WEBVTT

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WEBTOON Advanced
How to Write Your Proposal

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GCC Academy

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Hello, I'm Yang Hye-rim,

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I am a Webtoon story writer

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and I teach at the School of Manhwa Contents, Chungkang University

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I give lectures in the field of storytelling

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I�셫 here to discuss storytelling with you,

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particularly focusing on the planning aspect

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So far, we�셶e already done quite a lot

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First, we found a theme

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Then we created a protagonist who best represents it

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We also built a story centered around

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their meaningful changes

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Now, what should we do with this story?

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A story known only to oneself has little value

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Though, it might be too strong to say that

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there are stories we may want to keep to ourselves

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without sharing it to anybody,

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such as diaries or essays

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or deeply personal narratives

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But those types of stories are a bit different

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from the direction of this course

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If we�셱e dreaming of becoming writers,

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it doesn�셳 mean we�셪l write stories

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only for ourselves

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It means we want to show our stories to others

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So how do we do this?

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We could show by writing

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That�셲 right, we could directly release the finished work

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If it�셲 a short story, that might be sufficient

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Do your best, upload it to a website

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and wait for readers�� reactions

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But what if you�셱e aiming

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for a long-form work with 50 or 100 episodes?

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Let's show them

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That's a good idea, very ambitious

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but how long would it take

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to complete a 100-episode Webtoon?

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Let�셲 say you draw one episode per week

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A year has 50 weeks, so maybe two years?

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The answer is no

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Even if given three, four, or even five years

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I doubt a Webtoon artist could complete

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100 episodes on their own

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Why? Because creators often

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don�셳 work without deadlines

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While there are disciplined creators

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who work steadily without deadlines,

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even for them, they often spend some time

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creating something before releasing it to a platform

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We call this a saved manuscript

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You've probably heard

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of this term, saved manuscript, before this class

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Here�셲 an interesting fact I discovered

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while working with many artists

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Even those who can complete an episode per week

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take about four weeks to complete a one saved manuscript episode

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Saved manuscripts take three to four times longer

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to produce than serialized one

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How is it even possible to create weekly episodes?

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When I ask artists about this, because one manuscript

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takes three weeks, they all say this

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I don't know how I manage this

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That's the power of deadlines

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What I'm trying to say is,

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preparing a 100 or 200 episodes at once

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to pitch the whole package to a platform

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or show to readers

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is extremely difficult

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That's why we need proposals

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Today, we�셪l learn about proposals

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Types of Proposals

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Students often come to me

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asking for story consultations

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And I always tell them this

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Send me your proposal, and I'll review that

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And this throws some students off

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They say, I don't write one!

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So I say, there is no way!

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There�셲 no way you�셶e never written a proposal

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But they insist that they just don't

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But I disagree, because of this reason

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I categorize two main types of proposals

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One is a working proposal meant for the writer

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The other is a submission proposal meant for others

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Some people might wonder

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why do you need one for yourself?

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It�셲 because planning is a continuous process

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You don�셳 just finish it in one go

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I�셪l finish planning from 9 to 10 AM today

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It won't work

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Even if you dedicate an entire day to planning

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it won't end, and planning only ends

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when serialization ends

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Once you hear what I'm about to say, it�셪l make sense

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Have you ever had a great idea

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but couldn�셳 remember it the next day?

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That happens to me quite often

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Or maybe you thought of a brilliant character dynamic

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This character and that character can interact this way

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But a few days later

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you realize that it does not make sense

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That happens to me quite often as well

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Let met give you an example from my own case

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It's about the first meeting between characters A and B

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I thought it�셝 be great if A and B first meet at this party

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So I wrote that down

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But when I looked at it again a few days later

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I realized that character B

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was supposed to be studying abroad

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So there�셲 no way they could�셶e met

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So I had to scrap that

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Meaning, I need something else

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Is it because I just happen to have a bad memory?

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Maybe some don't

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Partially, that's true

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I don't have the best memory

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But I�셝 argue

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that no matter how sharp or talented a writer is

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it�셲 impossible to keep all the elements

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of a long-term story store in their head

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If it�셲 not in your head

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where should it go?

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Your working proposal

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I say the word proposal to describe this

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so you might imagine a formal, structured document

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like one you�셝 submit for approval

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But that�셲 not what I mean

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A working proposal is for the writer's eyes only

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Since it�셲 just for you

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there�셲 no need to adhere to a specific format

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In fact, you probably already have one

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The reason for it is this

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So far, we�셶e brainstormed ideas

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created protagonists, and built story structures

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How did you do all that?

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Very few people manage all of this entirely in their heads

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If you picture a protagonist as having black hair and pale skin

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you�셪l forget about 70% of those details by the next day

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Even if I don�셳 explicitly tell my students

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that they should write this one down

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writers instinctively record things somewhere

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It might be in a HWP or Word document

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a phone memo

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or a specialized app

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Popular apps

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include those like Evernote or Notion

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They let you move between your computer

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and your mobile device seamlessly

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So you can save the same content

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anytime, anywhere

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Another thing is, records for yourself, as a writer

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don�셳 need to be perfect or even be contradictory

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It�셲 fine if character designs change daily

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Even random scribbles are okay

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For instance, you might write something like

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he protagonist is heading to the villain�셲 base

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but suddenly, their foot itches

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Wait, what? That's fine

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Even if it�셲 nonsense, you're the writer

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Or you might write internal monologues

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Should I just get rid of this character?

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I don't really like him

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The purpose of this

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is to record your thoughts

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What's important is

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to keep track of the most recent updates

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Should I keep or remove this character?

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If the decision was to keep them

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The information about that decision

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And another about something undecided

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Where did A meet B?

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It's undecided

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You need to mark all the information like so

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To summarize, the point of a working proposal lies

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in properly recording ideas and information necessary for creation

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and updating those records

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in alignment with the progress of creation

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A submission proposal is entirely different

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When you think of the word proposal

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you're likely thinking about this one

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A working proposal is designed for the writer

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to organize and grasp the entirety of their story

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A submission proposal is created for one purpose

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to be selected

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That word, selection, may sound unpleasant

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Who is going to select who?

