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@fangclawinheritance-blog
Justin Marasigan has recently returned from a four year hiatus, after he gave the Fangclaw Inheritance a much needed world building and organization! He’ll begin to post chapter by chapter blogs starting this week. You can follow him at Twitter @HangletonJ!
Go check out Episode 11 of the A-to-J Connections Podcast with special guest: Creator and Head Writer for Fangclaw Inheritance, Justin Marasigan.
Some nice progress done by one of our amazing artists Juliet.
A-To-J Talks 6/2 @ 7:30 PM PST
Catch Justin Marasigan, a Special Guest, live tonight at 7:30! He will talk about Fangclaw Inheritance in detail!
Powerpuff Girls and Teen Titans Fan Theory
What if the main bad guy the Girls and Titans fight is Mojo Jojo who becomes Grudd?
20 Basic Plots
1. QUEST - the plot involves the Protagonist’s search for a person, place or thing, tangible or intangible (but must be quantifiable, so think of this as a noun; i.e., immortality).
2. ADVENTURE - this plot involves the Protagonist going in search of their fortune, and since fortune is never found at home, the Protagonist goes to search for it somewhere over the rainbow.
3. PURSUIT - this plot literally involves hide-and-seek, one person chasing another.
4. RESCUE - this plot involves the Protagonist searching for someone or something, usually consisting of three main characters - the Protagonist, the Victim & the Antagonist.
5. ESCAPE - plot involves a Protagonist confined against their will who wants to escape (does not include some one trying to escape their personal demons).
6. REVENGE - retaliation by Protagonist or Antagonist against the other for real or imagined injury.
7. THE RIDDLE - plot involves the Protagonist’s search for clues to find the hidden meaning of something in question that is deliberately enigmatic or ambiguous.
8. RIVALRY - plot involves Protagonist competing for same object or goal as another person (their rival).
9. UNDERDOG - plot involves a Protagonist competing for an object or goal that is at a great disadvantage and is faced with overwhelming odds.
10. TEMPTATION - plot involves a Protagonist that for one reason or another is induced or persuaded to do something that is unwise, wrong or immoral.
11. METAMORPHOSIS - this plot involves the physical characteristics of the Protagonist actually changing from one form to another (reflecting their inner psychological identity).
12. TRANSFORMATION - plot involves the process of change in the Protagonist as they journey through a stage of life that moves them from one significant character state to another.
13. MATURATION - plot involves the Protagonist facing a problem that is part of growing up, and from dealing with it, emerging into a state of adulthood (going from innocence to experience).
14. LOVE - plot involves the Protagonist overcoming the obstacles to love that keeps them from consummating (engaging in) true love.
15. FORBIDDEN LOVE - plot involves Protagonist(s) overcoming obstacles created by social mores and taboos to consummate their relationship (and sometimes finding it at too high a price to live with).
16. SACRIFICE - plot involves the Protagonist taking action(s) that is motivated by a higher purpose (concept) such as love, honor, charity or for the sake of humanity.
17. DISCOVERY - plot that is the most character-centered of all, involves the Protagonist having to overcome an upheavel(s) in their life, and thereby discovering something important (and buried) within them a better understanding of life (i.e., better appreciation of their life, a clearer purpose in their life, etc.)
18. WRETCHED EXCESS - plot involves a Protagonist who, either by choice or by accident, pushes the limits of acceptable behavior to the extreme and is forced to deal with the consequences (generally deals with the psychological decline of the character).
19. ASCENSION - rags-to-riches plot deals with the rise (success) of Protagonist due to a dominating character trait that helps them to succeed.
20. DECISION - riches-to-rags plot deals with the fall (destruction) of Protagonist due to dominating character trait that eventually destroys their success.
by Pavel Simakov
Helpful tips for writers.
I think we can all relate.
Before we were Hexhouse, we originally were going to be called Inheritance Studios. But after a Team Vote we went with Hexhouse. Here is the unfinished logo from before that created by one of our amazing artists.
Happy May the 4th people. (A little late but whatever xD)
Happy May the 4th people (A little late but whatever xD)
clark you little shit
I have been wanting this gifset forever.
This scene was my favorite moment from the Superman Animated Series
Favorite Version of Superman; One with a sense of humor.
Savage mode activated.
This is so cool!
Environment designs for the comic! Fangclaw Inheritance, coming soon!
Character design of Roktu! More of the artwork for the comic is coming soon!
The Fairly Odd Parents development art, drawn by yours truly in the year 2000!
Truly a piece of ancient history.
