WEBVTT 1 00:00:05.525 --> 00:00:09.825 WEBTOON Advanced Peer Review and Revision 2 00:00:25.275 --> 00:00:28.725 Hello, I'm Hyerim Yang, a storytelling instructor 3 00:00:28.725 --> 00:00:31.875 I teach at the School of Manhwa Contents, Chungkang University 4 00:00:31.875 --> 00:00:34.225 I am also a Webtoon story writer myself 5 00:00:34.225 --> 00:00:38.225 We are currently discussing story planning 6 00:00:38.225 --> 00:00:41.925 Last time, we learned about writing project proposals 7 00:00:41.925 --> 00:00:44.775 which include two types 8 00:00:44.775 --> 00:00:47.375 A personal proposal 9 00:00:47.375 --> 00:00:51.475 for controlling one’s own work 10 00:00:51.475 --> 00:00:54.775 And a sales-oriented proposal 11 00:00:54.775 --> 00:00:57.625 aimed at being selected 12 00:00:57.625 --> 00:00:59.375 by platforms to reach readers 13 00:00:59.375 --> 00:01:01.175 These were the two 14 00:01:01.175 --> 00:01:04.825 The latter often requires more attention 15 00:01:04.825 --> 00:01:07.925 as it determines whether your work gets 16 00:01:07.925 --> 00:01:11.325 officially presented to an audience or not 17 00:01:11.325 --> 00:01:13.475 Key components of submission proposals 18 00:01:13.475 --> 00:01:15.775 include the logline and synopsis 19 00:01:15.775 --> 00:01:20.425 Among these, writing a synopsis tends to challenge creators the most 20 00:01:20.425 --> 00:01:23.225 Last time, I said something 21 00:01:23.225 --> 00:01:25.325 shocking about synopsis 22 00:01:25.325 --> 00:01:28.124 That it's supposed to be boring 23 00:01:28.124 --> 00:01:29.574 What does that mean? 24 00:01:29.774 --> 00:01:33.824 Purpose of a Synopsis 25 00:01:34.124 --> 00:01:36.324 Why is synopsis boring? 26 00:01:36.324 --> 00:01:39.574 This is what challenges many aspiring writers 27 00:01:39.574 --> 00:01:41.024 Which is 28 00:01:41.024 --> 00:01:43.174 they did as they were told 29 00:01:43.174 --> 00:01:44.674 or at least what they knew 30 00:01:44.674 --> 00:01:46.924 All three acts are there 31 00:01:46.924 --> 00:01:48.924 and it's one-page long 32 00:01:49.324 --> 00:01:51.224 But it's still boring 33 00:01:51.224 --> 00:01:54.724 Oh no, maybe I did something wrong 34 00:01:54.724 --> 00:01:56.524 And they start adding things 35 00:01:56.924 --> 00:02:00.324 Their favorite line, or their favorite scene 36 00:02:00.324 --> 00:02:03.674 Their favorite relationship, something they like 37 00:02:03.674 --> 00:02:06.574 And adding all these 38 00:02:06.574 --> 00:02:09.074 prevent the synopsis from being even 39 00:02:09.074 --> 00:02:10.924 Some parts are not explained 40 00:02:10.924 --> 00:02:13.124 while some parts even have their lines 41 00:02:13.124 --> 00:02:15.524 and conversations 42 00:02:15.524 --> 00:02:17.474 and even more detailed plans 43 00:02:17.474 --> 00:02:20.074 He squeezed his hand against the wall 44 00:02:20.074 --> 00:02:22.524 There are details like this 45 00:02:23.424 --> 00:02:26.524 But other part says, he wins 46 00:02:26.524 --> 00:02:28.124 This is different 47 00:02:28.124 --> 00:02:32.224 That's why it gets longer 48 00:02:32.224 --> 00:02:35.924 To make it fun, you need descriptions 49 00:02:35.924 --> 00:02:40.224 and witty expressions 50 00:02:40.224 --> 00:02:43.424 Later, you will realize you're writing 51 00:02:43.424 --> 00:02:44.974 like a novel 52 00:02:45.224 --> 00:02:47.474 It's okay, if it's more interesting that way 53 00:02:47.474 --> 00:02:51.374 But then, once you try reading it 54 00:02:51.374 --> 00:02:54.174 you realize, despite your effort 55 00:02:54.174 --> 00:02:56.124 that it's not interesting 56 00:02:56.124 --> 00:02:57.874 I like this 57 00:02:57.874 --> 00:02:59.674 That's my favorite line 58 00:02:59.674 --> 00:03:03.074 But the readers will say this 59 00:03:03.074 --> 00:03:06.774 I'm sorry, but I don't understand this 60 00:03:06.774 --> 00:03:09.124 Why is this happening? 