Here it is in full:

Digital art comics page. It has three panels depicting how my 2019 Geek Girl Con went. Panel one:

Page two of a comic done with a digital artstyle. It has four panels and takes place in a lime-green convention hallway. Panel 1: Me and Devin rush up the escalator with all my con merchandise in tow. A graphical badge overlaid on the panel indicates the year and date: Nov. 5th, 2022. Me: Is anyone even gonna show up? Panel 2: I'm wandering out from my table to pet a live iguana perched on someone's head. They're using a motor scooter to get around and their helper is nearby. The hall looks extremely empty and tables ar every far away from each other, blockaded by black curtains. Narration: I sit here for ONE eight-hour day and I'm not sure what sales will be like... Me: Wow! I love your iguana! Narration: I make $600. Panel 3: Me on a simple pea-green background, holding cash in hand. Me: Neat! Panel 4: Me on a dramatic explosion background while I grip the money fiercely. I look dismayed. Me: Wait, what?!

 

 

I think I can do a lot better than this for Troubled Histories. I’ve already refined my lines to be a lot thinner. The coloring is more deliberate, clean. Weirdly, pixel art has opened my eyes to a lot of cel-shading tips, too. I’ll be sure to use them liberally in my comics from now on.

 

To Do Next Week:

  1. Contemplate which gear to switch to while I wait for word on Warlock’d.
  2. Roll up another query letter or two, depending on vibes.
  3. Work on my locksmithing comic.

Care to read more?

Cocoon Year: Weeks 27 & 28

Cocoon Year: Weeks 27 & 28

Cocoon Year: Allowing Synopses to Build on Each Other As I write, I learn new techniques for visualizing entire stories. Learning to understand synopses has been really important for me. One important thing I’ve learned about them is that they’re good for sharing with...

Cocoon Year: Weeks 25 & 26

Cocoon Year: Weeks 25 & 26

Cocoon Year: Finding the Character in Objects Writing progress became confused, dismal. I figured something out between the way I approach problems and the way my spouse approaches problems. When we play a puzzle game called Picross together, we often mess up the...

Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Cocoon Year: A Retrospective of Drafts I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d. For both weeks, I decided to do a...

Want to chat about this?

Cocoon Year: Weeks 9 & 10

Cocoon Year: Weeks 9 & 10

Digital art of a newly-hatched monarch butterfly caterpillar crawling out of its shell for the first time. The shell is translucent, covered with dimples and ridges, with a slight sheen on top. It has a huge ripped hole in one side where the caterpillar exited. The caterpillar is a pale peach color with lines of black spines running down its body. Its legs and face are black as well. It crawls over an extrem closeup view of leaf fuzz, from a milkweed leaf. Where is our little friend headed? Text in the corner is a watermark: http://hmcgill.art

Cocoon Year: 2nd half of February, and a Bit of March Summary
This week became complex for me. I zoomed through my client work and started approaching the end of the pitch packet. As always happens when I have a complex project close to completion, I started slowing down — not because I had a lot of work left to do, but because I had so little work to do. I really, really was enjoying working on Warlock’d in earnest, in spite of the ups and downs.

 

 

Cocoon Week 9

I started bringing in my character profiles to the pitch packet. I have one page devoted to Cleric Stone, then one page devoted to demons, a page for supporting cast/murder mystery subjects, a page for a special character and twist in the story, and a page full of props because everyone who likes medieval stuff likes props, too.

I checked out a book on slavery which was…not exactly fun reading, but necessary. Lebeau’s backstory needed fleshing out. I’ve chosen to make them into a serf pursuing the life of a freeman. Paris was a place where people could expand their social boundaries and change their status in the world, as evidenced by the rise of a merchant class. To do this I figured I should look into how serfdom actually worked.

I read the overview of Slavery after Rome: 500-1100 (Alice Rio) and got through the first chapter on how people were made into slaves in the first place. What was most interesting to me was that, after being impoverished by slave traders, the typical thing a group of people would do is then turn on some other group of people and enslave them. It’s an evil that seems to spread that way. It’s also hard to describe people as ‘slaves vs. free’. My plan to incorporate the muddiness of being free or not is to reference it in Warlock’d as something an individual character goes through. After all, North/Western Europeans were supposedly against slavery, and yet serfdom was totally okay? Hmm. Really makes a person think.