How to write better descriptions
1. Avoid weak words
Remember my post on the word ‘take?’ ‘Take’ is a weak word, but it isn’t the only one.
Compare these:
He ate the sandwich
She walked towards the lake.
The book smelled good.
to these:
He devoured the sandwich
She strolled towards the lake.
The book smelled magical.
Which sentences are more engaging? The latter ones. Why? Because devoured and strolled are stronger words than ate and walked. They’re more specific. They give you more information. To get across the same information with ate and walked, you’d have to add more words: she walked slowly, he ate quickly.
Replacing good with magical doesn’t work quite as well as the verbs, but magical does tell us slightly more than good: it gives us a better sense of how the smell makes the character feel.
How do you spot a weak word? Weak words are vague. They’re umbrella terms. They need support from other words to really get their meaning across. If you find yourself adding adverbs and adjectives to a term, question whether or not there’s a more concise way to get your point across.
Strong word choice, however, isn’t all that’s needed for a good description:
2. Be as specific as required.
This isn’t to say you should describe everything in every scene in perfect detail, but being specific matters.
Which is more engaging?
He devoured the sandwich
The book smelled magical.
or
He devoured the sandwich, stopping only to lick up the melted cheese that seeped through his fingers and ran down his palm.
The book smelled magical, like a sunlit afternoon.
Again, the latter ones. They take you into the scene. They evoke the senses. It’s the difference between telling and showing. Devoured is a strong verb, but it doesn’t give us a clear image of what is happening. Showing the character licking away the cheese gives the reader a sense of the desperation and hunger of the action. Evoking a sunlit afternoon is evoking your reader’s memories of their own sunny afternoons.These examples are statements with evidence. They provide details.
You want to invite your reader into the scene, not give them a summary of the events.
Additionally, specifics make the world feel real. They convince readers that the world actually exists. They keep the story in your readers’ minds once they’ve finished reading.
This being said, don’t pull a GRRM and describe every meal your characters eat. Some things just aren’t that important. There are occasions when it’s okay to tell instead of show.
3. Remember the point of view.
Who is giving the description?
If you’re writing in 1st person or 3rd person limited, remember how your character feels about what you’re describing. If you’re describing a strawberry field, a person who was raised on a strawberry farm is going to see it differently than someone who is deathly allergic to strawberries, who is going to see it differently from a Beatles fanatic.
Maybe the Beatles fanatic is deathly allergic to strawberries and this field brings up a whole bucketful of conflicting emotions.
Which is all to say:
Good descriptions reveal character as well as scene.
If this description is coming from a character’s point of view: what is that point of view? What is this scene making your character feel? Don’t let your narrator slip away from the page.
This connects to my last point.
4. Remember why you’re including it.
Novel writing is persuasive writing. It’s an exercise in persuading your reader that your story is true, that your characters are real people. It’s an exercise in persuading your readers to feel what you want them to feel.
(There’s a well-known quote about this somewhere, but I can’t remember it exactly.)
Every description must add to the story. It should be doing something: working for some larger goal, advancing the plot, revealing character.
Maybe you’re describing a house because you want your reader to see why your character doesn’t want to move.
Maybe you’re describing this lovely-smelling book because you want the reader to know that it’s important to the character. That her favorite memories are of reading it in the attic of her grandmother’s house.
When you’re writing out a description, identify its purpose and make sure it fulfils it.
It’s okay if at first you don’t know how the house makes the character feel, or if she’s running or strolling towards the lake, or why the book is so important. Sometimes you just know it’s there. That something happened. Usually things become clearer as you write further and get to know the story and characters yourself.
Once you do know what you’re trying to say with your story, make sure you say it with every chapter, every description, and every word.
Some helpful advice for any writers in need of help in descriptions.
Some helpful advice for any writers in need of help in descriptions.
Details of foliage in the Unicorn Tapestries
Oh now these look amazing!
With the way you keep gushing over "thick outlines" it's really becoming harder and harder to tell if all of a sudden you're now retroactively hating every modern cartoon you've previously praised like Star vs the Forces of Evil, Gravity Falls, Steven Universe, etc, all because these cartoons use the thin outline "CalArts" style you keep bitching about. Ironic coming from the guy who did an entire rant about how much 90s Kids are annoying.
That’s mostly hyperbole in my videos.
I still love those shows style
But thick outlines will always be the best
Me personally, i don’t care if a show has thick outlines or thin ones, as long as the show is good than it shouldn’t matter. - Jacob Juarez (co-writer for FI)
