B Always Wondered What The Numbers Meant.

B always wondered what the numbers meant.

It seemed only natural that everyone else saw them too.  That is, until his small voice quipped after them one day and all he received in return were blank stares.  He felt different and strange after that.

He never spoke of them again.

But still… he wondered.

They were everywhere and held no meaning to him.  He tried not to look at them. 

But one night in particular, he couldn’t help but notice that A’s numbers were especially small.  Nearly ran out.

A, his best friend.  His brother in every sense of the word, save in blood.  The small, freckled boy with the bright eyes and the charming tooth gap.  The quiet, brilliant child with a laugh only B himself could genuinely initiate.

And how B loved to make him laugh.  When he wasn’t with B, A bore a timid countenance.  Almost frightened. 

B found him once, sitting and hugging his knees on the windowsill behind the heavy curtains.  He was crying.  When B climbed up to sit with him, A quickly wiped the tears from his red, round face.  B looked at him through strands of messy, black hair that always hung in his dark eyes.  They sat for a moment in awkward silence.  Then, B reached out and his long slender fingers closed around the especially small, freckled hand of his friend.  He candidly spoke only a few simple words and A’s tear-streaked face brightened into a toothy grin.

And that was B to A.  The carefree spirit to his small, burdened shoulders.  The wild laughter to his quiet reservation.

But the numbers kept getting smaller. 

And on that night- the night the numbers were smallest of all- A hugged B.  He held him close and whispered, “Thank you.“  And B tousled his friend’s hair and laughed as he always did and asked, "What for?"  But A didn’t answer.  He squeezed tightly one more time and turned to go into his room, shutting the door behind him.

And the next morning, Roger came and sat down slowly on B’s bedside.  He spoke softly and sadly.

And the numbers finally made sense.

Finding Character Voice

“Character voice” is rather self-explanatory, simply being the unique way a character speaks or narrates. Every character has a voice, some may just stand out more than others, and part of becoming a better writer is learning to work with voices that are unlike your own. Here are some ways to get started on finding a character’s voice once you have a character concept in mind:

Look into their background. What’s their education level? Does the area they come from have any specific sayings? Speech patterns are influenced by a surprising amount of external or upbringing-related elements, especially when it comes to slang and some aspects of grammar, so learn to look beyond the “now” for finding voice.

Personality and mood affect voice. A laid-back person is unlikely to speak or narrate in a snippy tone, unless that subject matter is super important to them. Likewise, a critical person may judge other characters more than another narrator. 

Everybody has quirks of speech. Can also be known as ‘verbal tics’, though ‘quirks of speech’ refer to general unique speech patterns as opposed to a specific sound. 

Voice is more than just tone. It’s related to perspective and how the character comments on the things they notice. Two characters may see the same tree, but the artist may describe the tree with specific colors whereas a nature-lover may know the species and its stage of life. The information that’s given to the reader through the narrator is a form of voice. 

Some techniques for teasing out potential voice are:

Interview your characters with a series of simple questions that get harder and harder. Get personal. See what comes out in how they respond.

Write a letter as if by their hand, about a subject they’re passionate about.

Try acting things out as if you were that character. Have imaginary conversations or test different tones spoken out loud to test the effects. 

Create a scene, then test it witch each different character. What do they notice that’s different from others? What’s the order of things that they notice?

Throw each character into the exact same problem. How do they each handle it differently? 

Good luck with your work and if there are any questions, drop them in my ask box and I’ll see how I can help. Just please read my Rules and Considerations page to make sure I’m the best resource, and consider a Gift of Coffee to grant me an energy boost, if you’re feeling generous.

Light sat down in complete awareness of the cameras. He opened the bag of potato chips, smiling for himself like a smug bitch that he is. Yes. This plan will work perfectly. No one can stop him enjoying his justice fetish from the comfort of his room. The invasive detective would never expect something of this sort, that Kermit's bastard. Light put the bag and his books on the table. It was incredibly amusing, how his greatest enemy will be his main witness. Light knew he was awesome, but today he surprised even himself. Light's plan involved hiding a mini TV inside of his potato chips, where he'll be watching the news. Then, he'll write down the names while appearing to solve equations. This plan was hella expensive, but Light knew deep down in his empty ribcage- he didn't want to die. He started looking diligent as always, solving equations on his right, writing names, purifying the world. He took a potato chip, and, ATE IT! He knew that if this was a scene from a movie, or those cool anime shows that he watches because he's Japanese (kawaii ^_^), it would have some really badass latin-chanting music. Barbie always told him to follow his dreams, to believe. She was his childhood, and she can shove it up her ass, because Light became a man today. He'll soon become the GOD OF THE NEW WORLD!!!

there are like a dozen death note visual adaptations. do you know what i want? i want a death note novel adaptation. someone get me an author who writes three 500 page - books about light’s journey. who the fuck even needs movies?? i want books!