61 00:03:09.874 --> 00:03:11.924 It's because of one reason 62 00:03:11.924 --> 00:03:17.074 A writer has a blueprint of their own work in their head 63 00:03:17.074 --> 00:03:21.124 So even with a rough sketch of that part 64 00:03:21.124 --> 00:03:24.124 they can laugh with its context 65 00:03:24.124 --> 00:03:26.074 and they can be touched 66 00:03:26.074 --> 00:03:29.724 For someone without any information about that work 67 00:03:29.724 --> 00:03:32.874 all they know is what the synopsis says 68 00:03:32.874 --> 00:03:36.774 So any witty or touching expression said by the character 69 00:03:36.774 --> 00:03:39.574 however touching it may be 70 00:03:39.574 --> 00:03:41.124 may approach them without context 71 00:03:41.124 --> 00:03:43.774 This prevents laughing or being touched 72 00:03:44.474 --> 00:03:47.174 I introduced to you Mark Kneece 73 00:03:47.174 --> 00:03:49.474 He is a comic story writer 74 00:03:49.474 --> 00:03:52.274 and also a teacher nurturing younger talents 75 00:03:52.274 --> 00:03:54.724 He made the following statement in his book 76 00:03:54.724 --> 00:03:56.074 The Complete Guide to Creating Comics 77 00:03:56.324 --> 00:03:59.824 A synopsis always goes against the nature of the writer 78 00:03:59.824 --> 00:04:02.474 You may have felt that this is roughly the same 79 00:04:02.474 --> 00:04:06.124 as my comment that a synopsis is always boring 80 00:04:06.124 --> 00:04:07.874 The writer’s nature is to embellish 81 00:04:07.874 --> 00:04:11.824 make things look cool, and make things interesting 82 00:04:11.824 --> 00:04:14.724 However, the synopsis is simple, unembellished 83 00:04:14.724 --> 00:04:16.924 and has a plain feel 84 00:04:16.924 --> 00:04:20.474 None of the cool dialogue or excellent scene descriptions 85 00:04:20.474 --> 00:04:24.623 in your script can be included in the synopsis 86 00:04:24.623 --> 00:04:25.923 That’s exactly it 87 00:04:26.373 --> 00:04:29.323 This is why we feel synopses are boring 88 00:04:29.323 --> 00:04:32.623 There’s no dialogue, so there’s no character personality 89 00:04:32.623 --> 00:04:35.223 Without character personality, there’s no relationship dynamic 90 00:04:35.223 --> 00:04:39.273 No descriptions, and without descriptions, no spectacular portrayal of scenes 91 00:04:39.273 --> 00:04:42.273 Everything we look forward to in a comic is absent in a synopsis 92 00:04:42.273 --> 00:04:44.573 But if you try to include all those things 93 00:04:44.573 --> 00:04:47.823 the synopsis will fail to fulfill its role 94 00:04:47.823 --> 00:04:50.823 A massive earthquake occurs, and the city collapses 95 00:04:50.823 --> 00:04:53.073 Even if you find this too boring and add this 96 00:04:53.073 --> 00:04:55.573 This section will include a spectacular depiction 97 00:04:55.573 --> 00:05:01.123 of cracked ground and collapsing buildings over two open pages 98 00:05:01.123 --> 00:05:03.173 Still not interesting 99 00:05:03.173 --> 00:05:06.373 That is something only the work itself can effectively show 100 00:05:06.373 --> 00:05:09.323 So, why do we need to write a synopsis? 101 00:05:09.323 --> 00:05:11.223 For what purpose? 102 00:05:11.223 --> 00:05:13.523 If we can’t pursue entertainment value in it 103 00:05:13.523 --> 00:05:15.373 if it’s not supposed to be fun 104 00:05:15.373 --> 00:05:19.323 then what should we aim for when writing a synopsis? 