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Brian Kesinger: Character Driven

Wed Oct 22, 2014, 10:39 AM
1 by techgnotic






Disney Artist Brian Kesinger on Creating Story through Character










Foreword by techgnotic


It is with great pleasure we welcome BrianKesinger as a guest writer to the Today Page Editorial Team. Considering his authentic citizenship within the deviantART community, his thoughts and insights will be of great value to all aspiring artists, illustrators, writers and others involved in any creative endeavor. For over 18 years, Brian has worked for Walt Disney Studios on films like Big Hero 6, Winnie the Pooh, Tarzan, Tangled, Wreck It Ralph and Bolt. Brian is author and illustrator of his own octovictorian creation, the wildly popular Walking Your Octopus, featuring Otto and Victoria, about a young turn-of-the-century London lady of distinction and her pet octopus.





















Take a moment and think about your favorite movie. Now imagine that movie without the main character, as you know them, in it. I think it is important to make a distinction between the plot of a story and the arc of your main character.








The plot is a series of events that result in a character going through an emotional arc. You can briefly define a character arc as how a character feels and acts at the beginning of the story versus how the feel and act in the end. In Charles Dicken's Christmas Carol (1843), Ebenezer Scrooge hates Christmas and at the end he loves it. That is an oversimplification of his arc. The plot is there in order to provide obstacles and choices to show the the audience who they are and what their attitude toward their situation is. A good plot keeps you interested in the story but a good character will make you want to rewatch the movie over and over again. I am personally a fan of movies that have very simple plots as those films leave much more room for character development.


One way to look at a story is a series of choices made in creating the main character. As a storyteller, the more time you put into your character, the easier it will be for you to make those choices for your character be truthful.







Truthfulness is talked about a lot when discussing character creation. Fictional characters are, of course, not real. They do not exist in the real world. They are made up. You must give them reality with relatable traits. Let’s say your main character is a farm hand. How does he feel about that? Does he enjoy the hard labor, or is he bored out of his mind? Let's choose the latter. Note that we are not talking about plot, just discussing character. Does this farm-boy get along with his parents? Let's add mystery by making him an orphan. So we now have the highly relatable story of a bored young man with a decision to make. Should he continue his duties on the farm or answer an inner calling to explore the rest of his world? We know this character. Some of us are this character. So when Luke Skywalker makes his choice, it rings true, because his character has already been established as someone we understand, someone who wants more out of life. We can all relate to his situation. His story will be a bit more exciting than most tales of fugitive farm-boys, but even Star Wars might have bored us had we not been pre-invested in such a relatable character by skilled storytellers.



As an illustrator, my job is to create believable characters. At Disney it is not uncommon for us to start drawing before a writer has even been hired to write a script. Animation and art are a visual media. A picture is worth a thousand words. Drawing your character is one of the best ways to kick off the generation of those words. It is all in the details. How your character dresses, what sort of hair they have, are they big or scrawny? All these questions can be answered and explored through the drawing process. When we work on our films it is common for the character designers and story artists to work at the same time because one department constantly informs the other.


I love this part of the process, as you draw your character and you explore all aspects of them and the ideas start to gel. You put one image next to another and suddenly a story starts to develop, to talk to you. It is very exciting. We had an interesting challenge in creating the character of Baymax for the up coming film Big Hero 6.


I asked Joe Mateo, head of story on the film to talk a little about the difficulties that arose when creating a character without traditional features.











We knew that Baymax was going to be a challenge given his limited amount of facial features to express an emotional range. It's amazing though, what you can achieve with those charming dot eyes combined with a subtle head tilt, a well timed blink, and body gestures. These things plus line delivery can be very effective in expressing different emotions. We're careful though how much emotions we want Baymax to show given that he is just a non sentient robot... or is he?”


Joe Mateo, Head of story on Big Hero 6






















On the film Frozen we were tasked with taking a fairy tale “princess movie” and putting a fresh spin on it. One way that we did that was by exploring the characters of Anna & Elsa and creating a believable relationship between the two of them. Paul Briggs, head of story on Frozen speaks more about that here.