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Simple, those who serve as the bridge

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connecting your work to the readers

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If this seems vague, think of specific examples

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Platform producers, contest judges, or publishing editors

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A working proposal is a document for your own working process

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even before you start writing the manuscript

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that helps you store all information about your story

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it acts like a storage space

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A submission proposal is a sales document

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It is to assist the decision-making process

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for those who connect your work to its readers

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It should help them decide that it is worth serializing

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It is a document designed to get chosen

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Its primary goal is to effectively convey information

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about the work you want to create

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The key to this is

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why should this work be chosen?

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Why is this worth serializing?

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It should really

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clearly demonstrate this

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Even those reading your proposal

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don�셳 have unlimited freedom of choice

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To put it bluntly, in a contest

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the number of winners is predetermined

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It specifies how many spots for awards are there

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While the number of serializations on platforms might seem infinite

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though it actually is compared to those on magazines

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they are still somewhat limited

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For example, even if 100 highly skilled

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comic creators submit their work simultaneously

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it would be impossible to serialize all 100 works

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Because of this selection process

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your proposal must show

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that this story is compelling

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and that your story aligns with the target audience

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that the platform or the contest is looking for

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It must resonate with the intended readers

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I�셫 a professional, I�셫 ready

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and I can start serializing immediately

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That should be your appeal

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A working proposal can have a loose format and content

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I talked about internal monologues

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something about errors

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or something you're unsure about

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They are all okay

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But not for a submission proposal

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But it's still incomplete

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I don't know yet

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Well, act as if you do

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No proposals are ever perfect

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It's completed once the work itself is finalized

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At this stage

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it�셲 perfectly natural for writers to have parts

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they don�셳 fully know about yet

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But do not leave blank spaces in the document

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or write things like, I don't know yet

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Because I see cases

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where the proposal says that the ending could change

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You cannot do this

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It�셲 not that the ending can�셳 change

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Here�셲 a common misunderstanding

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Once you've written something in the proposal

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if it changes, it breaks the contract

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Therefore, if it says this character dies, they should die

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That's not true

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I'm just saying, do not write

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that something is open to changes

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All stories that are not finished

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are open to changes, of course

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the platform producers

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and contest judges who review hundreds of works

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know this very well

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But if they see a note saying the ending could change

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or this character could be gone

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it makes the writer

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appear unprepared and unprofessional

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They know, so no need to point that out

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In other words

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if you're in for a job interview

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and you're asked, what do you want to do at this company?

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You say, I will work hard!

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You will work hard, but in fact

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if the job isn't a good fit, you may leave

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00:12:55.879 --> 00:12:58.429
They know that, so no need to point that out

272
00:12:58.429 --> 00:13:00.129
The same logic applies

273
00:13:00.129 --> 00:13:03.029
Think of it as an interview

274
00:13:03.029 --> 00:13:06.129
or more like a job application

275
00:13:06.129 --> 00:13:09.479
One of the most common questions I receive is

276
00:13:09.479 --> 00:13:11.329
What's the template?

277
00:13:11.329 --> 00:13:14.379
So I ask, what template do you want?

278
00:13:14.379 --> 00:13:16.279
And students are disappointed

279
00:13:16.279 --> 00:13:20.029
They seem to expect that a professor teaching storytelling

280
00:13:20.029 --> 00:13:21.829
will have some ultimate

281
00:13:21.829 --> 00:13:24.279
 standardized form for proposals

282
00:13:24.279 --> 00:13:26.579
That's the common assumption

283
00:13:26.579 --> 00:13:29.529
But the truth is, there isn�셳 one perfect template

284
00:13:30.329 --> 00:13:32.479
Even on a search engine

285
00:13:32.479 --> 00:13:36.329
people search for the template

286
00:13:36.329 --> 00:13:40.279
I guess it's become a habit for some of you

287
00:13:40.279 --> 00:13:42.629
to search for a template online

288
00:13:42.629 --> 00:13:45.229
There are many templates out there

289
00:13:45.229 --> 00:13:47.479
But they differ a bit from each other

290
00:13:47.479 --> 00:13:50.479
I also think one can always personalize theirs

291
00:13:50.479 --> 00:13:52.879
But here's one thing I can say

292
00:13:52.879 --> 00:13:55.429
The most ideal template for a proposal

293
00:13:55.429 --> 00:13:59.179
is the one proposed by the reader of that proposal

294
00:13:59.179 --> 00:14:03.979
If you're submitting a proposal

295
00:14:03.979 --> 00:14:07.829
it's usually for a platform or an agency

296
00:14:07.829 --> 00:14:11.379
or even for a contest

297
00:14:11.379 --> 00:14:14.179
Many platforms already provide

298
00:14:14.179 --> 00:14:15.879
their own proposal templates

299
00:14:15.879 --> 00:14:19.479
They say, please fill out this form and submit it

300
00:14:19.479 --> 00:14:23.779
They don�셳 expect writers to create their own

301
00:14:23.779 --> 00:14:28.679
Some writers find their own files too valuable to alter

302
00:14:28.679 --> 00:14:30.829
or the information in there

303
00:14:30.829 --> 00:14:33.179
and they may want to use that

304
00:14:33.179 --> 00:14:35.279
Or, to be more honest

305
00:14:35.279 --> 00:14:37.329
they're too lazy to adjust the format

306
00:14:37.329 --> 00:14:40.029
So people just send their own formats

307
00:14:40.029 --> 00:14:42.329
in my opinion

308
00:14:42.329 --> 00:14:44.929
this is highly inappropriate

309
00:14:44.929 --> 00:14:47.379
and ultimately, it works to their disadvantage

310
00:14:47.379 --> 00:14:49.429
The purpose of submitting a file

311
00:14:49.429 --> 00:14:53.479
is to request serialization for your work

312
00:14:53.479 --> 00:14:57.829
If you don�셳 even put in the effort

313
00:14:57.829 --> 00:15:00.429
it�셲 likely to be perceived as a lack of commitment

314
00:15:00.429 --> 00:15:02.979
Since I mentioned job interviews earlier

315
00:15:02.979 --> 00:15:05.129
let me draw another comparison

316
00:15:05.129 --> 00:15:09.129
Imagine you�셱e in a job interview, and the interviewer asks

317
00:15:09.129 --> 00:15:10.679
give me an acrostic poem using your name

318
00:15:10.679 --> 00:15:14.079
So most people will do that

319
00:15:14.079 --> 00:15:17.729
But what if you say

320
00:15:17.729 --> 00:15:20.779
I have memorized a classical Chinese poem, and I�셝 like to recite it for you

321
00:15:20.779 --> 00:15:24.129
Will this make a good impression?