105 00:05:19.873 --> 00:05:22.023 Mark Kneece, after declaring 106 00:05:22.023 --> 00:05:23.873 that no great dialogue 107 00:05:23.873 --> 00:05:27.423 or superb scenes should be included in a synopsis 108 00:05:27.423 --> 00:05:30.423 goes on in his book to say the following 109 00:05:30.423 --> 00:05:32.723 The essence of the story 110 00:05:32.723 --> 00:05:34.873 those cool dialogues 111 00:05:34.873 --> 00:05:37.373 and scenes you want to show 112 00:05:37.373 --> 00:05:40.123 will be revealed through the script and the artwork 113 00:05:40.123 --> 00:05:45.273 For now, you need to show the structure of the story 114 00:05:45.273 --> 00:05:47.523 If there are any structural flaws in the story 115 00:05:47.523 --> 00:05:49.173 they will reveal themselves at this stage 116 00:05:49.573 --> 00:05:53.473 The synopsis exists to show the structure 117 00:05:53.473 --> 00:05:56.473 I think of it as something like an X-ray photograph 118 00:05:56.473 --> 00:05:58.523 If you’re from a similar generation as me 119 00:05:58.523 --> 00:06:00.573 you might remember this joke 120 00:06:00.573 --> 00:06:02.973 It's a very old joke 121 00:06:02.973 --> 00:06:04.173 Someone 122 00:06:04.173 --> 00:06:06.823 went in to get an X-ray and asked this 123 00:06:06.823 --> 00:06:09.173 Please make it look pretty 124 00:06:09.173 --> 00:06:11.223 It was a popular joke in my time 125 00:06:11.223 --> 00:06:13.173 Very popular at the time 126 00:06:13.173 --> 00:06:15.023 But not that funny now 127 00:06:15.023 --> 00:06:17.673 If you’re trying to 128 00:06:17.673 --> 00:06:19.423 make your synopsis entertaining 129 00:06:19.423 --> 00:06:21.773 you’re making a mistake very similar to this 130 00:06:21.773 --> 00:06:24.073 Why do we take X-rays? 131 00:06:24.073 --> 00:06:27.673 To check bone health, identify any abnormalities 132 00:06:27.673 --> 00:06:29.323 in organs, and so on 133 00:06:29.323 --> 00:06:31.723 A synopsis works in exactly the same way 134 00:06:31.723 --> 00:06:34.023 For the story's structure and stability 135 00:06:34.023 --> 00:06:36.473 Whether Act 1, Act 2, and Act 3 are well-arranged 136 00:06:36.473 --> 00:06:38.523 and whether Act 2 maintains logical consistency 137 00:06:38.523 --> 00:06:40.373 while expanding the conflict 138 00:06:40.373 --> 00:06:43.373 that the story can reach its conclusion 139 00:06:43.373 --> 00:06:45.223 That's the purpose of it 140 00:06:45.223 --> 00:06:49.323 Please make the X-ray look pretty, that's similar to this 141 00:06:49.323 --> 00:06:51.473 Please make your synopsis fun 142 00:06:51.473 --> 00:06:54.473 Both are incredibly difficult to achieve 143 00:06:54.473 --> 00:06:58.523 Feedback through Peer Review 144 00:06:58.523 --> 00:07:00.723 Now, I believe you’ve somewhat 145 00:07:00.723 --> 00:07:02.923 understood the purpose of a synopsis 146 00:07:02.923 --> 00:07:05.523 Then, like reading an X-ray 147 00:07:05.523 --> 00:07:09.323 it’s time to examine and revise the synopsis 148 00:07:09.323 --> 00:07:11.023 When you read an X-ray, what do you do? 149 00:07:11.023 --> 00:07:13.973 If any abnormalities are found 150 00:07:13.973 --> 00:07:15.873 you seek treatment or undergo procedures to fix them 151 00:07:15.873 --> 00:07:19.172 A synopsis, too, shouldn’t be left as is 152 00:07:19.172 --> 00:07:21.922 It needs to be reviewed and revised 153 00:07:21.922 --> 00:07:26.072 to implement a better structure 154 00:07:26.072 --> 00:07:28.772 Did you see the title of today’s session? 155 00:07:28.772 --> 00:07:31.122 If so, you might have already guessed 156 00:07:31.122 --> 00:07:34.472 but what I’d like to suggest in this process is peer review 157 00:07:34.872 --> 00:07:40.322 Peer review refers to evaluating a work collectively 158 00:07:40.322 --> 00:07:42.922 Why is this important? 