One of the great things we had working for us was the tropes of princess films we had done in the past. Audiences already had an expectation we would deliver the familiar romantic love story... a romantic kiss from a prince/knight in shining armor would save the the day. Jennifer Lee and Chris Buck knew they wanted to deliver something fresh and different and took the idea from the original Snow Queen story that "an act of true love will thaw a frozen heart" and coupled that with a story about two sisters. The movie really started to focus more about family love than romantic love. The challenge was crafting two siblings that couldn't have that love between one another. We had Elsa, who was hiding a power that she thinks will hurt or kill her sister. So she lives in fear and is afraid to share her love towards her sister. We developed Anna as being fearless but she lives in a world where we she wants to give her love but it is never reciprocated by her sister. She holds onto that true love for her sister though and it's ultimately the thing that saves the day and protects and saves her sister. Anna makes the biggest choice in the movie which is she sacrifices her life to save her sister—an act of true love.”


Paul Briggs, Head of story on Frozen




















Interviews Brian Kesinger's Q&A with the Following Deviant Artists








:iconbriankesinger:

In creating your Lost Kids graphic novel what were some ways that you made your characters believable teenagers even though they are inhabiting a fantastical world?






:iconfelipecagno:

Felipe Cagno


It's all about really turning your characters into real people, people that you could walk past in the streets and that means tons of research and world building. For every character in the Lost Kids comics I have these extensive character sheets with dozens of questions ranging from their family background, their homes, where they grew up in, the environment around them, to their biggest fears, their hopes and dreams, their psyche, etc.



All that comes into play and you must know your characters better than yourselves, you really must ask the tough questions and come up with interesting answers. A kid growing up in Brooklyn, NY, will most definitely talk and behave very differently than a kid growing up in Orange County, CA. Do they come from a rich family, a blue-collar one, from poverty, where do they go to school, are they outgoing or shy, do they use slang, or perhaps they speak perfect English, are they popular or outcasts, what are their deepest secrets and so forth.


And the most interesting task I had to go through was actually finding a way of these very different kids that should not get along, get together for this adventure. Good storytelling comes from conflict and there is nothing more boring than seeing characters agreeing on paper or screen, you want them to duke it out, you want them to have completely different opinions about the stuff that matters so you can exploit different points of view on a given subject and let the audience choose sides.


Believable teenagers have very strong opinions and views of their world, I just made sure to get all that right even before writing a word of the script.








:iconbriankesinger:

Can you talk a little about how your characters developed from random sketches to the storylines in your web comic?






:iconshingworks:

Der-shing Helmer



I don't actually sketch randomly and home storylines come out, it's pretty much the opposite... I come up with story elements that I find interesting and work to develop a character that might fit into the scenario in a unique way. For example, in The Meek, I wanted to write a story about a girl who doesn't care much for societal pressures. She started out in sketches as several types of girl, but with the goal of a story in mind, eventually developed in the my character Angora who is introduced as not wearing clothes (that portrayal is pivotal to her essential nature). I don't think the character would have been quite as effective if I had just been drawing naked women, and then tried to mould a story around that visual.


For the new comic that I am making (and will be posting more art of to deviantArt as well), I'm doing something similar; trying to create a certain vision of the future and the people who live there. With the future in mind, I get to create characters that represent my hopes and expectations, vs just randomly hoping to strike gold. My general advice is always to give a context to your sketches, even if you don't ultimately use them... it will help your characters develop into living people who feel like they might really exist somewhere.








:iconbriankesinger:

When creating your character Veloce Visrin, what were some of the choices you made in designing her look and outfit to help tell the reader what she is all about?