Learning never exhausts the mind.

Leonardo Da Vinci (via quoteandinspire)

Leonardo was a 100% Ravenclaw a no one can prove me otherwise @ravenclawravings

BE STILL MY BEATING HEART

What is it about Jeankasa that you like?

Oh man. This probably deserves a whole lot more thought than I’m able to dedicate to this right now…I apologize if any of this seems a bit unorganized. I’m writing off the top of my head here! Sorry for not having manga panel pictures or chapter numbers memorized for reference either! D:

Moving on! I’ll put my rant under the cut~

Keep reading

Comic Pages Storyboard Tutorial

OKAY SO! @biazerod asked me a little help on storyboarding and i decided to make this tutorial…i’m not a professionist. so don’t take these as golden rules…just advices!  and as always sorry for the english  FIRST THING FIRST! the storyboard part is the most important phase in a comic page !  you can spend an entire day storyboarding! because it’s the structure, the essence of the page!  here’s some tips : 1- a page can start from 1 panel/frame (called splash page!) until how many f*cking panels you can fit ! (some pages , especially in french comics/bd  can reach 24 panels/frames!) Exaple of splash pages: 

(these are from the green lantern,DC and the newest Thor ,marvel ) Splash pages are a priority of American comics, you rarely can find them in french Bd ! they represent a scene of impact! a fight! a revelation! be careful! use it only one if two times on a range of 50 pages! cuz it cut the narration!  instead in french bd  you find this :

first one is from Blacksad 2# and second one is from Atar Gull  see how high the number of the frames is??  the number of frames is very important in a page because it decide the narration time! :D also it all depends on the kind of ‘’direction’’ you want to use on your comic! so be really careful when you decide the number of the frame!  LET’S PASS ON THE CREATION!  1- when you have a page that contains more than 3 Frames ALWAYS. ALWAYS HAVE AN ESTABLISHING SHOT! 

the establishing shot is fundamental! BECAUSE READERS CAN UNDERSTAND WHERE THE CHARACTERS ARE!  DON’T DO A COMIC PAGE FULL OF FACES ! 

DON’T DO THIS! LET THE CHARACTER BREATH! LET THE READER BREATH! PLAY WITH YOUR CAMERA! YOU HAVE THE POWER!  in a comic page, is important to put the camera far away from the character most of the time! play with the different shots!  

(found this on google)  WATCH MOVIES AND TV SHOWS.  lot of them can help you so much you have no idea!  a comic artist and a director do the same job when creating a story 2- Candy eye this is a tricky trick that can help you with the audience! when a character is saying something important or you have to introduce them , USE THE CANDY EYE DUDE. 

the candy eye is , basically, a bust shot where you show the character,their features , usually with a cool or a funny expression ( or of course it depends from the situation) and believe me WORKS 10/10 with the audience ;)  3- HIGHLIGHTS THE IMPORTANT SCENE IN THE PAGE! 

FINAL TIPS:  - when you’re doing dinamic poses try and try again! the first one isn’t always the best!  -USE REFERENCES. -A STORYBOARD PAGE CAN REQUIRE EVEN 4 HRS IF NOT AN ENTIRE DAY IF NOT AN ENTIRE WEEK. REMEMBER THAT THE STORYBOARD IS THE ESSENCE. AND THE REST IS DECORATION. - IMAGINE THE SEQUENCE! NOT THE SINGLE PAGES.  THINK IN SEQUENCES! imagine what would happen after the page you are creating! connect the various pages NOT THE SINGLES FRAMES !  YOU’RE CREATING A STORY! NOT A SINGLE ILLUSTRATION!  -AGAIN DON’T DO PAGE OF FACES. most important thing: 

if the page you’re creating it stresses you! STOP. continue it when you are in a better mood ,dude. our job requires lot of time and effort, but it should be the job we love.  so don’t stress yourself and keep calm. hope this is useful. don’t take this as golden rules, this is just the way i work :)