159 00:07:42.922 --> 00:07:46.372 Because there are tasks that writers cannot do on their own 160 00:07:46.372 --> 00:07:50.472 A writer is someone who designed the work themselves 161 00:07:50.472 --> 00:07:52.622 so there are things they don’t notice 162 00:07:52.622 --> 00:07:54.772 Especially after putting 163 00:07:54.772 --> 00:07:57.772 significant effort into revising their proposal or synopsis 164 00:07:57.772 --> 00:08:00.322 there are genuinely things the writer cannot see 165 00:08:00.322 --> 00:08:02.822 It’s like having a smudge on your nose 166 00:08:02.822 --> 00:08:04.372 Others see it clearly 167 00:08:04.372 --> 00:08:07.122 but you have no idea for some things 168 00:08:07.122 --> 00:08:09.722 A writer is someone who has built the world 169 00:08:09.722 --> 00:08:11.672 designed the characters 170 00:08:11.672 --> 00:08:14.572 and generally knows all the events 171 00:08:14.572 --> 00:08:16.122 that will occur in the story 172 00:08:16.122 --> 00:08:18.172 They're not omniscient though, as in 173 00:08:18.172 --> 00:08:22.022 there might still be possibilities the writer hasn’t considered 174 00:08:22.022 --> 00:08:25.022 Still, since it’s a world the writer created 175 00:08:25.022 --> 00:08:26.872 there are things they can’t catch 176 00:08:26.872 --> 00:08:29.822 because they feel too natural or obvious 177 00:08:30.322 --> 00:08:32.622 For example, let’s say 178 00:08:32.622 --> 00:08:35.772 there’s a house where the bathroom light is broken 179 00:08:35.772 --> 00:08:38.872 Someone has adapted and lived in that house for years 180 00:08:38.872 --> 00:08:41.572 The person living there 181 00:08:41.572 --> 00:08:43.772 considers that very normal at this point 182 00:08:43.772 --> 00:08:45.972 But if a friend visits and steps into the bathroom 183 00:08:45.972 --> 00:08:50.272 they might exclaim, why doesn’t the light turn on? 184 00:08:50.272 --> 00:08:53.872 It’s only at that moment that the homeowner realizes 185 00:08:53.872 --> 00:08:57.072 When did they realize it? When the friend pointed it out 186 00:08:57.072 --> 00:09:00.222 because for them, it was such an obvious fact 187 00:09:00.222 --> 00:09:02.122 that they didn’t even think about it 188 00:09:02.122 --> 00:09:03.972 that the bathroom can be bright 189 00:09:03.972 --> 00:09:08.022 Similarly, reviewing a proposal requires an outsider 190 00:09:08.022 --> 00:09:11.472 Why? Because the intended readers of this proposal 191 00:09:11.472 --> 00:09:13.872 weren’t general readers, right? 192 00:09:13.872 --> 00:09:16.772 No, they were outsiders 193 00:09:16.772 --> 00:09:19.122 such as webtoon PDs 194 00:09:19.122 --> 00:09:20.672 or contest judges 195 00:09:20.672 --> 00:09:23.750 Moreover, these people don’t know who you are 196 00:09:24.922 --> 00:09:29.072 The minimum requirement for a synopsis or proposal is this 197 00:09:29.072 --> 00:09:31.022 Who is the writer? 198 00:09:31.022 --> 00:09:34.172 Who are they, what are their preferences 199 00:09:34.172 --> 00:09:36.822 and what are they good at? 200 00:09:36.822 --> 00:09:40.972 Even without knowing any of that or of the story 201 00:09:40.972 --> 00:09:44.572 The readers should still fully understand the story after reading it 202 00:09:44.572 --> 00:09:46.372 This is the bare minimum standard 203 00:09:46.372 --> 00:09:49.872 While the synopsis doesn’t need to be fun 204 00:09:49.872 --> 00:09:52.272 but even if they don’t know this writer or this story 205 00:09:52.272 --> 00:09:55.222 they should be able to understand what it’s about 206 00:09:55.222 --> 00:09:57.072 after reading this 207 00:09:57.072 --> 00:10:00.872 To achieve this, it’s essential to ask for feedback 208 00:10:00.872 --> 00:10:03.022 from someone who has no prior information 209 00:10:03.022 --> 00:10:05.372 at all about the work 210 00:10:05.372 --> 00:10:07.122 Who should you ask for feedback? 