:iconshilin:

Shilin Huang



I've given Veloce outfits meant for show, as well as casual outfits for the story she is in. The more story-oriented decisions were made with her casual outfit. Naturally, her look should immediately convey her character, because insignificant details on how a character chooses to dress himself/herself are usually a good reflection of their values. I've kept her outfit casual and unimpressive,despite her being the main character, to match her preference for staying away from the spotlight and blending into the crowds. Her clothes are also kept loose fitting rather than skintight, her hair kept free and not diligently kept, giving her a more relaxed air. However, she did come from a respected/feared family, and a hint of the fact that she is supposed to be an upper-class lady still comes across through the halter top, which is the same top/dress featured in her other, more extravagant and impressive outfits, covered up under the guise of her hoodie and otherwise unassuming look.








:iconbriankesinger:

Your character drawings are so expressive. What are some tips for drawing animal characters with such human emotions while still maintaining their animalistic anatomy?






:icontracyjb:

Tracy Butler


Thank you! Foremost, I’d say it’s important to get to know the subject matter. Gathering some overarching observational knowledge about anatomy, gesture and expression is pretty vital to drawing convincing pictures of such things. It also applies to the ensuing Frankensteinian drawing experiments that I would recommend as a generally effective approach to designing characters that fall somewhere between human and animal (though I’d argue that distinction is mostly philosophical).  Do a lot of sketching, in other words.



Human capacity for self-aware emotional complexities aside, it’d be difficult to mark a clear distinction between human and animal emotions. Among other mammals in particular, there’s quite a lot of overlap in the way we express basic things like fear, dejection and excitement, in fact. Whether human or wolf, a lowered head, fixed stare and curled lip is unmistakably aggressive.  That sort of thing can certainly work to the artist’s advantage when drawing an animalistic character meant to emote in a relatable human fashion.  Further appending the expression with the animal’s telltale posturing - raised hackles, pinned ears, bared fangs - can be mixed in to varying degrees of bestial and dramatic.  The more minute facial features add a layer of human nuance and specificity - the smallest adjustment can put an entirely different spin on an expression. For the given example, downward angled “angry” eyebrows would be well in line with the straightforward appearance of aggression, but simply arching one of the brows higher than the other can turn it into an expression of calculated anger.  Symmetrically high arching brows could make the expression more excited or crazed; furrowed brows could be used to convey a sort of consternated anger, and so forth.



Of course, species that don’t communicate in ways that are especially decipherable to humans and critters with physiognomies that don’t lend themselves well to forming human expressions can present design challenges that might require some careful finagling. To use a popular example, note the dramatically shortened heads of My Little Pony characters as compared to realistic equine heads.  Much of the animal appearance of the face is sacrificed, clustering the features together into an alignment more closely resembling a (cartoon-like) human.  This way, the expressions are eminently readable, never inadvertently shifting from cute to awkward.  In other situations, preserving the animalistic mien might be the greater priority over rendering consistently appealing human expressions. If you ever find yourself trying to draw chagrin on an anteater, consider that in some cases, embracing a bit of the awkwardness might not be a bad thing.  It can make for some defining, memorable characteristics.


My advice overall is to approach whatever abstracted combination of anatomies are at hand as an advantage rather than a limitation to building an expressive character.  The human and animal aspects each bring a toolkit array of physical features, gestures, behaviors and idiosyncrasies to utilize and draw inspiration from - all the more resources with which the character may exude life and emotion, presence and personality.








:iconbriankesinger:

What led you to pick Korea as the location for your fish out of water story of frankie*SNATCH? And how does that specific location inform what situations your character goes through?






:iconbonhwajp:

Lynsey Wo


When I initially came up with the concept for frankie*SNATCH back in 2001, I wanted to base it in a large, modern city in the Far East. At the time, Japan was experiencing a huge popularity boom (certainly within the target audience I was wanting to reach) and I wanted to avoid following that trend. After a little bit of research, Seoul seemed to contain the fast pace, bright lights, cosmopolitan scene I was looking for. In these early stages, a strong visual setting was all I was after, and Seoul fitted that need perfectly.



