writing script

To all writer pals

Don’t get discouraged if sometimes the ideas in your mind don’t come out the way you want them to. You’re doing great, bud, and it’s pretty fabulous how you paint pictures with your words, even if your mountains look a little more like hills! Keep on going, you’re doing great my dude.

I just had to make fun of this....

In this scene of DBS Goku shows he was embarrassed to show public affection in front of everyone ….. but 

He showed public affection in front of his master and friends lmao. 
AND


((All of these publicly in front of people. lmfo))

**Unless cause that time it was under new friends??? Or just bad DBS script writing lmao. 

anonymous asked:

so like, im curious about two things. one, do you write out a storyboard for an AMV before drawing it? if so, do you ever just write out storyboards that never happen because i do that constantly

um….we don’t write out storyboards or scripts so much as we just immediately make an animatic/storyboard whenever we get an idea. we never ever start a amv/pmv unless it has a storyboard lol 

alto-viola  asked:

I'm writing a script and I just had a realization: do you guys have a Corroded Crank?

We don’t, and it’s not decided whether we will or not. However if someone was interested to play the part, then it’s possible to have that character available for questions.

10

Ancient Alphabets.

Thedan Script - used extensively by Gardnerian Witches
Runic Alphabets - they served for divinatory and ritual purposes, as well as the more practical use; there are three main types of Runes; Germanic, Scandinavian/Norse, and Anglo-Saxon and they each have any number of variations, depending on the region from which they originate 
Celtic and Pictish - early Celts and their priests, the Druids, had their own form of alphabet known as “Ogam Bethluisnion”, which was an extremely simple alphabet used more for carving into wood and stone, than for general writing, while Pictish artwork was later adopted by the Celts, especially throughout Ireland
Ceremonial Magick Alphabets - “Passing the River”, “Malachim” and “Celestial” alphabets were used almost exclusively by ceremonial magicians



I’m Here For A Consult

Writers! Authors! Humans who create!

Look, y’all, writing fictional medical stuff is hard. It takes a LOT of background knowledge to write accurate, believable scenes with doctors, nurses, or paramedics. And whether your story is set in a hospital, or has the briefest interaction with medical providers, it can still be a big challenge–and some people find it intimidating.

That’s okay. I’m here to help.

I’m your consult. Your phone-a-friend. Your beta for the medical bits. I’m here to help you improve your stories, to make them more believable. I’ve got ten years of experience in healthcare, with a focus in EMS, Emergency Medicine and Critical / Intensive Care–all the exciting bits!

Not sure what how a doctor sets a broken bone? Who does the stitching? What’s a hematoma, anyway? What’s a believable dose of haloperidol–and why is that lower case, but Haldol, the same medicine, is capitalized? What does an OR smell like?

Ask me! (Ask me anything!)

I’m gonna be putting out resources for authors and scriptwriters, to help write believable, accurate, and exciting fiction. I’ll be around for NaNoWriMo and beyond. And I’m here for you!

So send me your questions, tumblr. I’m here to help.

xoxo, Aunt Scripty

I need an AU where ML and Persona 3 merge and Marionette becomes something akin to Aegis when it comes to displaying emotions and Adrian gets a strange fixation seeing a hot droid girl swing a gun.

“The way Aloha, Scooby-Doo!’s script handles the first clash with the monsters is... interesting.”

Carl the Animator: “Why? Something wrong with it?”

Ted the Animator: “It just throws the monsters out randomly, right at the beginning! There’s no buildup, no tension… I mean, just compare it to the original Scooby-Doo episodes.”

Carl the Animator: “Oh c’mon, they were hardly screenwriting masterpieces themselves.”

Ted the Animator: “Well, yeah, sure… I’m not saying the structures were genius works of fine art or anything, but they worked. They were simple and cheesy, but understood how to build atmosphere and make things creepy.”

Carl the Animator: “True that… the astronaut skull/ghost/skost episode always unnerved me, even as I drew it.”

Ted the Animator: “…wait, did you just say ‘true that’?”

Carl the Animator: “No.”

Ted the Animator: “…anyway. Where were we?”

Carl the Animator: “Monsters. Scripts. Excitement!”

Ted the Animator: “Right. Those old shows needed to be tame enough to not give kids nightmares, but yet they still knew how to create a nice tension to the story. Proper pacing, an ominous tone, and a creepy buildup are what make y-

Carl the Animator:OOH! Like the second Wallace and Gromit with the robot pants! It super freaked me out as a kid.”

Ted the Animator: “They’re trousers, thank you very much, but that’s actually a great example.”

Carl the Animator: “You know it.”

Ted the Animator: “The antagonist is a freakin’ penguin, but there’s always this captivating sense of forebode as the story builds, and as the audience uncovers the mystery. It never plays its hand too early.”

Carl the Animator: “Well said, Ted–… oh, that rhymed.”

Ted the Animator: “Thanks.”

Carl the Animator: “So… compared to all that, how does Aloha, Scooby-Doo! do the big monster reveal?”

Ted the Animator: “A bunch of characters that we barely know surf a bit, complain… and then the monsters all run at them 3 minutes 17 seconds into the movie.

Carl the Animator: “…oh.”

Ted the Animator: “Yeah.”

Carl the Animator: “Well, then. Great, I was in the middle of animating that scene and hopin’ it was gonna be cool, but I guess not.”

Ted the Animator: “Sorry to burst your proverbial bubble.”

Carl the Animator: “Sheesh. After that, I’m not even gonna bother drawing in the mouth when it jumps at the camera.”

Ted the Animator: “That’s… that’s an odd stand to take, but y’know what? I support you for taking it.”

Carl the Animator: “Thank you, Ted… if we don’t fight for artistic quality in cheap direct-to-DVD kids movies, who will?

Script/Storyboard Tips to Self

So I’ve been working on the script and storyboards for W2H2, and it’s interesting because I’m kind of re-learning how to do it?  I mean I was never taught how to do it in the first place, and I’ve never claimed to be an expert, but it’s nice to get back into a workflow and rediscover some things about how I work.  I wrote some tips to myself last night on a dry-erase board, after working on a scene that was giving me trouble. And since y’all sometimes ask me for tips, I figured I’d share.  These are pretty specific to what I’m working on and HOW I work, but maybe you’ll find them helpful.  Here goes!

REAL-FAKER’S WRITING TIPS

  • When the script gets too tricky, start boarding. 
  • vice versa, to a lesser extent.
  • Sometimes you draw the wrong expression on a character while boarding, but explore that route anyway, ‘cause sometimes it makes more sense than what you originally had in mind.  Maybe you’re drawn to drawing that character that way for a reason.  Shit sometimes comes together if you just keep moving forward with an idea or sudden inspiration.
  • You also think better when you draw.  Writing seems easier because you can just sit there and blast out words for whatever runs through your head, but remember that the act of placing lines on paper to form an image is a much more intense/deliberate/therapeutic process for you.  Thoughts form more clearly and the flow feels more natural.
  • If you’re envisioning a certain tone for a scene (esp. if it’s high-energy), you don’t always have to jump right into that tone.  Try building up to it through the characters/dialogue/acting.  Scenes can (should) progress/change, and it’s more satisfying to be brought to that tone rather than thrust into it.  It’s like micro-”buts” and “therefores”.  Or foreplay.
  • Call-backs and mirrored shots/dialogue is charming.  Maybe don’t overdo it?
  • Remember who your characters are.  Sometimes the story should drive them, but try to have them drive the story too.  Find a balance.  Don’t just write them to fit the needs of the scene.