211 00:10:07.122 --> 00:10:10.122 This is an area where many mistakes occur 212 00:10:10.122 --> 00:10:15.071 First, not those who know your work as well as you do 213 00:10:15.071 --> 00:10:18.721 For instance, your collaborating illustrator 214 00:10:18.721 --> 00:10:21.321 or a friend who helped develop the idea with you 215 00:10:21.321 --> 00:10:23.021 These people are already 216 00:10:23.021 --> 00:10:25.371 too familiar with your story world 217 00:10:25.371 --> 00:10:29.471 Like someone who’s used to the broken bathroom light 218 00:10:29.471 --> 00:10:32.171 they’re likely to overlook things, thinking 219 00:10:32.171 --> 00:10:33.821 that the light doesn't work and that's normal 220 00:10:33.821 --> 00:10:35.921 If you rely on them, you’ll never fix the bathroom light 221 00:10:36.421 --> 00:10:39.821 A more common scenario is this 222 00:10:39.821 --> 00:10:41.921 Asking for feedback from someone 223 00:10:41.921 --> 00:10:44.021 who knows absolutely nothing about Webtoon 224 00:10:44.021 --> 00:10:46.071 I ask, why did you do this? 225 00:10:46.071 --> 00:10:48.721 They say, a good story should 226 00:10:48.721 --> 00:10:51.721 be good regardless of genre 227 00:10:51.721 --> 00:10:54.571 That's partially true, but 228 00:10:54.571 --> 00:10:57.721 Webtoons have a strong genre-specific nature 229 00:10:57.721 --> 00:11:01.271 so some understanding of it and the medium is essential 230 00:11:01.271 --> 00:11:03.721 Sometimes I hear things like this 231 00:11:03.721 --> 00:11:06.921 I showed this synopsis to 232 00:11:06.921 --> 00:11:08.971 a famous movie director I know 233 00:11:08.971 --> 00:11:12.921 and they criticized it, that it was nonsensical, childish 234 00:11:12.921 --> 00:11:15.221 and lacked narrative coherence 235 00:11:15.221 --> 00:11:19.521 When I ask, really? Why? 236 00:11:19.521 --> 00:11:20.921 and listen carefully to their story 237 00:11:20.921 --> 00:11:22.821 I often find out that 238 00:11:22.821 --> 00:11:25.321 this famous director, in fact 239 00:11:25.321 --> 00:11:26.821 doesn't even read Webtoons 240 00:11:26.821 --> 00:11:28.621 It's not they are wrong 241 00:11:28.621 --> 00:11:30.521 or that directors should read Webtoons 242 00:11:30.521 --> 00:11:33.121 I mean, as someone in the industry, it'd be nice 243 00:11:33.121 --> 00:11:34.971 But it's okay if they don't 244 00:11:34.971 --> 00:11:37.621 I am not trying to comment on 245 00:11:37.621 --> 00:11:39.671 their profession as a movie director 246 00:11:39.671 --> 00:11:41.871 This is similar to a situation 247 00:11:41.871 --> 00:11:44.571 where there’s a French chef 248 00:11:44.571 --> 00:11:47.821 who has never tasted kimchi 249 00:11:47.821 --> 00:11:51.421 This can happen, though it'd be nice to try one 250 00:11:51.421 --> 00:11:54.171 There will be many French chefs without experience to kimchi 251 00:11:54.171 --> 00:11:59.271 But would it make sense to go to that chef and ask 252 00:11:59.271 --> 00:12:01.921 Do you think this chili powder is good for making kimchi? 253 00:12:01.921 --> 00:12:04.821 Is this glutinous rice paste at the right consistency for making kimchi? 254 00:12:04.821 --> 00:12:07.471 Do they mean anything? 255 00:12:07.471 --> 00:12:10.071 They’ve never experienced kimchi 256 00:12:10.071 --> 00:12:12.021 This is the same thing 257 00:12:12.271 --> 00:12:16.421 The fields are different, so I recommend 258 00:12:16.421 --> 00:12:18.921 showing your proposal to someone 259 00:12:18.921 --> 00:12:22.671 who has some understanding of the current Webtoon market 260 00:12:22.671 --> 00:12:26.771 There are genres that are strong in their specific characteristics 261 00:12:26.771 --> 00:12:31.421 These aren’t universal genres that have existed across all times 262 00:12:31.421 --> 00:12:34.721 but rather those that became popular after the 2010s 263 00:12:34.721 --> 00:12:38.171 featuring their own specific rules and tropes 264 00:12:38.171 --> 00:12:40.121 If your work falls into 265 00:12:40.121 --> 00:12:42.821 