Frankie*SNATCH has always been a character-driven plot, and whilst the location had never been hugely influential as a whole, as the story developed darker, controversial issues, I still needed to make sure it was still appropriate. For example, a major theme of substance abuse within the story lead me to research the sort of healthcare and treatment available for those suffering with addictions, and how this sort of issue is perceived and handled by Korean society as a whole. This research directly impacted on how the character(s) confronting this issue would handle it, particularly from the societal angle. This idea of such an old-fashioned taboo against the backdrop of an otherwise modern, diverse city was something I found interesting, but it also made me realise the importance of making sure the characters were believable enough for them to address the issues presented to them with as little help from the outside as possible.












Questions for Brian Kesinger




  1. Brian has volunteered to answer any questions you might have in a series of video updates we will post soon, so keep your eyes and ears peeled for a shout-out from him.


    Leave your questions for Brian in the comments below.













Disney Artist Brian Kesinger on Creating Story through Character.


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:iconrockmangurl:
RockmanGurl Featured By Owner Aug 15, 2018  Student General Artist
Very useful and helpful info. 
Reply
:iconsamwallaceartisan:
SamWallaceArtisan Featured By Owner Edited Dec 4, 2016  Student General Artist
My question: What were your priorities and method for publicizing yourself, finding valuable collaborators / peers, and building the foundations for a career when you were first starting out? And, knowing what you know now, would you have done anything differently if given a do-over?
I think I have talent, or at least potential thereof, but there is so much I need to do in terms of career-building that I'm at a loss as to where to start and what my priorities should be. Thanks,

PS. I love your work, especially all of it. 
Reply
:iconsamwallaceartisan:
SamWallaceArtisan Featured By Owner Dec 4, 2016  Student General Artist
Just realized this is years late ... don't know why it was featured on the home page -_ - 
anyways, there it is.
Reply
:iconfapmasterstench:
FapmasterStench Featured By Owner Nov 29, 2016  Professional Digital Artist
Gross. A recycled, old journal. Not so much "today" is it, lol. "Leave your questions for Brian in the comments below". Okay, hey Brian, what does it feel like to wait around answering questions on DA for over two years. :P

Yet more evidence that DA sucks so much ass.
Reply
:iconpapillonstudio:
papillonstudio Featured By Owner Nov 25, 2016  Professional General Artist
respect :) awesome
Reply
:iconda-armando:
DA-armando Featured By Owner Nov 12, 2016  Professional Artist
Nice presentation. Weak content.
Reply
:iconbeyworld101:
Beyworld101 Featured By Owner Nov 9, 2016  Student Traditional Artist
Love both Frozen and Big Hero 6! He's done very great artwork.
Reply
:iconsparkrising:
SparkRising Featured By Owner Edited Nov 7, 2016  Hobbyist General Artist
I'm no artist, but i practice every day to improve my skills so that one day I'll be able to visually create the stories in my head. Until then I've found another method for developing my characters but I'm not sure if its diminishing, or enriching my creations. When i have an idea for a character but they don't have a place in a fictional world, i bring them into Role Playing sites and develop them as a standalone. I start out with a vague idea of what they'll be, and put them up against another fictional character, another human, in a way that forces me to react to the unexpected while developing them. I've gone in with just the bits and pieces and come out with fully assembled characters that are better than i ever expected.

My concern is that this process is putting too much of me in every character. That they might all feel to same. How much of the artist should transfer into their creation? My goal wasn't to play make believe as my character. It was to develop the character as we do in real life. Through experiences and interactions.

