To explain the “outta the ballpark remark”: Sometimes your strip Hits the Nail on the Head. Your essay on taking weeks to work toward a known idea explain some of those occurances. Not all of them. Here is why I give a lot of credit to your work ethic plus your innate talents. Sometimes, a few panels into your strip, I wonder, will he…
To explain the “outta the ballpark remark”: Sometimes your strip Hits the Nail on the Head. Your essay on taking weeks to work toward a known idea explain some of those occurances. Not all of them. Here is why I give a lot of credit to your work ethic plus your innate talents. Sometimes, a few panels into your strip, I wonder, will he make something out of this one today? Then, phantom punch, swat, it’s outta there (mixed sports metaphor, I know) When I use Outta or Gonna or something colloquial like that, Sorta, I’m signalling that I know I have just used stodgey language in a lighthearted medium and I’m deflating that. I am asking that no one blames this fine artist of Adult Children when I weigh in on and weigh down the scene he’s created.
I didn't see this. You kind of described the writing process, there. When things go well, I get to go over and over it to keep myself on track. The language is almost musical. Ba dum, ba dum dum. Doesn't work. Dum dum, dum ba dum. Kind of works. Ba dum, ba dum, dum dum. There we go. Hard to describe. It involves paying attention to the language and making a point, no matter how lame. Decades ago, I heard people compare writing comic strips to short poems, and I thought that was a little too highfalutin, but I get it now. Sometimes I don't get where I'm going until the fifth rewrite. Other times, I figure it out six months after it didn't work. Then I get to do it again because nobody remembers the comic that didn't work.
To explain the “outta the ballpark remark”: Sometimes your strip Hits the Nail on the Head. Your essay on taking weeks to work toward a known idea explain some of those occurances. Not all of them. Here is why I give a lot of credit to your work ethic plus your innate talents. Sometimes, a few panels into your strip, I wonder, will he make something out of this one today? Then, phantom punch, swat, it’s outta there (mixed sports metaphor, I know) When I use Outta or Gonna or something colloquial like that, Sorta, I’m signalling that I know I have just used stodgey language in a lighthearted medium and I’m deflating that. I am asking that no one blames this fine artist of Adult Children when I weigh in on and weigh down the scene he’s created.
I didn't see this. You kind of described the writing process, there. When things go well, I get to go over and over it to keep myself on track. The language is almost musical. Ba dum, ba dum dum. Doesn't work. Dum dum, dum ba dum. Kind of works. Ba dum, ba dum, dum dum. There we go. Hard to describe. It involves paying attention to the language and making a point, no matter how lame. Decades ago, I heard people compare writing comic strips to short poems, and I thought that was a little too highfalutin, but I get it now. Sometimes I don't get where I'm going until the fifth rewrite. Other times, I figure it out six months after it didn't work. Then I get to do it again because nobody remembers the comic that didn't work.