322
00:15:24.129 --> 00:15:26.429
I don't think so

323
00:15:26.429 --> 00:15:28.179
Many platforms have templates

324
00:15:28.179 --> 00:15:29.579
So using a different template

325
00:15:29.579 --> 00:15:31.429
will result in the same thing

326
00:15:31.429 --> 00:15:35.479
Components of a Proposal

327
00:15:35.479 --> 00:15:38.229
That said, there are definitely common elements

328
00:15:38.229 --> 00:15:41.879
that most proposals typically require

329
00:15:41.879 --> 00:15:45.479
Let�셲 focus on those key elements now

330
00:15:45.479 --> 00:15:48.929
First, your name, which is obvious

331
00:15:48.929 --> 00:15:52.729
But I have something to say about this

332
00:15:53.029 --> 00:15:54.679
Some platforms ask for a pseudonym

333
00:15:54.679 --> 00:15:56.779
and others, both real name and a pseudonym

334
00:15:57.929 --> 00:16:02.029
I�셶e seen people who are reluctant to share their real name

335
00:16:02.029 --> 00:16:05.479
Some even refuse to give their real name

336
00:16:05.479 --> 00:16:08.179
However, this is somewhat meaningless

337
00:16:08.179 --> 00:16:11.179
If you end up signing a contract with them

338
00:16:11.179 --> 00:16:14.979
you�셪l need to give your real name and personal ID number anyway

339
00:16:14.979 --> 00:16:17.929
If you feel strongly about

340
00:16:17.929 --> 00:16:19.429
not disclosing your real name

341
00:16:19.429 --> 00:16:22.930
I�셝 suggest including it in the proposal

342
00:16:22.930 --> 00:16:27.130
but adding a note about it during the contract phase

343
00:16:27.130 --> 00:16:28.330
If that's very important

344
00:16:28.330 --> 00:16:31.730
you can just add it to the contract

345
00:16:31.730 --> 00:16:36.730
I find it meaningless to not submit

346
00:16:36.730 --> 00:16:38.530
your real name at all

347
00:16:38.530 --> 00:16:41.030
Same with the title of the work

348
00:16:41.030 --> 00:16:43.730
Many people say they haven�셳 decided on a title yet

349
00:16:43.730 --> 00:16:46.780
I get it, the title is very important

350
00:16:46.780 --> 00:16:50.280
But obsessing over the meaningful title

351
00:16:50.280 --> 00:16:55.530
may make you think that you can't give it a bad one

352
00:16:55.530 --> 00:17:01.530
Untitled, or still undecided, these are unacceptable

353
00:17:01.530 --> 00:17:03.330
You need something

354
00:17:03.330 --> 00:17:05.430
This may feel like pressure

355
00:17:05.430 --> 00:17:07.830
You can add something like working title

356
00:17:07.830 --> 00:17:10.830
If you really have no idea

357
00:17:10.830 --> 00:17:12.980
Springtime Love Story, parenthesis, working title

358
00:17:12.980 --> 00:17:14.880
You can do that

359
00:17:14.880 --> 00:17:17.680
But Untitled, that may give the impression

360
00:17:17.680 --> 00:17:21.180
that the writer isn�셳 fully invested in the submission

361
00:17:21.180 --> 00:17:22.680
So have one

362
00:17:22.680 --> 00:17:26.330
Here's another tip about the title

363
00:17:26.330 --> 00:17:29.280
It may depend on the genre

364
00:17:29.280 --> 00:17:32.380
but the title might need to stand out significantly

365
00:17:32.380 --> 00:17:36.030
This is especially important for submissions

366
00:17:36.030 --> 00:17:39.030
The person reviewing your proposal

367
00:17:39.030 --> 00:17:41.130
needs to actually read your proposal

368
00:17:41.130 --> 00:17:45.080
If your title grabs their attention

369
00:17:45.080 --> 00:17:47.880
giving them a sense of what the story is about

370
00:17:47.880 --> 00:17:50.030
it might make them

371
00:17:50.030 --> 00:17:53.480
more inclined to read your proposal thoroughly

372
00:17:54.230 --> 00:17:56.780
It's not something you should do

373
00:17:56.780 --> 00:17:59.180
but many writers choose to name their works

374
00:17:59.180 --> 00:18:01.330
using very strong titles

375
00:18:01.330 --> 00:18:04.280
Of course, the title might change

376
00:18:04.280 --> 00:18:05.830
once the work enters serialization

377
00:18:05.830 --> 00:18:07.880
but for the purposes of the proposal

378
00:18:07.880 --> 00:18:09.980
something really funny and interesting

379
00:18:09.980 --> 00:18:13.430
can encourage them to read further

380
00:18:13.430 --> 00:18:16.080
It could be, as we say

381
00:18:16.080 --> 00:18:18.380
like a clickbait for the title

382
00:18:18.380 --> 00:18:20.430
People often do this

383
00:18:20.430 --> 00:18:21.980
However, as I mentioned earlier

384
00:18:21.980 --> 00:18:24.680
this may depend on the genre

385
00:18:24.680 --> 00:18:27.330
I suggest you adjust it

386
00:18:27.330 --> 00:18:29.030
according to the genre of your work

387
00:18:29.030 --> 00:18:30.780
Speaking of genre

388
00:18:30.780 --> 00:18:32.680
you have to write your work's genre

389
00:18:32.680 --> 00:18:34.630
What�셲 the best way to indicate the genre?

390
00:18:35.330 --> 00:18:37.680
Many people struggle with this

391
00:18:37.680 --> 00:18:40.730
because they think genres are fixed

392
00:18:40.730 --> 00:18:42.230
That's not true

393
00:18:42.230 --> 00:18:45.330
Especially in Webtoon, genres are highly fluid

394
00:18:45.330 --> 00:18:47.130
depending on the market

395
00:18:47.630 --> 00:18:49.480
What is the market

396
00:18:49.480 --> 00:18:52.980
currently calling works like this?

397
00:18:52.980 --> 00:18:54.680
How are others labeling it?