one of these genres, you’ll need to seek feedback from someone 266 00:12:42.821 --> 00:12:44.971 with some knowledge of that genre 267 00:12:45.471 --> 00:12:48.721 I have a friend who was a big fan 268 00:12:48.721 --> 00:12:53.821 of comics and Webtoons in the 1990s and 2000s 269 00:12:53.821 --> 00:12:57.321 but has hardly read any Webtoons since 2010 270 00:12:57.321 --> 00:13:01.421 If I were to show them a Ro-fan, or romance fantasy proposal 271 00:13:01.421 --> 00:13:03.071 they will say this 272 00:13:03.071 --> 00:13:07.221 They got hit by a truck, and suddenly wakes up in another world? 273 00:13:07.221 --> 00:13:09.570 Why does the protagonist adapt so quickly? 274 00:13:09.570 --> 00:13:14.470 By the second episode, the protagonist is already saying 275 00:13:14.470 --> 00:13:16.670 Yes, I am the Duchess? 276 00:13:16.670 --> 00:13:18.520 Why does she adapt so fast? 277 00:13:18.520 --> 00:13:21.120 According to the proposal 278 00:13:21.120 --> 00:13:23.970 the protagonist never returns to her original world by the end 279 00:13:23.970 --> 00:13:25.970 but why doesn’t she feel sad and instead lives happily ever? 280 00:13:25.970 --> 00:13:27.320 I can't relate to this 281 00:13:27.320 --> 00:13:29.820 All of these are valid points 282 00:13:29.820 --> 00:13:32.520 But if you take this feedback literally 283 00:13:32.520 --> 00:13:34.270 and start rewriting the story 284 00:13:34.270 --> 00:13:38.020 a lot of the charm of the Ro-fan genre could be lost 285 00:13:38.020 --> 00:13:40.920 For instance, in Ro-fan, waking in another world 286 00:13:40.920 --> 00:13:44.770 after a car accident is a very common trope 287 00:13:44.770 --> 00:13:46.820 When asked why 288 00:13:46.820 --> 00:13:49.670 we just say, because it's Ro-fan 289 00:13:49.670 --> 00:13:52.120 Whether this is right or wrong is 290 00:13:52.120 --> 00:13:54.370 a separate discussion for another time 291 00:13:54.370 --> 00:13:58.670 However, readers of Ro-fan 292 00:13:58.670 --> 00:14:01.770 don’t want the writer to spend three episodes explaining 293 00:14:01.770 --> 00:14:04.070 the narrative logic behind 294 00:14:04.070 --> 00:14:08.370 getting hit by a truck and waking up in another world 295 00:14:08.370 --> 00:14:12.120 What they want is a story progression typical of Ro-fan 296 00:14:12.120 --> 00:14:15.720 Thus, feedback from someone unfamiliar 297 00:14:15.720 --> 00:14:17.370 with the genre might not be accurate 298 00:14:17.370 --> 00:14:21.220 When you write a proposal, the people who will read it 299 00:14:21.220 --> 00:14:23.820 like, for example 300 00:14:23.820 --> 00:14:26.770 platform representatives or contest judge 301 00:14:26.770 --> 00:14:30.020 You don't need to worry about them too much 302 00:14:30.020 --> 00:14:33.320 They work in the Webtoon industry and are professionals 303 00:14:33.320 --> 00:14:36.470 These people are not going to ask 304 00:14:36.470 --> 00:14:37.920 about this logic of Ro-fan 305 00:14:37.920 --> 00:14:41.920 You're writing your proposal assuming that your reader 306 00:14:41.920 --> 00:14:44.170 knows the current trends of the Webtoon market 307 00:14:44.170 --> 00:14:47.770 So you need to choose people for feedback considering this 308 00:14:47.770 --> 00:14:52.720 It might not be easy to get feedback from someone 309 00:14:52.720 --> 00:14:54.570 who’s on the level of a contest judge 310 00:14:54.570 --> 00:14:59.120 But you can surely find someone with knowledge 311 00:14:59.120 --> 00:15:00.820 and insight comparable to that 312 00:15:00.820 --> 00:15:03.170 I don’t have anyone like that? You do 313 00:15:04.070 --> 00:15:07.270 What I personally recommend the most is 314 00:15:07.270 --> 00:15:11.320 peer review among aspiring Webtoon writers 315 00:15:11.320 --> 00:15:15.320 Peer