What’s interesting is that almost as soon as I start developing material, and it starts looking good (and workable), I also start wondering if it is okay to show works-in-progress or developmental artifacts. The answer to that question may lie in whether I’m wishing to self-publish on a small scale, thus maintain total creative control over the venture; or to go to an established Publisher with the story.
As I doubt this story would be easy to sell to a publisher, however (its main audience is niche [gender and sexual minorities, particularly if they’re also People of Color, also particularly if they have experience within transgender circles…all of which will probably make this hard to sell — or a blockbuster]), that’s a step forward in freeing me up to display my work on it. If I did show my work on it and then later wanted to publish with a Publishing House, that could complicate contract negotiations.
If I showed my work, however, and then self-published…I could build up recognition prior to release. And possibly earn more using POD (Print On Demand) than I would earn with a Publisher. Plus, I’d keep my rights…which is kind of in line with writing the script and doing the art, myself.
So it isn’t…a wholly negative thing, to show the work. Especially not, if showing it helps me produce more of it (or if showing it lets people know I’m working on it, and they get interested). While I’m trying to forget the emphasis on images as proof of existence, I grew up with that. Unfortunately. :)
The major barrier here would be that if I self-published, it wouldn’t count if I wanted to use the book(s) as evidence to be admitted to a Creative Writing MFA program. But do I really need that? In any case, doing the work — any work at all, even if (or maybe especially if) self-guided — is probably better training than taking classes on doing the work, at this point. (I mean, seriously; I have one Master’s degree; unless I want to be an Academic Librarian, I can stop the formal education process, and get back to work!)
An MFA is, especially, a lot of money to invest, and I already did a BA in the subject. I might essentially be repeating classes, that is. Getting back in would majorly be to make Publishing contacts…which I could do another way (or probably other ways, in the plural).
The MFA in Creative Writing also doesn’t really matter unless I do go into Publishing or into Teaching, as versus Librarianship. In Publishing, I might not need it (with a BA in Creative Writing, and an MLIS, already). In Teaching? I have never tried Teaching.
Just a bit ago, I thought up the fact that I could try to lead free Creative Writing seminars within a Library position. The idea of helping people who love to read find their own voices (instead of just reading the words of others), is alluring. But I have no practical experience, and I don’t know if I’d enjoy the reality of it.
I’ve always been amazed at how some teachers can find positive bits to comment on, on the spot, after anyone from their class reads their writing aloud. I’m not sure I could do that; at the same time, I don’t want to crush someone who is proud of what they can do, just because I can see things to work on. (There are always things to work on, especially if what is written is just a first or second draft.)
Of course, there’s the Iowa Writer’s Workshop…but, it’s Iowa. (I have a hard time with cultural isolation. It was hard enough enduring Central California. And that was California.) I attended undergrad in San Francisco, and even there, the English program’s conservatism (as versus the Creative Writing program’s comparative brilliance) tried me. I don’t know what was up with the English Department, seriously. Whoever was hiring must have just had their own vision for what the place should be, which didn’t align with mine.
But I’ve experienced cultural isolation (if not institutional racism) in pretty much every higher-education scenario I’ve encountered, except for Junior College. The same thing — in Iowa, on top of it — doesn’t sound better.
This rumination does make it clearer, though: it’s likely more to my benefit to show my work, than not. Actually, it’s more to my benefit to do whatever I can to make sure I keep making more work, than not. If it takes showing my work to keep me engaged and accountable, that’s something to keep in mind.
The only issue is becoming public…like, really public. That, in turn…is going to mean dealing with people disagreeing with my existence and voice. But hey — it’s my existence. Others’ opinions on that pale in relative importance. And they should pale in power. To do otherwise means that their opinions and their existence are both more important than mine. And that’s a power grab.
In any case…I think I can move forward on this. It’s interesting to see my character’s faces again after so long, and to rediscover recurring characters which I didn’t know were going to hang around, when I first drew them.
So, tomorrow, I might be getting a couple of things…I’m just not sure if I should(!), or if I should try what I have first, before determining if I need anything more.
Right now I’m aiming for an initial run of images using dip pen and black ink, or black Copic fineliners, then going over that with either diluted black watercolor, or diluted black ink, to put in greys. There are three different black watercolors I can try: Mars, Ivory, and Lamp. They all have different colors, and different working properties, from each other. I’m thinking Ivory Black is the best one to use if I want to be able to lift the color…from what I recall it doing, before. (Lifting, that is, when I didn’t want it to.) Mars would probably be best if I don’t want the black pigment floating away.
Then, I also have Yasutomo’s (non-toxic) liquid Sumi ink, the Black Cat ink, and Iroshizuku’s Take-Sumi (which isn’t waterproof). Just thinking about it right now…I know that the Yasutomo Sumi and the Black Cat work well in dilution. I also know that the Yasutomo Sumi doesn’t move, even if I wet it again — which may be reason enough to use it.
Today I found that it was much less intimidating to draw in a sketchpad, than on Illustration paper…and I wanted to draw something with content, not just lines to test whether the ink is going to move. That means, tomorrow, I should test the Kuretake ink along with the Black Cat and the Black Star Hi-Carb (and I can try out those new dip nibs)…I’ll need a new lighter, though, to burn off the lacquer. That, or a non-food-safe pot to boil off the lacquer. Or a raw potato to stick the nibs into, to dissolve the lacquer. Which I might have.
It might be growing, right now. Hmm…