398
00:18:54.680 --> 00:18:57.980
What would make sense to someone reading it?

399
00:18:57.980 --> 00:19:01.180
For example, if a proposal 10 years ago

400
00:19:01.180 --> 00:19:02.730
says Ro-fan for romance fantasy

401
00:19:02.730 --> 00:19:05.830
judges would not have understood this

402
00:19:06.180 --> 00:19:10.530
But today, using Ro-fan as the genre is acceptable

403
00:19:10.530 --> 00:19:12.730
If a judge doesn�셳 understand it

404
00:19:12.730 --> 00:19:16.980
they might be lacking qualifications

405
00:19:16.980 --> 00:19:19.130
Ro-fan has become

406
00:19:19.130 --> 00:19:22.180
an established genre for quite a while now

407
00:19:22.180 --> 00:19:24.430
So evaluators are able to assess works

408
00:19:24.430 --> 00:19:26.830
based on such standards

409
00:19:26.830 --> 00:19:28.830
This also means

410
00:19:28.830 --> 00:19:32.630
you shouldn�셳 use terms for your genre that the judges

411
00:19:32.630 --> 00:19:35.380
platform producers, or others evaluating your work

412
00:19:35.380 --> 00:19:37.330
might not understand

413
00:19:37.330 --> 00:19:41.030
Sometimes, people get overly creative

414
00:19:41.030 --> 00:19:44.980
For instance, Dark Bluish Romance

415
00:19:44.980 --> 00:19:48.780
That's the genre, but very vague

416
00:19:48.780 --> 00:19:54.330
Or they can use their own name, for example

417
00:19:54.330 --> 00:19:56.380
Hyerim Yang's style School Drama

418
00:19:56.380 --> 00:19:59.780
Who's that? I mean, there's no good response to give

419
00:19:59.780 --> 00:20:02.681
Though, the intention is clear

420
00:20:02.681 --> 00:20:04.681
You want to provide

421
00:20:04.681 --> 00:20:06.631
additional information

422
00:20:06.631 --> 00:20:09.231
about the work through the genre label

423
00:20:09.231 --> 00:20:11.831
But it may not work

424
00:20:11.831 --> 00:20:14.781
I suggest you use straightforward

425
00:20:14.781 --> 00:20:17.531
commonly understood terms that are used in the market now

426
00:20:17.531 --> 00:20:20.331
Estimated episode count, this is more common now

427
00:20:20.331 --> 00:20:23.431
Writers often agonize over this

428
00:20:23.431 --> 00:20:24.931
Usually, it goes something like this

429
00:20:24.931 --> 00:20:28.981
I don�셳 know if it�셪l be 72 or 73 episodes

430
00:20:28.981 --> 00:20:31.031
I mean, neither I nor you can know

431
00:20:31.031 --> 00:20:34.881
We can't predict the exact number of episodes

432
00:20:34.881 --> 00:20:37.631
because the work hasn't started it serialization

433
00:20:37.631 --> 00:20:40.681
At the proposal stage, a rough estimate

434
00:20:40.681 --> 00:20:43.381
of several dozen episodes, is enough

435
00:20:44.331 --> 00:20:47.731
The platform or contest organizers

436
00:20:47.731 --> 00:20:49.381
also expect that much

437
00:20:49.381 --> 00:20:54.031
If you say 103 episodes, that will make them wonder

438
00:20:54.031 --> 00:20:55.531
Why 103 episodes?

439
00:20:55.531 --> 00:20:58.331
Why not 102?

440
00:20:58.331 --> 00:21:01.781
Here's a little tip

441
00:21:01.781 --> 00:21:04.981
If a new writer submits an big estimated episode count

442
00:21:04.981 --> 00:21:07.881
it might be too much for

443
00:21:07.881 --> 00:21:09.831
platforms or contest organizers

444
00:21:09.831 --> 00:21:13.131
This isn�셳 discrimination against new writers

445
00:21:13.131 --> 00:21:14.781
aiming for long-term works

446
00:21:15.231 --> 00:21:19.231
I once saw a new writer�셲 proposal

447
00:21:19.231 --> 00:21:22.631
with an estimated count of 900 episodes

448
00:21:22.631 --> 00:21:25.431
Even if we assume that�셲 a long-term work

449
00:21:25.431 --> 00:21:26.981
and that it's realistic assumption

450
00:21:26.981 --> 00:21:29.281
dividing it into weekly chapters

451
00:21:32.481 --> 00:21:36.031
how may years is that?

452
00:21:36.031 --> 00:21:38.481
I'm not good at math, I can't be sure

453
00:21:38.481 --> 00:21:40.631
Is it 18 years? It is

454
00:21:40.631 --> 00:21:43.781
It would take roughly 18 years, nonstop

455
00:21:43.781 --> 00:21:46.931
to finish all 900 episodes

456
00:21:46.931 --> 00:21:50.181
So giving a new writer the space for such a massive project

457
00:21:50.181 --> 00:21:52.981
could feel like a risky commitment

458
00:21:52.981 --> 00:21:55.731
And people will wonder if it's ever possible

459
00:21:56.481 --> 00:21:58.381
It�셲 not about saying new writers

460
00:21:58.381 --> 00:22:00.781
shouldn�셳 tackle large-scale works

461
00:22:00.781 --> 00:22:04.631
Eiichiro Oda�셲 One Piece

462
00:22:04.631 --> 00:22:08.031
was his first serialized work

463
00:22:08.031 --> 00:22:11.931
and it spans over 100 volumes

464
00:22:11.931 --> 00:22:15.881
We don�셳 know if Oda

465
00:22:15.881 --> 00:22:18.781
initially submitted a proposal with such a long estimate

466
00:22:18.781 --> 00:22:21.731
It�셲 possible that the initial plan was for fewer episodes

467
00:22:21.731 --> 00:22:23.731
and as the serialization succeeded

468
00:22:23.731 --> 00:22:27.131
new episodes were added on top of each other

469
00:22:27.131 --> 00:22:28.481
As we�셶e mentioned before

470
00:22:28.481 --> 00:22:30.531
the second act of a story can always expand

471
00:22:30.531 --> 00:22:32.531
it�셲 practically designed for that purpose

472
00:22:32.531 --> 00:22:35.481
So for a new writer presenting the manuscript

473
00:22:35.481 --> 00:22:37.331
to a platform for the first time

474
00:22:37.331 --> 00:22:40.881
it�셲 a good idea to provide

475
00:22:40.881 --> 00:22:42.981
a realistic episode estimate

476
00:22:42.981 --> 00:22:47.081
Still, if you truly want to serialize continuously for 18 years