reviews with colleagues or others studding storytelling 316 00:15:15.320 --> 00:15:16.870 When you do this 317 00:15:16.870 --> 00:15:19.270 you won’t feel burdened by the one-sided act 318 00:15:19.270 --> 00:15:21.070 of asking someone to review your work 319 00:15:21.070 --> 00:15:24.970 You can exchange feedback on each other’s proposals instead 320 00:15:24.970 --> 00:15:28.920 And since these people are 321 00:15:28.920 --> 00:15:30.620 also aiming to enter the current Webtoon market 322 00:15:30.620 --> 00:15:33.320 they’re likely to have a good understanding 323 00:15:33.320 --> 00:15:34.970 of today’s market situation and genres 324 00:15:35.270 --> 00:15:38.620 If you want to receive feedback from a renowned author 325 00:15:38.620 --> 00:15:42.070 or someone who knows the genre well 326 00:15:42.070 --> 00:15:44.520 even if you write a polite email 327 00:15:44.520 --> 00:15:46.820 you might be lucky to get a reply 328 00:15:46.820 --> 00:15:50.370 There are many authors who may not respond so kindly 329 00:15:50.370 --> 00:15:52.420 It's also a pressure on them 330 00:15:52.420 --> 00:15:56.070 Is it okay to ask such a busy person for help? Like this 331 00:15:56.070 --> 00:15:57.870 But for a peer review 332 00:15:57.870 --> 00:16:00.370 I’ll give feedback on your work 333 00:16:00.370 --> 00:16:02.620 if you give feedback on mine 334 00:16:02.620 --> 00:16:07.569 You can review each other’s work without feeling as much pressure 335 00:16:07.569 --> 00:16:10.869 It’s also beneficial to have the group members discuss 336 00:16:10.869 --> 00:16:13.819 and establish some rules for the peer review process beforehand 337 00:16:13.819 --> 00:16:16.969 That said, I know that not many of you have experience 338 00:16:16.969 --> 00:16:18.569 conducting peer reviews 339 00:16:18.569 --> 00:16:21.569 So, I’d like to introduce some rules 340 00:16:21.569 --> 00:16:23.369 that I’ve personally used for peer reviews 341 00:16:23.369 --> 00:16:28.219 First is initial review or initial evaluation 342 00:16:28.219 --> 00:16:30.919 This is the assessment you do at the very start 343 00:16:30.919 --> 00:16:34.069 You quickly read through the proposal 344 00:16:34.069 --> 00:16:38.369 without pausing for questions, hesitation 345 00:16:38.369 --> 00:16:39.819 or searching for things 346 00:16:39.819 --> 00:16:42.969 After skimming through it, you share your first impressions 347 00:16:42.969 --> 00:16:46.269 Don’t focus on pointing out specific issues 348 00:16:46.269 --> 00:16:47.719 or identifying problems 349 00:16:47.719 --> 00:16:49.519 Instead, just read lightly and then 350 00:16:49.519 --> 00:16:51.919 share what immediately comes to mind 351 00:16:51.919 --> 00:16:53.569 It might not be that productive 352 00:16:53.569 --> 00:16:57.019 It was fun! It was difficult 353 00:16:57.019 --> 00:16:59.469 I don't know what it is about yet 354 00:16:59.469 --> 00:17:01.969 These simple impressions are enough 355 00:17:01.969 --> 00:17:05.869 They can help determine how readable the proposal is 356 00:17:05.869 --> 00:17:09.419 After that, the group can go through the proposal again 357 00:17:09.419 --> 00:17:12.969 after having completed that initial evaluation 358 00:17:12.969 --> 00:17:16.319 At this point, it’s helpful to refer to the pre-determined rules 359 00:17:16.319 --> 00:17:18.119 or criteria set by the peer review group 360 00:17:18.119 --> 00:17:21.119 I’ve prepared some example questions 361 00:17:21.119 --> 00:17:24.419 that can be used, such as these 362 00:17:24.419 --> 00:17:26.219 Questions about the genre 363 00:17:26.219 --> 00:17:28.919 Does the genre identified by the author in the proposal 364 00:17:28.919 --> 00:17:31.819 align with what’s depicted in the synopsis? 