The book itself is really clear and direct, much more so than many books on medieval history. I may have to type up a Goodreads review for it, in case anyone else needs a good resource on how this stuff worked back then. The parts that got to me emotionally were the aspects of women as slaves, the ancillae. This is a little dark for where I want to go with my caterpillar-themed comics blogging here but I did swear not to turn away from the honestly awful aspects of medieval life. There were terrible things going on! Just not the way pop culture tends to simplify and frame it!

Anyway I left most of the book unread after struggling through a little bit of it.

In terms of artwork, I moved in on the flatted colors and added shading here and there. I find that comics are easy to overwork. Not everything needs shading and highlights. Sometimes a character reads better when left flat. I really wrestled with the opening Hell page because my first attempt to shade it made in incomprehensible.

I also found myself bemoaning my overuse of purple in the middle pages. Purple is my Problem Color. I always want to use it, but I never use it well.

Cocoon Week 10

This week I returned to a portion of the process that I’m more comfortable doing: Book cover and lockup design! The following is not all of the work that I completed during this one week, but all of the versions of this cover leading up to the one I’ve decided will be in the final pitch packet. To everyone who ever nagged me about never including enough revisions in my blog: Can you just look at these, I’m doing it right here, stop making me anxious, thank you!

First version of a cover mockup for Warlock'd: To Hell, with Love. It's sedate with paper texture all over. Red bands cross it along the top and the bottom.A mass of wings spiral around the title lockup, blue like a barn swallow's but not arranged like the wings of any known bird. The feathers are shaded in the style of a medieval manuscript egg tempera painting. In the bottom band, rigid drawings of birdlike demon legs stamp across the ground, lending an Egyptian tone to the whole affair. Text at the bottom reads:

The very first attempt at making a cover design. I wanted to reference the Egyptian mythos that Christianity pulls from, as well as bring in multi-winged cosmic horror. Because…who doesn’t love multi-winged cosmic horrors? However the tone of this is all wrong. People might expect some paranormal romance and they might not be aware that this is a graphic novel, instead of a prose novel.

Second version of the cover to Warlock'd. It features a bright red border sparingly dotted with floral-ish golden symbols. Interior borders bear paper texture and a gold foil version of 'Warlock'd: To Hell with Love' lockup. A moth perches over the 'lock'd'. Another moth perches on the border. Margo perches at the bottom of the border, chomping a third moth. Behind her, in the snow, Paris burns all over. 'H. McGill' is written on the bottom of the layout under a small red flower.

To help my book look more like a graphic novel, I pulled in a character and glimpses of the setting. I’ve heard that red books sell better but who knows if that’s marketing superstition. It fits the color scheme of the comics. This red is its identity color and around which all color schemes revolve. It’s based off the feathers on Margo’s face. However, there’s not much storytelling going on…I guess there’s a bird who’s eating a moth. It’s not totally important to the story that she eats bugs. I have also greatly simplified my coloring process since I made this version of the cover so all that texturing isn’t going to be present in the comic pages.

Third version of the Warlock'd cover. This one has the same layout as the second version, but the grays have been turned into bright blues and the reds are punched up a lot. Margo is no longer perching but flying, with a devilish grin in her beak, down to Hell. Flames curl all around her and continue to Paris behind her. A golden flower rests over the 'lock'd' in the gold foil 'Warlock'd: To Hell, with Love' lockup.

After rewriting my synopsis a few times I had a better grip on Margo’s character, anyway. She is as proactive as a demon can be. I call this ‘action Margo’. I wanted to make it look like she actively had something to do with the fires in Paris, because she does! I also punched up the blues in the snow and I think it’s a much livelier color scheme. Many graphic novels sit back on their colors and I want Warlock’d to leap out. I left a lot of the framing elements intact for this one but as I was working on sample pages, I discovered that I was rendering fire completely differently than as depicted here.