477
00:22:47.081 --> 00:22:51.281
you could consider breaking your story into seasons

478
00:22:51.281 --> 00:22:54.681
As we learned, structured with the small three-act framework

479
00:22:54.681 --> 00:22:56.631
Try summarizing it into a single episode

480
00:22:56.631 --> 00:22:59.331
and estimate how many episodes that would require

481
00:22:59.331 --> 00:23:01.881
Breaking the story into smaller pieces

482
00:23:01.881 --> 00:23:05.081
might be a more practical approach

483
00:23:05.081 --> 00:23:07.181
Next is target audience

484
00:23:07.181 --> 00:23:09.931
This is something I�셶e mentioned

485
00:23:09.931 --> 00:23:11.631
as something to consider

486
00:23:11.631 --> 00:23:14.031
even when brainstorming ideas

487
00:23:14.031 --> 00:23:18.681
Some people just write the age group

488
00:23:19.231 --> 00:23:21.581
like teenagers or those in 30s

489
00:23:21.581 --> 00:23:23.631
I think that's fine

490
00:23:23.631 --> 00:23:28.031
Because, based on my experience

491
00:23:28.031 --> 00:23:33.681
a 31-year-old and a 39-year-old don�셳 differ drastically in terms of taste

492
00:23:34.231 --> 00:23:37.881
But between an 11-year-old and a 19-year-old

493
00:23:37.881 --> 00:23:40.082
there is a big difference in taste

494
00:23:40.082 --> 00:23:43.132
Content that appeals to an 11-year-old won�셳 resonate with a 19-year-old

495
00:23:43.132 --> 00:23:44.482
content that a 19-year-old enjoys

496
00:23:44.482 --> 00:23:46.982
isn�셳 appropriate for an 11-year-old

497
00:23:46.982 --> 00:23:51.032
When defining the target age for Webtoon

498
00:23:51.032 --> 00:23:55.482
we usually go with early teens, mid-teens, and late teens

499
00:23:55.482 --> 00:23:56.882
For older age groups

500
00:23:56.882 --> 00:24:00.982
like those in their 20s, 30s, 40s, and beyond

501
00:24:00.982 --> 00:24:02.882
it�셲 less about strict age divisions

502
00:24:02.882 --> 00:24:07.782
and more about broader lifestyle categories

503
00:24:07.782 --> 00:24:12.282
such as college students

504
00:24:12.282 --> 00:24:14.982
working professionals, or other interests

505
00:24:15.282 --> 00:24:17.932
If your work requires pitching to a specific audience

506
00:24:17.932 --> 00:24:21.032
it�셲 also worth considering the gender of your target readers

507
00:24:21.032 --> 00:24:22.432
We�셶e touched on this point before

508
00:24:22.432 --> 00:24:25.232
Character introduction, this is a must

509
00:24:25.232 --> 00:24:27.532
Here's a tip

510
00:24:27.532 --> 00:24:29.982
Focus on major characters

511
00:24:30.432 --> 00:24:34.282
It�셲 fine to provide more details for the most important characters

512
00:24:34.282 --> 00:24:38.982
But avoid going overboard with minor characters

513
00:24:38.982 --> 00:24:44.132
For example, even their blood type, zodiac sign, or MBTI

514
00:24:44.132 --> 00:24:46.182
That's too much details

515
00:24:46.182 --> 00:24:49.532
This might give the impression

516
00:24:49.532 --> 00:24:50.832
that the writer is unprofessional

517
00:24:50.832 --> 00:24:53.682
just overly attached to their characters

518
00:24:53.682 --> 00:24:57.682
To keep the proposal clean and concise

519
00:24:57.682 --> 00:24:59.532
avoid including excessive details

520
00:24:59.532 --> 00:25:01.682
for supporting characters

521
00:25:01.682 --> 00:25:05.482
Some include character images in your proposal

522
00:25:05.482 --> 00:25:08.682
If you can draw them yourself, that�셲 ideal

523
00:25:08.682 --> 00:25:10.382
But if you just write the story

524
00:25:10.382 --> 00:25:13.382
and you�셱e not planning to illustrate it yourself

525
00:25:13.382 --> 00:25:16.032
it�셲 fine to seek help from someone else

526
00:25:16.032 --> 00:25:17.632
Of course you have to be transparent

527
00:25:17.632 --> 00:25:19.382
about where it's going to be used

528
00:25:19.382 --> 00:25:22.382
So you can ask someone to draw it for you

529
00:25:22.382 --> 00:25:25.982
Or you can also use a reference image instead

530
00:25:25.982 --> 00:25:29.382
But using a reference image is tricky

531
00:25:29.382 --> 00:25:31.432
because it can entail legal issues

532
00:25:31.432 --> 00:25:33.182
So always cite your sources

533
00:25:33.182 --> 00:25:35.232
and clarify the uses

534
00:25:35.232 --> 00:25:37.232
that it's not for anything else

535
00:25:37.232 --> 00:25:40.582
I'm sure you can manage up to this much

536
00:25:40.582 --> 00:25:42.032
It's also a fun task

537
00:25:42.032 --> 00:25:43.732
Up until this part, it doesn't need too much thinking

538
00:25:43.732 --> 00:25:45.382
You can proceed quickly

539
00:25:45.382 --> 00:25:48.332
Now, let�셲 get to the truly important parts

540
00:25:48.832 --> 00:25:51.082
The logline and the synopsis

541
00:25:51.082 --> 00:25:53.082
They sound intimidating

542
00:25:53.082 --> 00:25:56.632
These two elements often require a lot of thought from the writer

543
00:25:56.632 --> 00:26:00.632
Logline and Synopsis

544
00:26:00.632 --> 00:26:03.982
Let�셲 start with the logline

545
00:26:03.982 --> 00:26:05.782
You�셶e probably heard of it before

546
00:26:05.782 --> 00:26:07.682
but despite being a foreign term

547
00:26:07.682 --> 00:26:09.482
it�셲 not that complicated

548
00:26:09.482 --> 00:26:12.282
It compresses the entire story into one or two sentences

549
00:26:12.282 --> 00:26:16.782
The key here is the phrase, the entire story

550
00:26:16.782 --> 00:26:20.082
When asked to write a logline, some people do this

551
00:26:20.532 --> 00:26:24.032
So-and-so Jane Doe is nervously so-and-so

552
00:26:24.032 --> 00:26:25.882
Wow, but that was so-and-so!