(I need to read dates more often... This journals Old!)
Reply
:iconsatanoftheus:
SATANOFTHEUS Featured By Owner Nov 7, 2016
PODESTA EMAILS SPIRIT COOKING! LOOK IT UP! HILLARY IS CONFIRMED EVEN CRAZIER THAN WE ALL THOUGHT!
Reply
:icondokhjor:
Dokhjor Featured By Owner Aug 5, 2016  Student Digital Artist
Good Stuff, thanks!
Reply
:icongtafen:
gtafen Featured By Owner Aug 5, 2016
Loved this blog truely! :)
Reply
:iconfoemp:
foemp Featured By Owner Aug 5, 2016
Impressive, Outstanding blog. :) Loved it
Reply
:iconerikanegi:
ErikaNegi Featured By Owner Aug 17, 2015  Student Digital Artist
I can't seem to create a character that doesn't seem cliche... I know the answer to that is to base your character off of a real person, but then I get stuck again.
A real person seems way too complex to put in a story because people aren't so consistent. The kindest person you know could do a cruel act and vice versa. If you did that in a story, people would point out how the character's personality is all over the place. 
I suppose this means that there has to be a balance between a one-dimensional, boring character, and a real, overly-complex, person? 

I hope I'm making sense...
Reply
:iconsamwallaceartisan:
SamWallaceArtisan Featured By Owner Dec 4, 2016  Student General Artist
Think of something you hate about yourself, a character flaw, then think about a thing you like about yourself; then, apply those things to a completely different personality type with a different upbringing, then imagine what happened to them to make that completely different person experience the same good things and shortcomings that you do; once you've done that the story is pretty much 70% existent. In other words, the character should speak to your life ... base it on what's real to you, not on an arbitrary trend, because if it's based on reality, then it'll be good EVEN IF it coincidentally overlaps with a cliche, if it's real to you, it'll be real to the audience. Quentin Tarantino openly admits that he'll slip in things that literally happened to him or people he knew into his scripts in some shape or form (sometimes to the embarassment of his friends). Another thing to bear in mind is that cliches exist for a reason; somebody a long time ago made a realistic, poignant study of, say, a mafia boss, and the idea caught on like wildfire ... fast-forward 30 years and it's still popular, 70% of it's new iterations are superficial mockeries, but that doesn't exclude the possibility that your version on a cliche has the same truth-to-life that made the original so popular to begin with. I like to think that I'm good at writing characters, but I've as of yet not proven that with sales or anything, so take any of my advice that rings true ... anything that sounds like b.s. feel free to ignore. Good luck
Reply
:iconshadowspider9:
Shadowspider9 Featured By Owner Nov 4, 2016
Based on my own personal experience I start characters off as cliche's on purpose and add touch's to their personality as things progress. For example I had one character who was basically Vegeta upon creation. As the story went on i knew I would need him to do or say things that Vegeta wouldn't and so these differences became part of his overall personality. Reshaping him into a character that was still like Vegeta, but also very different enough to be his own character.
Hope that helps. 
Reply
:iconjuxtalegal:
JuxtaLegal Featured By Owner Jun 16, 2015
Big Hero 6 rocks!
Reply
:iconjoeshmoelb:
joeshmoelb Featured By Owner May 30, 2015
I can honestly say that Big Hero 6 is my new favorite Disney movie.
Reply
:icondanielravits:
DanielRavits Featured By Owner Edited May 8, 2015  Student Digital Artist
I want to start a WebComic series. But i dont have any real art experience.
The problem that worries me a lot is drawing poses. I can picture a drawing in my head, but cant put it down on paper. I just cant do it.

Also i always wanted to do Anime or Manga where can i get a job like that? I was thinking of working as an assistant so i could learn but i live in a Canada and i dont know where i need to look. Would going to Japan be a good idea? Would that mean that i have to learn Japanese? Not sure if you know much about this but any advice and just an opinion of a great artist would do :)
Reply
:iconsketchingsparrow:
SketchingSparrow Featured By Owner Nov 20, 2016  Student Traditional Artist
Make sure you learn anatomy, especially if you want to draw realistic poses. It really does help.
Reply
:iconkotleta:
kotleta Featured By Owner Nov 5, 2016
Manga artistry will be unfeasible in Japan as there are plenty of Japanese artist to hire from. Concentrate locally first and if you get good enough you can do more. 

