Yeah I have a big piece of advice! Stop “aspiring”!!!!! Your aspirations end now!!!!
YES YOU! DON’T WAIT! START NOW! (passionate rambling incoming…)
The freaking coolest thing about living in the year 20XX is that you don’t have to have anyone’s permission to be an Animated Series creator. Grab a trial copy of Flash, or make flipbooks, or your own GIFs, or make some stop motion with your phone. Just start making whatever you want! Don’t save your good ideas for some big-wig executives or networks. Just do them right now! Don’t be precious with your ideas, just put them out there.
Content that’s on TV or in movies is not “more official” than stuff you make in your home on your spare time to share with friends on the internet. It’s all the same!!!!! As long as you enjoy it, who cares!! And if other people happen to like it also, then BONUS!!
The experience you get from trying to make something good on your own is so much more important than any future dream of being a big shot. Upload what you do to the internet and get feedback, show it to as many people as you can and listen to critiques. Learn to do stuff all by yourself, and only for your own pleasure.
From what I’ve seen, the people who end up creating a good animated series are the same people who have been creating their own stories, cartoons, comics and music on their own just for fun long before they ever got the shot at the big-time. Read about how your favorite cartoons are made, and try to do the process on your own. You’ll learn what your strengths are and what you’re interested in exploring.
(If you don’t have the facilities to create animation on your own, make something smaller scale- like a script, a comic, or a storyboard!)
OK THEN HERE’S STEP TWO: once you’ve learned to love your work on your own and figured out what you like to draw and what you’re passionate about, you may get a chance to pitch an idea. And thanks to the work you’ve done, you’ll be READY! Instead of some half-finished ideas, you’ll be able to point to all the amazing stuff you’ve created on your own and say “look, I already know what I like, AND I already know how to do it!” —-that’s WAY more impressive than an undeveloped idea with nothing to show for it. PLUS, the bonus of doing good work on your own is that you’ll attract attention and opportunity! I know so many people working in this industry who were discovered from their own silly personal work that was just randomly found online.
GET TO IT! DON’T WAIT FOR ANYONE’S PERMISSION TO BE THE CREATOR YOU WANT TO BE! START NOW! YOU HAVE TO START NOW! DON’T YOU MAKE ME COME OVER THERE AND FORCE YOU TO DO IT! YOUR “ASPIRATION DAYS” ARE OVER!
I probably reblogged this already BUT I’M EFFIN’ REBLOGGIN’ IT AGAIN!
"Perfection is the enemy of good enough," says every self-help top-ten blog list, featuring stock imagery of a woman doing yoga.
In the last question, I touched on why it’s generally best to forego the urge to have beautiful, perfect sketchbooks because it’s counter-intuitive to how one might best use a sketchbook.
Now, you might be saying, “John, you don’t know what you’re talking about. You drank too much Nyquil because your voice sounds like Batman, and I shouldn’t have to listen to you.” And you’d be right, but that still doesn’t change the fact that one’s sketchbook needs to be place where anything goes. Because if it’s gotten to the point where you’re not even drawing at all because of fear of failing, well my friend, you might as well reach for the Nyquil too (kidding).
So here’s a pointer. I found myself saying this one a lot when I was teaching: physically change your situation to force yourself out of bad habits. It’s easier said than done, but it’s the only surefire way to change a habit that has its basis environmentally.
Usually, it was in the context of a student saying “I just can’t get any work done at home/studio,etc.” or “there’s too many distractions.” I would tell them to rearrange their studios, or come work in studio at the school, and physically remove themselves from that situation as to alter it. After all, it’s very, very, easy to fall into habits that have been reinforced over time.
So! I would say, ADD an additional sketchbook that you have designated as your experimental one, and keep your current pristine Moleskine as a “presentation” book that you can show off to babes. At a certain point in the summer, I was carrying 5 (!) different sketchbooks: one for painting, one for drawing, one tiny one for on-the-go, and two for note-taking and reference. That’s a bit extreme, but you get the point.
I guarantee that your “presentation” one will generally fall by the wayside, in terms of your day to day process. It might however, surprise you and turn into something really cool, (like an entire book of, say, nice botanical drawings, or pizzas, or the like.)
Pick a Region: (Italicized states could fit into more than one group, depending on who you ask, and some people list more or less regions than the ones listed below)
Once you’ve got your region, narrow it down by state. You don’t have to get more specific than that if you don’t want to, but your character’s world will give away what region they’re in and possibly the state based on clues. Here is what you should know when creating your fictional town in a region/state:
Type of Town:
When you’ve got your town, draw a map for it. Note important places, like schools and the homes of characters. If your characters are in a suburb or a suburb-urban town, pick either a real city or a fictional city in a real state to put it around.
If your characters are in school and you want a lot of characters, pick an urban, suburban-urban, or suburban town. For the last one you can have more than one suburb share a school. If your character works at a place like a major law firm, they’ll probably need to be near a city. Think about what your character needs to pick a town.
Your town has to be realistic. Readers should have an idea of where this town is or what is near it. A suburban town in the middle of nowhere with no mention of where it is and varying ecosystems isn’t realistic. It’s surreal, distant, and might only work in certain fantasy genres. A town with a population of 15,000 people, but with four middle schools, two churches, a mosque, a synagogue, two law firms, no variation in economic or social class, eight restaurants, and a car dealership is unrealistic unless this small town is used as a center for several other towns.