My latest version of the book cover graphic. It's a digital illustration of a bright red, abstract frame around the image of a city (Paris) cloaked in snowy blue light. The city is on fire. In the foreground is Cleric Stone astride Margo the demonic barn swallow, riding her like a horse with reins made out of oversized wool thread. Margo grips a threadwinder in her claws. She is on fire and bringing the flames from the background to the foreground, where they flicker and grow. The text lockup overhead reads, in gold: 'Warlock'd', and an incomplete daisy wheel arcs over the 'lock'd'. The subtitle is in black: To Hell, with Love. Finally at the bottom, under a very small and complete daisy wheel, is 'H. McGill.'

Here is my final cover mockup, for now at least. Cleric Stone is a main character so he should be on the cover too. This is from a part of the story that many of my beta readers have felt is the most exciting part. I also re-did the lines on Margo with a higher dpi so that she would look as delicate as she does in the comic sample pages. I finally got rid of the fake gold foil effect because I would never want something like that illustrated on a cover, and even if this got printed and published I would not be guaranteed to get gold foil. Finally, I ditched Cloudsplitter for the title typography and replaced it with my favorite serif, Alegreya. This is as best as I can do for now so I’m going to use this in the pitch packet.

Okay. This packet’s getting too real now. The pages are all wrapped up. I should feel happy and proud, and I do, when I look at them. But, I don’t like stepping away and doing other things.

The coloring process went well. I marked three different color schemes throughout the twelve sample pages. I gave myself time to figure out each color scheme. One scheme is very dramatic and wild compared to the other two schemes. I’m not sure how jarring it will be to an outside viewer. I checked on the wild color scheme by itself and it works… but that’s the thing. When inside of the packet as a whole, will it clash with the more natural/understated color schemes I selected for other settings? Or will it show that the colors can expand in a really inventive way?

Client work has gotten vmore tedious than I’d like it to be. I was using Warlock’d as my ‘carrot’ to get through client work. I don’t know what I will fill the space with afterwards. I applied to a comics anthology with some thoughts on the history of locksmiths and prisons. But, I’m not sure how ‘fun’ that will be. I really did want to wholly work on Warlock’d and Warlock’d only through this year. I am dreading letting go of it, even if only for a little bit.

I didn’t feel very inspired to draw my caterpillar graphic this week. I keep putting it off. If I don’t have Warlock’d to work on, I may not need the caterpillars anymore since the art can be freely shared, and it’s easier to crop that for feature graphics on my blog.

I drew up a ‘props’ page featuring different items from Warlock’d’s story. As I was resizing them to look like they all belonged together, I discovered spaces to slip surprises for whomever browses my packet. Hopefully someday I can share this page publicly.

I have come to the philosophical conclusion that, even if I can’t share everything right now, I have this giant stock of images to share later if I need them. This is regardless of rejections or acceptances from agents and publishers.

Do I want to share my packet with trusted friends? Of course. But I am still afraid that I will get feedback that pulls one string to unravel the whole packet. I want to know if there are problems but I don’t want it to be a problem that destroys all of my progress.

 

To Do Next Week:

  1. Complete addenda in character packet, particularly character art.
  2. Export character art and write descriptions.
  3. Edit query letters and figure out who to query first (Probably the editor?)
  4. Perhaps ask for a lookover by editor and writer friends?
  5. Grieve the end of the project, for now.
  6. Draw a little wrinkly caterpillar to put on this blog post (which may already be complete at the time of posting this)

Care to read more?

Cocoon Year: Weeks 27 & 28

Cocoon Year: Weeks 27 & 28

Cocoon Year: Allowing Synopses to Build on Each Other As I write, I learn new techniques for visualizing entire stories. Learning to understand synopses has been really important for me. One important thing I’ve learned about them is that they’re good for sharing with...

Cocoon Year: Weeks 25 & 26

Cocoon Year: Weeks 25 & 26

Cocoon Year: Finding the Character in Objects Writing progress became confused, dismal. I figured something out between the way I approach problems and the way my spouse approaches problems. When we play a puzzle game called Picross together, we often mess up the...

Cocoon Year: Weeks 23 & 24

Cocoon Year: Weeks 23 & 24

Cocoon Year: A Retrospective of Drafts I really wish this wasn’t already halfway through the year. I’d hoped to have gotten started on the art part of my project instead of languishing on writing like I always do concerning Warlock’d. For both weeks, I decided to do a...

Want to chat about this?