I haven't done any comics yet, but I read plenty and aspire to do my own once I have more time (still in school). First thing, do a short comic so you can understand what story you will tell and characters. If you think your job is good make a longer comic. Always make your world and story first. Characters come later. 

I have read so many comics at this point which have problems with world building. There is a very famous comic on DA I follow and artist just sucks in his background building. He creates a world but never makes his characters interact with it and expects readers to make up a guess from thin air. Do not do this. First make the story, world, then characters and relationships they will have. 

My advice, start small and then grow bigger. :)
Reply
:icondanielravits:
DanielRavits Featured By Owner Nov 5, 2016  Student Digital Artist
Noted, thanks for the advice :D
Reply
:iconkotleta:
kotleta Featured By Owner Nov 5, 2016
Also, on art quality.....it isn't important. There are comics that have no good art at all but you can follow based on good story and characters. So do the same. Start drawing regardless and see how well you can do. Don't get intimidated about correct poses or such just get the work going. 

As previously posted get feedback as much as you can at first until you get comfortable doing yourself. 
Reply
:iconkatze-doshi:
Katze-Doshi Featured By Owner Nov 2, 2016  Hobbyist General Artist
Its better if you practice your drawing skills first. Doing a WebComic could be for every artist and lots could see your work.
It depends what kind of comics you want to make, whether its a long-story or just comic strip series.

You need to use reference poses, which I do too, to be a better artist you must follow what greater artists do before you make your own.
Now, I'm not really sure about a job for Manga artists. I could give you a link: -www.quora.com/What-is-life-lik…

I know that this is a year-late reply, but if you do read this, I just hope it helps...^^
Reply
:icondanielravits:
DanielRavits Featured By Owner Nov 2, 2016  Student Digital Artist
Better late than never am i right? xD 
Thanks for the reply :)
Reply
:iconkatze-doshi:
Katze-Doshi Featured By Owner Nov 2, 2016  Hobbyist General Artist
True!! And you're most welcome!
For some reason, I'm gonna give you a watch, so that I could see what you'll improve in the future.:DHug 
Reply
:icondanielravits:
DanielRavits Featured By Owner Nov 2, 2016  Student Digital Artist
lol gonna have to get back into posting work then eh xD
Reply
:iconkatze-doshi:
Katze-Doshi Featured By Owner Nov 2, 2016  Hobbyist General Artist
That depends on you!! Don't stress it^^You can post whatever you want! I won't judge~Watevs. - Emoticon 
Reply
:iconthearctichuntress:
TheArcticHuntress Featured By Owner Feb 3, 2015  Hobbyist Writer
Out of all the characters you've created, which were the most challenging? Which did you have the most fun with? Which took you on the most interesting journeys? Which brought you to your greatest discoveries (character-wise or about yourself)?
Reply
:iconmissatomicbombs:
missatomicbombs Featured By Owner Dec 17, 2014  Student General Artist
I've always had an interest in storytelling. Recently, I bought one of Disney's "The Art Of..." books and it mentions a lot of details going into the characters that I have never noticed before.... But the details make all the difference.
It's really interesting to see the amount of effort put into these characters.
Reply
:iconmajorbrons:
MajorBrons Featured By Owner Dec 12, 2014  Hobbyist Digital Artist
I'm interested in making my own graphic novel but have always been more of an illustrator than a writer, and seeing something like this, where you describe how a concept or illustration can drive a story helped me just a little bit.
I don't have too much confidence in any stories I've ever (half)written, and that sort of hindrance stops me a lot of the time from continuing to write.
Do you have any more advice on building a story from the visual art alone? Any exercises that might help jump start ideas?

