Hey Chekhov! How do you start converting an AU idea from character sheets and mini comics into a plot outline for a full, continuous comic? Especially if the series you're basing it on isn't complete?
I've been following your white diamond Steven comics for years, and frankly, I love how it builds and continues the scaffolding canon laid to be something that is thematically still the same but also very unique. And I never thought I'll ever say this, but now I'm working on a canon-divergent AU with someone that's I think aiming to do something similar(continue the themes of canon but different). So I'll just like some advice, I suppose!
You might've answered something like this before, honestly, but I tried to dig a little and couldn't really find it.
Thanks, if you do answer this! I just want take the opportunity as well to say also that your comic and blog accompanied me through parts of my late teens, and I'm very grateful for you being a stabilizing influence during that time.
Thank you! I really appreciate you saying that, and I appreciate you respecting me enough to ask for advice.
As for your question...
Well, to be frank, I don't START with character sheets and mini-comics. In fact, for WD!AU, I didn't have any character sheets until I started season 2.
Think of your story as an aquarium. Your characters are fish.
Yes, they're important, but having a whole bunch of fish without any substrate, tanks, feed and WATER..... will not really make for a memorable aquarium experience.
The reality is that all stories should start with an end.
That's my personal approach, anyway.
What I mean is - you need to know the general idea for your story before you begin to write or plan it.
Let's try this:
1.Tell me about your story in THREE sentences!
Just three. Not long ones, just regular ones.
For my AU, @ask-whitepearl-and-steven, it would be:
"A young orphan runs away from home with a mysterious lady who seems more cryptid than human. He realizes that he's not human either - he used to be the ruler of an alien planet! He and the other aliens he meets decide to (REDACTED) (REDACTED) (REDACTED) and he (REDACTED) (REDACTED) (READACTED) (READ ANDCTED) (READ AND FIND OUT)."
YOU should know how YOUR story ends too! Even vaguely.
It helps if you know at what point you plan to lay down the pencil. Because if you DO know, you are always going to know which direction to walk in, even if the end is so far away it's beyond your line of sight.
It's true that when I began WDAU, I didn't have much information about White Diamond and white Pearl, because they had literally ONLY been introduced. I had to guess a lot of the details (like WP being Pink's originally) and what White would be capable of. And thankfully, my original intent for the story's end fit pretty well with what was later revealed!
But don't forget - you could also just fuck around with stuff! It's your story, after all.
And don't forget... to also look back!
2.Tell me WHY the story is happening in the first place.
There's a reason that the beginning of your story happens when it does. If there is no reason to start somewhere, then find a different place to start.
You should be able to tell me "We're picking up the story here because something significant has happened... and that significant thing happened BECAUSE...."
That 'because' is your main background information that should be revealed slowly throughout the story. In WDAU's case, we only have a few pieces of the puzzle. We know Greg's side. He know Earl's side. But there are still little bits and pieces missing! And they're all important for finding out WHY Steven ended up an orphan and WHY he is being followed by White Pearl (Earl) at the very start of the comic!
3.Tell me what the coolest and most interesting things to happen would be....and then write them!
I think this may be something that's rarely said out loud, but I will speak on the behalf of the people...
We should write the scenes we want to read. If you don't want to read the scene you're writing, then DON'T write it!
If you feel like you "have to" do a page and a half of 'lore' because you think it's traditional to have that 'explanation' about the location of your story, or the history of the species or whatever, you're simply wrong. There are other ways to reveal information aside from just forced paragraphs upon paragraphs of information that would make an SAT Reading Section sweat.
Instead, I recommend that you find the most exciting or hilarious way for the characters to discover the most important bits of info. Find a dramatic twist. Shove it into the narrative. Then, figure out what needs to happen to get there.
Ultimately, though, remember this: When you're taking advice from me or from others, don't forget to take advice from yourself, too! It's your story, after all. You know it best, and only YOU can figure out how to get it written.
I hope that helps at least a little bit! Writing it never easy, but it should still be enjoyable!
