It's a Powerful Story
And it’s your own
Let's get started on the narrative
We need to knit our individual stories together into a unit, using a narrative thread running through to tie pieces together. Similar colors, or a uniform visual organization might help.
We might use the same type of lighting for instance, as the contest theme is, “Shine a Light.”
I am positive the group can come up with a great idea. You are probably much better than me at this .…I am a drawer not a story teller, however here are some thoughts to get the conversation started anyway:
- A group of guys sits around the campfire-fireplace (a light of some kind) exchanging war stories. Maybe they are in the great beyond? An Idea like this might lead to pages-chapters that expand upon those stories.
- Families gather to tell the story of their ancestors.
- A reunion shows slides.
- Is it a thriller? Maybe there is a second story going on concurrently. Maybe a love story, about food…you name it.
- A group of unlikely strangers meet up and discover they have something in common. They are in a diner, at a baseball game… they are all musicians… whatever.
- Maybe it’s a rehearsal for a play.
- In each story a similar incident occurs: something silly, ironic, fantastic. at the mess hall… or ? The thing is, it’s a coincidence that ties each story to the others. Told by each from a different point of view? It’s fiction of course, but historical novels work that way.
What about your Patriot's history?
Questions to ask yourself: Where was he & when.
This might require research on your part; find the regiment on the D.A.R. site, or use Ancestry.com, or simply search the internet.
I found my patriot’s history by with persistent Google searches until John Wash’s application for a pension popped up.
If you know the regiment, you might also figure out the uniform—they differed region to region
Perhaps your Patriot contributed goods or money to the effort
.
Begin a personality profile of main characters, define strengths, weakness, physique, where do they start and end up in the story.
I use my husband as a model, because he will pose for me, because I like him, and it’s just right. This is his self-portrait.
Dialogue – begin thinking about the what characters say.
This photo might be the beginning a drawing, the theme being, especially for my soldier,
“Gosh, my feet hurt.”
The landscape is gorgeous and one wonders if the warriors are riding into danger as the sun sets.
Or is it a hopeful sign as it rises?
The illustration supplies a nice idea for a drawing.
We only learn the answer if we follow the story. Good versus evil.
The setting moves the story forward and the direction of the riders moves the eye to the right.
The setting is your backdrop.
It can be simply white,
or it can help tell the story. Is there a river, forest, or town? Is it warm, cold, hot, swampy?
Geography, topography, atmosphere can add mood and emotion.
copyright free Image by Devanath from Pixabay
Photo of Lucille Ball and Orson Welles from I Love Lucy. Lucy becomes part of Orson Welles’ magic act.
from commons.wikimedia.org
Lighting : our story will benefit from dramatic lighting. It could be from a window, candle, lamp, fire or other situations. A variety of metal lanterns were available during our designated time period.
My favorite is the bullseye lantern, a kind of flashlight in use during the 18th century and might provide the “light” required for the story.
My two cents
Like most historical novels, fiction is allowed… just so we say so, as in, “some characters and events may be… etc. etc.”
Even though it’s war, there can be humor – have you ever notice how guys often make friendly fun of each other in ways women don’t?
I have some ideas for my story already — you are welcome to incorporate them … if they work out.
Maybe a subplot would be useful,..something not connected to the American Revolution but moves the story along, and keeps the reader interested.
It might be lighthearted as in the I Love Lucy T.V. series where Lucy is always trying to get into the show at Ricky’s club, or it might be a problem that causes tensions and needs to be resolved ?
For example, the dominant A plot focuses on the American Revolution, and the B thread is a minor problem that needs to be solved, perhaps it’s a lost key… is it ever found? Each of us has seen these macro stories in television series.
I wonder if the comic book in general might use this subplot technique to improve and connect the Patriot’s stories.
Advice from:
How to Create a Comic Book: Neil Gaiman’s Step-byStep Guide for Making Comics
How to Structure a Comic Book in 3 Steps
Like films and other narrative art forms, most comic books tend to follow a three-act structure.
Act 1:Introduction to the central characters, as well as the comic book’s setting, mood, and dominant conflict.
Act 2:Character development, individual story arcs, setbacks, challenges, what is learned, and finally, the climax.
Act 3:The post-climax resolution in which the characters undergo a transformation following what they have learned from their ordeal.
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