Nathanna Erica - http://nathsketch.tumblr.com - https://www.instagram.com/nath.sketch/?hl=es - https://www.etsy.com/es/shop/nathsketch/items - http://nathshobbithole.blogspot.com.es - https://www.facebook.com/nathsketch - http://www.pictame.com/user/nath.sketch/1281255258 - https://www.behance.net/nathsketch
On Scars
(This post is an excerpt from Maim Your Characters: How Injuries Work in Fiction.)
First off, let me be clear about what I mean when I say the
word scars. I’m not talking about the
medical definition: rough tissue that overlies a wound as it heals over time.
I’m using a broader definition of any physical evidence of a previous injury.
That can be the amputated hand, the limp from a spinal cord injury.
It can also include tattoos. (Maui’s moving tattoos in Moana are a perfect example of this: his tattoos are a physical embodiment of where he’s been.)
Scars, by this broad definition, are an interesting shorthand for a story, whether we actually see that tale or not. We use them as a way to say there’s a story here. Sometimes our global story gives us the chance to tell it, sometimes not; either way, scars can be an interesting way to add depth to a character.
In fact, sometimes a scar is integral to explaining and understanding who that character is.
For example, we know that Peter Pan’s Captain Hook has been involved in some fierce battles, because he lost his hand – and had it replaced with his legendary pirate hook. That hook is a symbol of the cold cruelty he now gives off.
The eponymous Harry Potter wouldn’t truly be Harry without his lightning-bolt forehead scar. For Harry, it’s not just about his past, it’s about his future: his fate and the fate of the scar-giver are intertwined, a battle that will determine the fate of the world. Worse, it’s all inscribed on his forehead, for everyone to see.
Darth Vader’s scars in Star Wars are extensive, so much so that they shroud his identity completely. While we see the faces of the heroes, and even of Emperor Palpatine himself, Vader’s wounds require a respirator mask that obscures his face and makes him the terrifying villain he is. He’s actually turned the support system he needs to stay alive – a depersonalizing suit and respirator – into something useful, a mask to terrify his enemies. Vader’s life is, in some ways, enhanced by his disability, and he’s certainly comfortable moving in his world with the scars he’s got.
In Moana, the demigod Maui’s scars are branded on him as tattoos. These are the stories of who he’s been and where he goes. When hero-protagonist Moana asks him where they come from, he tells her, “They show up when I earn them.”
This isn’t dissimilar to the battle scars on an old soldier, sailor, or mercenary: their wounds are manifested on their flesh.
But if scars are shorthand for a story, if they’re someone’s past writ large, we need to honor that character in the way we represent them. If we elect to give a character scars, they should represent not a plot but a story, something that not only wounds the character but drives them to change internally.
As an example, I’m going to tell you the story of two of my personal scars. At the end we’ll discuss which one would go into a story about me, and why.
Scar #1: The Knife Point. When I was six or seven, I was trying to get some corn off the cob — I wanted to eat it in kernel form for some reason, and I was using a kitchen knife. I got the corn off all right — and drove the point of the knife straight into the webbing between my thumb and forefinger on my left hand. Ouch!
(Actually, it didn’t hurt, it was the sheer volume of blood that was terrifying).
I changed in that I learned not to do that specific task (cutting corn off the cob) that specific way (driving the knife toward my hand).
But it’s not a marker of who I am.
Scar #2: The Bite Mark. Let’s consider another scar, also on my left hand. There’s an old bite mark by the heel of my hand, at the base of my left thumb.
It happened like this: I was fifteen or so, and my neighbor’s dog, Clancy, wasn’t doing well. He was old and he was sick. That day he had become too sick to get up. It was time for my neighbor to take him to the vet and say goodbye.
She had him on a blanket. But he was a big dog, and the vet was far, and she didn’t have a car, and so our neighbor came to ask me and my mom to help get him to the vet. Of course we said yes. We liked her, but more importantly, we loved animals. (Both my mother and I had worked at the vet at one point or another.)
When we went to move him by picking up the blanket and moving him to the car, Clancy reached out and bit me. Not because he was a bad dog, not because he was out to hurt me. He bit me because he was scared and sick and hurt and he didn’t know what to do.
I didn’t feel anger at Clancy, and I didn’t turn afraid of him. I felt sympathy. His act hurt my skin. His pain broke my heart.
So when we got him to the vet, while they were easing his pain and saying goodbye, I calmly and quietly washed my wound in the sink with an antiseptic.
I learned something about myself in that moment.
I learned that healing really is a calling for me. That I was glad we had cared for him and that I was able to help him on his final journey. I was glad to know Clancy. I wasn’t mad, or hurt, even though my hand stung from the antiseptic.
That scar helped me find my internal true north.
Now, which of those scars has meaning? Which of them would you want to include if you were writing me as a character? Which do you think would make it into a memoir, if I wrote one? It’s most certainly the second, the one that helped me figure out who I am, the one that drove me to learn about myself. The first is something that happened; the second is something that changed me.
It’s stories like these that you should use in order to figure out who your characters are – and how to honor them.
Let’s Talk Tattoos.