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Me: Okay, gotta go to sleep so I can wake up early and continue stressing over finals, so I’m gonna think calm scenarios with low stakes to fall asleep to
Me: Like…an older captain having a crush on a younger crewmate that wasn’t even ranked high enough to be on the bridge, so the captain of course never said or did anything about the crush, staying completely professional the entire time, but now they don’t work together anymore
Me: And now the captain is wondering if they should pursue a relationship with them, because they aren’t currently working on the same ship anymore, but the captain is still ranked higher then them overall, and then there’s the issue with the age gap, it’s not really a big one, but it’s still There™️
Me: And several other crewmembers have joked about seeing the captain as a parent figure because they act so professional and competent and dependable and stuff that it just makes the captain come across as way older and oh god what if the crewmate is just horrified to find out the captain has a crush on them??
Me: And they’re wondering if they should just not pursue anything, especially since the crewmate has recently accepted to go on a date with another person, but they also kinda don’t wanna give up because getting to hang out with that crewmate more in non-work settings (cause most of the crew stayed in contact and constantly meet up to hang out) has made their infatuation grow, so they quietly and indecisively pine
My brain, for some goddamn reason: Mhm, and then, it turns out that person the crewmate agreed to go on a date with, is actually a huge creep trying to stalk their poor ex using the crewmate as a coverup (claiming to innocently be on a date, totally unknowing the ex would be there (lies)), so not only is the date really crappy, but because this creep isn’t actually listening to what the crewmate is saying, they tune them out about their deadly allergies
Brain: And then to seem like a good date to keep the coverup going, they stop by a flower shop (still stalking their ex, the crewmate isn’t aware of that, but is aware this date sucks and is trying to think of how to politely leave) rushes in, and then comes out and shoves a bouquet into the crewmate’s face as a “thoughtful” gift, and it’s the flowers they just mentioned being extremely allergic to-
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idk I really love the ideas explored in cosmic horror and I think those ideas could be used in non-horror genres, or in less straightforward combination with other genres to create really interesting fiction. Cosmic horror is like: an event happened. It was terrible, and beautiful, and utterly beyond previous understanding. Like trauma it can only be lived through, not told or explained, and so surviving it is the ultimate isolation for those who see it alone, and a supreme bond for those with shared experience. It has destroyed your previous worldviews, changed your understanding of everything, altered your mind, changed perhaps even your body. You are different and you cannot explain why or how. You have been cast adrift from the old world and are now at least eternally on the edge of a new one. You can choose to turn away from this new reality but you cannot leave it behind, no more than you can change the neural pathways in your brain or the pattern of your cells.
And like, maybe this is horrible for you. Or maybe it was once. Maybe this is only the temporary anguish of growth and you will emerge transformed into something else. Maybe this horror is only the fear of unfamiliarity and inexperience, and like a first taste or a first sexual experience, fear will give way to something strange, but desirable. Maybe you will come not only to enjoy the new, but prefer it. Rather than isolate you, maybe you will be joined to a new community. In losing your old understanding, reality, self, maybe you have found freedom.
Wouldn't a caterpillar fear change if it could understand what would happen to it, that it would first be unmade in order to be made anew? Wouldn't the cocoon be a place of total horror, the future butterfly self a nightmare scenario? And then, after all, when it has changed-- it's a no more an immature crawling thing, but something more profound, with avenues of movement and understanding beyond anything it's old self could have conceived of. Would that still be a horrific reality for the butterfly, or what it had been meant for all along?
Even if the moth could be warned that the fire would kill it, wouldnt there still be an attraction in the flames, even as they burned it?
We are frightened of many things that pose no danger to us, and no ill will. And anything frightening, looked at long enough, will lose its fearfulness, become mundane, absurd, attractive. If you look into the abyss long enough, what will look back at you? What do you bring with you into the abyss, and how will the abyss itself be changed your influence? And will the abyss, altered intimately by your presence, experience horror at the change and fear of the one who brought it?
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