553
00:26:25.882 --> 00:26:29.732
What will happen to Jane Doe?

554
00:26:29.732 --> 00:26:33.532
That�셲 the kind of logline you often see

555
00:26:33.532 --> 00:26:36.582
on Webtoon platforms, where the summaries

556
00:26:36.582 --> 00:26:38.232
are typically written in this format

557
00:26:39.082 --> 00:26:40.632
Ordinary high schooler Jane Doe

558
00:26:40.632 --> 00:26:44.982
nervously transfers schools

559
00:26:44.982 --> 00:26:51.232
only to find out it�셲 a high school for otherworldly beings!

560
00:26:51.232 --> 00:26:54.232
How will Jane Doe's fate unfold among them?

561
00:26:54.232 --> 00:26:58.532
That�셲 essentially Act 1

562
00:26:58.532 --> 00:27:00.932
The protagonist transfers to a special high school

563
00:27:00.932 --> 00:27:02.582
a very special high school

564
00:27:02.582 --> 00:27:05.232
feels conflicted, and Act 1 ends

565
00:27:05.232 --> 00:27:07.432
This type of logline is called

566
00:27:07.432 --> 00:27:09.732
a marketing logline

567
00:27:10.132 --> 00:27:11.382
It�셲 designed as an advertisement

568
00:27:11.382 --> 00:27:14.382
Its goal is to pique curiosity

569
00:27:14.382 --> 00:27:17.483
so it deliberately withholds the later parts of the story

570
00:27:17.483 --> 00:27:19.683
The logline for your proposal

571
00:27:19.683 --> 00:27:21.583
should not follow this format

572
00:27:21.583 --> 00:27:25.433
Why? Because this isn�셳 an advertisement

573
00:27:26.433 --> 00:27:28.383
Yes, a proposal is a sales document

574
00:27:28.383 --> 00:27:31.833
but the key difference is that

575
00:27:31.833 --> 00:27:34.533
the people reading it

576
00:27:34.533 --> 00:27:37.433
are your collaborators

577
00:27:37.433 --> 00:27:39.783
people who will work with you to create your project

578
00:27:39.783 --> 00:27:41.633
If you don't tell them how it ends

579
00:27:41.633 --> 00:27:43.833
they can�셳 make an informed decision

580
00:27:43.833 --> 00:27:46.583
They don�셳 know the entire story, of course they can't

581
00:27:46.583 --> 00:27:49.983
That�셲 why a logline requires you

582
00:27:49.983 --> 00:27:53.783
to compress the entire story into one or two sentences

583
00:27:53.783 --> 00:27:56.483
The entire story in your logline, that's important

584
00:27:56.483 --> 00:27:59.683
Your logline must encapsulate all three acts of the story

585
00:27:59.683 --> 00:28:02.783
If this still feels vague, let�셲 go into more detail

586
00:28:02.783 --> 00:28:04.883
For Act 1

587
00:28:04.883 --> 00:28:07.833
Remember what subjects and predicates are?

588
00:28:07.833 --> 00:28:10.733
Write Act 1 as the subject, and Act 3 as the predicate

589
00:28:10.733 --> 00:28:12.433
to form a single sentence

590
00:28:13.733 --> 00:28:15.983
Maybe you remember this example

591
00:28:15.983 --> 00:28:19.983
A person who has never been in a relationship explores every kind of romance

592
00:28:19.983 --> 00:28:23.483
only to realize that what they truly need isn�셳 romance

593
00:28:23.483 --> 00:28:24.933
Do you remember?

594
00:28:24.933 --> 00:28:28.133
That's a logline, with all three acts

595
00:28:28.133 --> 00:28:30.283
Act 1, A person who has never been in a relationship

596
00:28:30.283 --> 00:28:31.883
Act 2, Explores every kind of romance

597
00:28:31.883 --> 00:28:34.833
Act 3, Realizes that romance isn�셳 what they need

598
00:28:34.833 --> 00:28:37.283
The entire story is captured in that one sentence

599
00:28:37.283 --> 00:28:39.733
Synopsis

600
00:28:39.733 --> 00:28:42.433
This is often the most daunting part for writers

601
00:28:42.433 --> 00:28:44.133
It's time to work on this

602
00:28:44.133 --> 00:28:47.583
A synopsis is, simply put, a summary of the entire story

603
00:28:47.583 --> 00:28:50.733
By the time someone finishes reading it

604
00:28:50.733 --> 00:28:54.733
they should have a clear understanding of what your story is about

605
00:28:54.733 --> 00:28:57.533
But same thing here

606
00:28:57.533 --> 00:29:01.133
Jane Doe finally ventures into the enemy�셲 lair

607
00:29:01.133 --> 00:29:03.033
What will become of their fate?

608
00:29:03.033 --> 00:29:04.583
You can't close it here

609
00:29:04.583 --> 00:29:07.783
This type of synopsis can confuse the reader

610
00:29:07.783 --> 00:29:10.933
Surprisingly, many aspiring writers

611
00:29:10.933 --> 00:29:12.833
write their synopses this way

612
00:29:12.833 --> 00:29:16.133
That�셲 how movie flyers

613
00:29:16.133 --> 00:29:20.183
that we see in theaters, they have many flyers there

614
00:29:20.183 --> 00:29:22.533
This is how they present their synopses

615
00:29:22.533 --> 00:29:24.633
And people assume that it's the way

616
00:29:24.633 --> 00:29:26.633
to write a synopses

617
00:29:26.633 --> 00:29:29.083
No, it's another form of advertisement

618
00:29:29.083 --> 00:29:31.883
We�셱e creating a proposal

619
00:29:31.883 --> 00:29:33.833
to get selected

620
00:29:33.833 --> 00:29:37.183
so your synopsis needs to fully include all three acts

621
00:29:37.183 --> 00:29:40.833
If your character ventures into the enemy�셲 lair

622
00:29:40.833 --> 00:29:44.383
did they survive or not? Did they win or lose?