Tattoos are interesting in that they can be another, more interesting set of shorthand. Unless your character has a Maui-like situation going on, her tattoos won’t simply appear. She’ll not only have to choose what story she wants to represent on her flesh, but she’ll have to choose how to express that story in an image. Then comes the pain of the ritual scarification: the injection of ink under the skin, a microbaptism in pain and blood and pigment.
Tattoos are absolutely fascinating. Because they don’t typically connect to physical wounds so much as to emotional ones, they’re a really great piece of shorthand for getting into the depths of who someone truly is.
My own tattoos are direct messages to myself about how I should live in the world. They’re an easily visible piece of guidance that explores what my role is and should be in the world.
Of course, not all tattoos have this deeper meaning. People choose to tattoo things on themselves for a hundred different reasons, the aesthetics of the design being one of them. Some tattoos are simply trendy. I’m not here to judge anyone’s ink!
But if you’re going to cover a character in tattoos, consider having each of them explore a deeper facet of that character’s personality and the journey they’ve been on.
How to Use Scars Effectively
As we said above, scars are a shorthand for a story. Prominent scars, particular facial or obvious hand scars, are a constant source of tension and questions. When someone has a big scar on their face, we find our eyes drawn to it, a question forming on our tongue: What happened?
But the What happened? isn’t as important as How did it change you? And so my general recommendation with scars is twofold and contradictory:
One: only introduce scars if it’s an incredibly important part of a character’s past.
Two: only introduce scars if it’s an incredibly important part of a character’s future.
So why the two recommendations? Why the contradiction?
Characters are constantly moving, if not in space, then through time. Their scars shape their past, which shapes where they are now and where they’re going.
If a scar is germane to a character’s past, it helps establish where they’re coming from and what their experiences have been.
But those experiences are only important if that scar-causing event is relevant to their future.
The scar a sea captain got fending off pirates once upon a time doesn’t have much to add if his current quest is finding new plumbing for his house. His scar isn’t relevant, unless it intimidates the shady plumber into giving him a better price. Even then, it’s a shallow connection.
Consider the old injury (and its scar) to be a cause.
Ask: what was the effect? If your character got a scar on their eyebrow from a bike accident when she was seven, that scar doesn’t mean anything… unless that was the bike accident where she failed to protect and save her kid brother, which makes her overprotective and hypercautious now.
If she crashed her bike as a kid and merely went on with her life… what was the point? Why tell that story with a scar so visible?
Remember that the point of a story is that people change. If a scar doesn’t fundamentally shape a character, consider simply leaving it out. Window dressing is just that: window dressing.
What we want is to give more insight into who your character is.
Avoiding Wandering Scar Syndrome
Wandering Scar Syndrome is when a character’s scar is on their left eye on Page 3 and their right cheek on Page 12. It’s simply a symptom of not taking good notes.
There are two techniques I’m going to suggest here.
The first is, keep character sheets. Many writers choose to do this, many do not. But especially if you’re going to wallpaper your character with scars and tattoos, it’s worth writing down where they are and what they look like. In fact, copy/pasting the way they were originally described into a separate document is particularly helpful in being sure your descriptions stay consistent throughout the story. It’s a pain in the butt for a moment, but it helps so much with consistency down the line!
Another option is to use [brackets] as an aside.
What do I mean?
Let’s say you talk about a minor character in two different places in the story, chapters — even acts apart.
Kitty Scarborough was the best fighter in town, and she bore the scars to prove it. [Kitty Scar Description — line on her face?] Or, [scar TK]
TK is the editor’s mark for To Come, a placeholder of sorts, and it’s useful for all kinds of things: Name TK, Dog Breed TK, Red sports car [make/model TK], etc. (Once upon a time, this book was littered with TKs .)
Later, we can pull it back up: A tall redhead walked through the door. Kitty Scarborough was easy to recognize, especially by her [Kitty Scar Description].
Why does this work? Why is this helpful?
Because it allows us to maintain flow as a writer. If we know Kitty’s got scars from fighting, we can come up with what exactly those look like later. (We’re using them as evidence of her toughness and battle prowess, not for a particular meaning behind each individual scar she’s got.) So when we describe Kitty, we don’t need to spend ten minutes racking our brain for a cool scar to give her — we can do that later. All we need to drop into our first draft is [Kitty scar] and we can move on!
This works for all sorts of details, from car models to hair colors to background characters’ names, so don’t think it’s just a scar locater!
Later on we can come back, look through our manuscript with the magical Find tool, and simply search for that left bracket, [ . Anything that comes up can be filled in with your text!
Want a good scar generator, including ideas for how it shaped the character? Visit MaimYourCharacters.com/Scars !
This post is an excerpt from Maim Your Characters, from Even Keel Press. If you’d like to read a 100-page sample of the book, [click here]. If you’d like to order a print copy, it’s available [via Amazon.com], and digital copies are available from [a slew of retailers].
xoxo, Aunt Scripty
This.
a public service announcement
and i thought only bob ross knew what was up
this single post is more useful to me then four years of art school
We did it in color study class on my college and it’s incredible the difference between using red/blue/yellow than cyan/magenta/yellow.