Thanks for your time Mr. Kesinger.
Reply
:iconwander-2-walx:
Wander-2-WALX Featured By Owner Dec 11, 2014
Hi Mr Kesinger, I'm an university student currently in training to become an animator in the future. Can you please tell me what do you do in your free time as an animator and also please explain to me what was your first move, back when you were young, after finishing the study?
Reply
:iconsassatelli17:
Sassatelli17 Featured By Owner Dec 11, 2014  Hobbyist General Artist
How can a person apply to work on an animation studio, like Disney, Ghibli or Raibow.
Reply
:iconatari-days:
ATARI-DAYS Featured By Owner Dec 11, 2014  Hobbyist Artist
What is the key to becoming a better writer?
Reply
:iconthearctichuntress:
TheArcticHuntress Featured By Owner Feb 3, 2015  Hobbyist Writer
Know yourself. Express yourself. Practice, practice, practice.
Reply
:icona-splashing-koi:
Wow, this is really helpful! As a writer, this is definitely something to reference. Kudos to everyone who gave input for it. :D
Reply
:iconemantheawsome13:
Emantheawsome13 Featured By Owner Dec 11, 2014  Hobbyist Traditional Artist
Helpful! ^^
Reply
:iconchobitsgirlcourt:
chobitsgirlcourt Featured By Owner Dec 11, 2014
Well I am trying to create a line of characters for a story i have been building for some time now. I am having difficulty with the Goddess Princess character that is actually a Bird of Paradise. This originates from a Thailand Story and I am having a difficult time putting a modern and ancient twist to her Attitude and Outfit, what do you suggest?
Reply
:iconlunettefox:
LunetteFox Featured By Owner Dec 11, 2014  Student Digital Artist
When you have two main characters (a male and a female) what is a good way to develop romantic aspects in their relationship progressively, without making it the main focal point of the story?
Reply
:iconbriankesinger:
BrianKesinger Featured By Owner Dec 11, 2014  Professional General Artist
Good question, I would say it depends on what their relationship means to the story. Chart out the important moments of the story and see where those romance sequences will fit?
Reply
:iconlunettefox:
LunetteFox Featured By Owner Dec 11, 2014  Student Digital Artist
Oh I like that answer! One more question though... The way I usually work when creating a story is I picture key moments in the plot first, and I write them down if I like them to not forget them. Characters come to me as I picture these scenes and I begin to see the story unfold partially. My problem is that when I do this, its hard to go back to the beginning and start the adventure!
In the story I'm working on where two worlds are connected, one character has a goal to find their place in any world, and the other wants to prove their place in the world they already live in. Using that alone, how do you start developing a beginning to connect it with the key points you've made? Do you start over in a way?
Reply
:iconjuegosdematarzombies:
juegosdematarzombies Featured By Owner Dec 10, 2014
thanks for your sharing








www.juegosdematarzombiesgratis…
Reply
:iconneeraj66:
neeraj66 Featured By Owner Dec 10, 2014  Student Traditional Artist
Ohaaa
Reply
:iconrsh26oct88:
RSH26oct88 Featured By Owner Dec 10, 2014  Professional General Artist
Why dont you work on proyects that arent character driven? Those also work.
Reply
:iconbriankesinger:
BrianKesinger Featured By Owner Dec 11, 2014  Professional General Artist
You're right. I hope to address that in future articles
Reply
:iconrsh26oct88:
RSH26oct88 Featured By Owner Dec 11, 2014  Professional General Artist
Thanks i look foward to reading those future articles. Laters.
Reply
:iconrobotdragonx:
RobotdragonX Featured By Owner Dec 10, 2014  Hobbyist Traditional Artist
been getting into writing lately, and this has been very helpful. Thanks :)
Reply
:iconbriankesinger:
BrianKesinger Featured By Owner Dec 11, 2014  Professional General Artist
Great!
Reply
:iconchristiline88:
christiline88 Featured By Owner Dec 10, 2014
I have never read these things but it looked so interesting I had to peek. Such an interesting article, and the insight to character development. I cant wait to use it to help my stories become even better :)
Reply
:iconbriankesinger:
BrianKesinger Featured By Owner Dec 11, 2014  Professional General Artist
Thank you!
Reply
:iconmadoav:
madoav Featured By Owner Dec 10, 2014
I normally don't read these things, but this was great
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