623
00:29:44.383 --> 00:29:47.533
Isn't that a spoiler?

624
00:29:47.533 --> 00:29:50.033
The reader of your synopsis isn�셳 an average reader

625
00:29:50.033 --> 00:29:51.533
They�셱e the ones who may select you

626
00:29:51.533 --> 00:29:54.183
Let's imagine a job interview

627
00:29:54.183 --> 00:29:56.133
What are your aspirations for this company?

628
00:29:56.133 --> 00:29:58.183
With that question, do you say

629
00:29:58.183 --> 00:30:00.983
That�셲 a spoiler, hire me and I�셪l tell you

630
00:30:00.983 --> 00:30:04.183
This isn't going to work, it's the same thing

631
00:30:04.183 --> 00:30:06.683
Even with this, I hear from so many students

632
00:30:06.683 --> 00:30:09.433
that wiring a synopsis is so difficult

633
00:30:09.433 --> 00:30:11.633
So I have something to help you

634
00:30:11.633 --> 00:30:17.783
Mark Kneece, author of The Complete Guide to Writing Graphic Novels

635
00:30:17.783 --> 00:30:20.033
offers a great method

636
00:30:21.033 --> 00:30:24.733
He suggests starting with a logline

637
00:30:24.733 --> 00:30:27.383
and breaking the story into three acts

638
00:30:27.383 --> 00:30:31.433
Then, write one sentence for each act

639
00:30:31.433 --> 00:30:33.933
That sounds familiar with the logline

640
00:30:33.933 --> 00:30:35.683
That's what I told you then

641
00:30:35.683 --> 00:30:39.033
A person who has never been in a relationship

642
00:30:39.033 --> 00:30:42.033
explores every kind of romance

643
00:30:42.033 --> 00:30:45.233
only to realize that what they truly need isn�셳 romance

644
00:30:45.233 --> 00:30:49.283
This serves as a skeletal summary of the story

645
00:30:49.283 --> 00:30:51.033
And after that, Kneece suggests

646
00:30:51.033 --> 00:30:53.983
adding details such as subplots, actions, etc.

647
00:30:53.983 --> 00:30:57.684
until the text fills one full page

648
00:30:57.684 --> 00:30:59.284
That's interesting, isn't it?

649
00:30:59.284 --> 00:31:01.884
I thought that was very interesting

650
00:31:01.884 --> 00:31:04.734
Just add more until it fills a page

651
00:31:04.734 --> 00:31:06.784
This may not sound too productive

652
00:31:06.784 --> 00:31:10.284
but it ensures you cover all three acts

653
00:31:10.284 --> 00:31:12.084
and emphasizes brevity

654
00:31:12.084 --> 00:31:14.984
It's a very important exercise

655
00:31:14.984 --> 00:31:16.884
Don't write a long synopsis

656
00:31:16.884 --> 00:31:20.284
Why limit the synopses to one page?

657
00:31:20.284 --> 00:31:24.884
This is what many books about writing emphasize

658
00:31:24.884 --> 00:31:27.184
It's something all writers

659
00:31:27.184 --> 00:31:31.384
should be able to do, while

660
00:31:31.384 --> 00:31:35.034
so many aspiring writers don't follow this

661
00:31:35.034 --> 00:31:37.184
The longer, the better?

662
00:31:37.184 --> 00:31:40.434
That is not the case

663
00:31:40.434 --> 00:31:44.084
Editors, platform managers, and contest judges

664
00:31:44.084 --> 00:31:47.584
often have to read hundreds or even thousands of proposals

665
00:31:47.584 --> 00:31:50.534
If you�셱e reading through stacks of one-page synopses

666
00:31:50.534 --> 00:31:53.334
and suddenly find a 20-page one in the mix

667
00:31:53.334 --> 00:31:54.784
do you think that

668
00:31:54.784 --> 00:31:57.084
this person put in a lot of effort, and that you

669
00:31:57.084 --> 00:31:59.634
should spend 20 times as much time reading it carefully?

670
00:31:59.634 --> 00:32:02.984
There are still 987 submissions left to review

671
00:32:02.984 --> 00:32:04.684
So that's not the case

672
00:32:04.684 --> 00:32:08.784
his is why one page is the maximum

673
00:32:08.784 --> 00:32:12.334
Anything longer creates a significant psychological barrier

674
00:32:12.334 --> 00:32:15.884
Some people may say this

675
00:32:15.884 --> 00:32:19.984
His Webtoon is 20 episodes long, but mine is 200 episodes

676
00:32:19.984 --> 00:32:22.784
How can both of us summarize our stories in just one page

677
00:32:22.784 --> 00:32:25.184
when the scales are different?

678
00:32:25.184 --> 00:32:27.884
That's impossible, or even unfair

679
00:32:27.884 --> 00:32:31.284
If he gets a page, for my 200 episodes

680
00:32:31.284 --> 00:32:34.434
I should get ten pages

681
00:32:34.434 --> 00:32:37.534
No, that's not the case

682
00:32:37.534 --> 00:32:40.984
Even a 200-episode Webtoon needs only one page

683
00:32:40.984 --> 00:32:44.234
How? By increasing the compression rate

684
00:32:44.234 --> 00:32:46.784
A 200-episode story needs to compress the information

685
00:32:46.784 --> 00:32:48.634
ten times as much

686
00:32:48.634 --> 00:32:53.284
Mark Kneece advises, dd details until the page is full

687
00:32:53.284 --> 00:32:54.434
It also means

688
00:32:54.434 --> 00:32:57.334
that once the page is full, stop adding more

689
00:32:57.334 --> 00:33:01.684
your main events alone fill the page

690
00:33:01.684 --> 00:33:04.284
that's it, no more

691
00:33:04.284 --> 00:33:05.584
Does that sound cold?

692
00:33:05.584 --> 00:33:07.634
Then here's another tip for you

693
00:33:07.634 --> 00:33:10.834
Consider this, for example

694
00:33:10.834 --> 00:33:14.334
if your story isn't too long, you can do this

695
00:33:14.334 --> 00:33:19.434
For example, the protagonist

696
00:33:19.434 --> 00:33:23.534
visits Dongdaemun, then Seodaemun

697
00:33:23.534 --> 00:33:27.184
then Gangnam Station, then Yeoksam Station

698
00:33:27.184 --> 00:33:28.484
and what else?