The purple was colored like shit, so as the greens. Than we tried the actuall primary colors and it FELT SO GOOD!
I JUST TESTED IT IN MY ART PROGRAM AND HOLY SHIT
IT WORKED REALLY WELL
On the left we have dissapoinment; on the right, love.
Then why do they teach us that RBY are primary colours in Pre-KG????
To mess with our heads….
Or because they think that cyan and magenta are too difficult for kids to learn? Lame either way
Reshare to save lives
Okay, no. No no no no no no no no NO.
Listen up you fucks because I’m not wasting thousands of dollars on an art degree to watch y’all fuck up basic color theory.
Red, yellow, and blue are the primary colors
If you’re using p i g m e n t.
Do you hear me? When you’re using traditional media, fucking actual goddamn paint, Bob Ross style, your primary colors are!
When you use paint, your primary colors are red yellow and blue and don’t forget it.
NOW THAT CHANGES COMPLETELY WHEN YOU GO FUCKING DIGITAL.
THE DIGITAL PRIMARY COLORS ARE RED BLUE AND GREEN IF AND ONLY IF YOUR WORK IS GOING TO STAY DIGITAL, ON THE SCREEN, AND NEVER LEAVE THE SCREEN, AND OF COURSE IF YOUR WORK IS GOING TO BE PRINTED. ON A PRINTER. WITH INK. THEN. AND O N L Y T H E N.
ARE YOUR PRIMARY COLORS.
CYAN.
MAGENTA.
AND YELLOW.
So say it with me folks!
Red yellow and blue, are the primary colors for traditional pigment that’s mostly used in paints and shit. You use red yellow and blue when you’re painting traditionally, Bob Ross style.
Red blue and green is light, which is what you’re painting with when you pick up your tablet and go digital.
CMYK is ink, and ink only. You could use cyan, magenta, and yellow as your primary colors in paint if you wanted to be a complete dick, but they’re not your primary colors unless your work is going to be printed using. i n k. The only time they could be considered the primary colors in a traditional medium is if you’re using ink.
Good day.
Also thatswhiskytoyou’s color mixing is bullshit because THIS:
Is my icon. I painted this using RED. GREEN. AND BLUE. AS MY PRIMARY COLORS and they turned out fine. Of course, I used the finger smudge tool first and then the color mixing tool and then the blur tool, but hey what do I know.
Clearly using the blur tool only doesn’t cut it.
“Oh but Leo!” You say. “You used cyan and magenta in that color wheel!”
Well bitch guess what.
this is the digital color wheel. I’d say I mimicked that pretty well, don’t you think?
Oh and one other thing, notice how Blue and Yellow are directly opposite each other on this color wheel? That’s because we’re dealing with light, and with light, yellow and blue are complimentary colors.
Which is why when you mix them, it looks like this:
Which is a pretty neutral gray tone: They cancel each other out on the rgb color wheel when you mix them together.
BUT WITH PIGMENT THE PLACEMENT IS DIFFERENT
If you’ll notice, yellow and violet are now opposite each other, meaning they’re complimentary colors and if you mix them, they’ll make a neutral gray.
But if you mix yellow and blue, same colors as before, YOU GET THIS:
Now keep in mind that the person in the video uses a darker blue, so they get a darker green, but the point is that it doesn’t make that neutral gray.
Now what happens when we mix yellow and violet paint?
Ah yes, you get a bunch of muted colors the more evenly you mix them.
What happens when you mix yellow light and purple light?
I see, I see.
OH AND ONE MORE THING.
They didn’t teach you about red blue green and cmyk in pre-k because when most of us were in pre-k digital art was still in its early stages and what fucking seven year old knows how to use a printer.
GUESS WHO’S NOT FUCKING DONE YET:
The reason the primary colors for light are so dramatically different from the primary colors for paint and ink is because your eye only receives combinations of red light, blue light, and green light. Our eyes do not have a sensor (cone cell) for yellow light. So when we paint with light, red green and blue are our primary colors. Because of our eyes.
Furthermore, paint primary colors are colors that cannot be created by mixing other colors together. For paint, they are red yellow and blue, because you cannot mix orange and green to get yellow. Mixing orange and purple paint does not make red. And mixing green and purple paint does not make blue.
Mixing blue and green paints will make cyan. Mixing red and blue paints will make magenta.
That’s why cyan and magenta aren’t primary paint colors.
However, you can’t mix yellow and blue ink and get cyan. You can’t mix red and blue ink to get magenta.
And that’s why cyan and magenta are the primary ink colors.
Brighter and stronger paints are created through tints and shades, through a thorough understanding of color theory and a few quality paint recipes. Not by bullshit posts on tumblr designed to mislead you.
Helen Norcott - http://helennorcott.tumblr.com - https://www.linkedin.com/in/helennorcott - http://www.helennorcott.co.uk - https://es.pinterest.com/skraww - https://www.youtube.com/channel/UCOjM-tCvH5GfR9l6uWk3-Gw - https://skraww.deviantart.com - https://es-la.facebook.com/artofhelennorcott - https://twitter.com/skraww - https://plus.google.com/106977076900551883103