699
00:33:28.484 --> 00:33:30.034
So many stations

700
00:33:30.034 --> 00:33:32.784
This station, that station, and more

701
00:33:32.784 --> 00:33:36.034
Eventually they realize that subway stations

702
00:33:36.034 --> 00:33:37.134
are all the same

703
00:33:37.134 --> 00:33:39.584
and returns home disillusioned

704
00:33:39.584 --> 00:33:41.284
Let's compress this

705
00:33:41.284 --> 00:33:45.484
The protagonist explores various subway stations across Seoul

706
00:33:45.484 --> 00:33:47.334
only to realize they�셱e all the same

707
00:33:47.334 --> 00:33:48.834
That's one sentence

708
00:33:48.834 --> 00:33:50.884
That's higher compression rate

709
00:33:50.884 --> 00:33:54.484
Do not list all the events

710
00:33:54.484 --> 00:33:58.734
but describe the meaning of the events

711
00:33:58.734 --> 00:33:59.734
That way, you can write as I said

712
00:33:59.734 --> 00:34:03.334
Having explored various subway stations across Seoul

713
00:34:03.334 --> 00:34:05.334
they realized they�셱e all the same

714
00:34:05.334 --> 00:34:07.534
You can increase your compression rate

715
00:34:07.534 --> 00:34:10.734
with this kind of description

716
00:34:11.334 --> 00:34:14.884
I'm sure you're still wondering

717
00:34:14.884 --> 00:34:17.634
if this is all to synopsis

718
00:34:17.634 --> 00:34:20.234
if there isn't anything more to it

719
00:34:20.784 --> 00:34:23.234
I'm sure

720
00:34:23.234 --> 00:34:26.034
that you are surprised that this is it for synopsis

721
00:34:26.034 --> 00:34:29.734
thinking that you need something more about it

722
00:34:29.734 --> 00:34:31.934
Stop if it 's full?

723
00:34:31.934 --> 00:34:34.984
That's not something a professor on storytelling would say

724
00:34:34.984 --> 00:34:38.234
Some of you may be thinking that

725
00:34:39.335 --> 00:34:41.835
I've had some students come up to me

726
00:34:41.835 --> 00:34:43.735
and say this with a serious face

727
00:34:43.735 --> 00:34:47.285
I followed your instructions, and my synopsis is boring

728
00:34:47.285 --> 00:34:48.735
You may imagine

729
00:34:48.735 --> 00:34:51.435
that this would really surprise and hurt

730
00:34:51.435 --> 00:34:53.335
the instructor for storytelling

731
00:34:53.335 --> 00:34:56.085
But no, I am not hurt at all

732
00:34:56.085 --> 00:34:58.935
Because I already know

733
00:34:58.935 --> 00:35:00.585
that all synopses are like that

734
00:35:00.585 --> 00:35:03.335
They're meant to be boring

735
00:35:03.735 --> 00:35:05.285
Don't be too surprised

736
00:35:05.285 --> 00:35:07.135
Regarding proposals, particularly synopses

737
00:35:07.135 --> 00:35:09.285
we still have much to discuss

738
00:35:09.285 --> 00:35:11.935
In our final session next time

739
00:35:11.935 --> 00:35:14.735
we will learn how to critique and revise

740
00:35:14.735 --> 00:35:17.985
Only after going through that stage

741
00:35:17.985 --> 00:35:21.085
will your proposals and synopses truly shine

742
00:35:21.085 --> 00:35:24.835
Please look forward to it, and I�셪l see you again next time

743
00:35:25.435 --> 00:35:26.085
Proposal Planning

744
00:35:26.085 --> 00:35:26.685
Types of Proposals
Writers�� internal working drafts vs submissions for external review

745
00:35:26.685 --> 00:35:27.335
Working proposals are for the writer�셲 eyes only, so they don�셳 need to follow strict formats

746
00:35:27.335 --> 00:35:27.935
A record kept by the author for their reference, where inconsistencies between events or daily changes in character settings are acceptable

747
00:35:27.935 --> 00:35:28.585
It can include doodles or monologues about the characters

748
00:35:28.585 --> 00:35:29.185
Submission Proposal
A sales document designed to secure approval should effectively convey information about the work the author wishes to create

749
00:35:29.185 --> 00:35:29.785
They must demonstrate why the work should be chosen
They should follow the format if any is given

750
00:35:29.785 --> 00:35:30.385
They should avoid statements like undecided or subject to change

751
00:35:30.385 --> 00:35:31.035
Proposal Components

752
00:35:31.035 --> 00:35:31.635
Name
If reluctant to reveal your real name, write it in the proposal but negotiate pseudonym use in the contract

753
00:35:31.635 --> 00:35:32.285
Title
Titles like 'Untitled', 'Not yet decided', or 'In progress' shouldn't be used and a proper title must be provided when submitting

754
00:35:32.285 --> 00:35:32.885
Genre
Use terms recognizable to reviewers and relevant in today�셲 market

755
00:35:32.885 --> 00:35:33.535
Estimated Length
A rough estimate, such as tens of episodes, is sufficient

756
00:35:33.535 --> 00:35:34.135
New writers should propose realistic episode lengths

757
00:35:34.135 --> 00:35:34.735
Target Audience
The target age group should be detailed, with other groups categorized based on factors like college students, working professionals, and personal preferences

758
00:35:34.735 --> 00:35:35.335
Character Descriptions: Focus on key characters
and avoid excessive detail about minor ones.

759
00:35:35.335 --> 00:35:36.135
Logline and Synopsis

760
00:35:36.135 --> 00:35:36.935
Logline
A compressed summary of the entire story in 1-2 sentences

761
00:35:36.935 --> 00:35:37.785
It must include all three acts

762
00:35:37.785 --> 00:35:38.635
Synopsis
A summary of the entire story

763
00:35:38.635 --> 00:35:39.485
After reading it, the reviewer should fully understand the narrative

764
00:35:39.485 --> 00:35:40.335
It must include all three acts, ensuring clarity of each