365 00:17:31.819 --> 00:17:34.069 The author labeled it as action 366 00:17:34.069 --> 00:17:36.569 but the synopsis feels more like a romance 367 00:17:36.569 --> 00:17:40.419 Romance isn’t a commercially weak genre either 368 00:17:40.419 --> 00:17:42.619 Wouldn’t it be better to define this as romance 369 00:17:42.619 --> 00:17:45.669 to take the advantage? 370 00:17:45.669 --> 00:17:48.819 Friends or colleagues of the author can suggest this 371 00:17:48.819 --> 00:17:51.769 because the author might already be firmly convinced 372 00:17:51.769 --> 00:17:53.119 that it's an action piece 373 00:17:53.119 --> 00:17:55.069 and may not think about romance too much 374 00:17:55.069 --> 00:17:58.019 A third party can come up with such ideas quite easily 375 00:17:58.019 --> 00:18:01.619 Does the protagonist show noticeable change in the story? 376 00:18:01.619 --> 00:18:04.069 This is something we emphasized 377 00:18:04.069 --> 00:18:06.369 as most important when preparing our story 378 00:18:06.369 --> 00:18:08.569 so we need to check if this is 379 00:18:08.569 --> 00:18:10.319 well-reflected in the synopsis 380 00:18:10.319 --> 00:18:13.719 Do you remember what role Act 1 381 00:18:13.719 --> 00:18:16.569 should fulfill, according to Syd Field? 382 00:18:16.919 --> 00:18:18.069 It's setup 383 00:18:18.069 --> 00:18:22.369 Provide feedback on whether the character of the protagonist is clear 384 00:18:22.369 --> 00:18:25.469 by the time you finish reading Act 1 385 00:18:25.469 --> 00:18:28.669 This part is particularly difficult for writers 386 00:18:28.669 --> 00:18:31.869 because, for the writer, the protagonist’s character 387 00:18:31.869 --> 00:18:33.969 is such an obvious presence 388 00:18:33.969 --> 00:18:36.119 It becomes tricky to figure out 389 00:18:36.119 --> 00:18:38.169 how much explanation is necessary 390 00:18:38.169 --> 00:18:41.019 whether the explanation is too much or too little 391 00:18:41.019 --> 00:18:43.869 and finding that middle ground is 392 00:18:43.869 --> 00:18:47.369 However, surprisingly, third-party readers can understand this easily 393 00:18:47.369 --> 00:18:49.069 and quickly come up with feedback, such as this 394 00:18:49.069 --> 00:18:51.819 Isn’t there a lack of explanation about the protagonist? 395 00:18:51.819 --> 00:18:54.469 You didn’t explain the protagonist’s abilities 396 00:18:54.469 --> 00:18:57.519 Why is the protagonist so obsessed with this thing? 397 00:18:57.519 --> 00:19:00.768 When the writer hears this feedback, their immediate thought goes 398 00:19:00.768 --> 00:19:02.968 Did I not mention that? 399 00:19:02.968 --> 00:19:06.468 That’s exactly why we conduct peer reviews 400 00:19:06.468 --> 00:19:08.668 When you receive this type of feedback 401 00:19:08.668 --> 00:19:10.968 you should feel grateful and pleased 402 00:19:11.868 --> 00:19:14.818 rather than thinking, you should have figured that out yourself 403 00:19:14.818 --> 00:19:16.868 This mindset does not deserve a peer review 404 00:19:16.868 --> 00:19:20.768 Another thing to check in Act 1 is 405 00:19:20.768 --> 00:19:23.818 whether an important event occurs 406 00:19:23.818 --> 00:19:26.968 This is because such an event 407 00:19:26.968 --> 00:19:29.568 will create the bridge leading to Act 2 408 00:19:29.568 --> 00:19:34.018 In Act 2, not every minor event 409 00:19:34.018 --> 00:19:35.568 will be included in detail 410 00:19:35.568 --> 00:19:38.518 Because we have limits in our length 411 00:19:38.518 --> 00:19:42.318 But the key events should still be arranged 412 00:19:42.318 --> 00:19:45.418 Check for whether these events are arranged coherently 413 00:19:45.418 --> 00:19:47.418 or if something feels off 414 00:19:47.418 --> 00:19:49.868 like a necessary part 415 00:19:49.868 --> 00:19:51.418 seems to be missing 416 00:19:51.418 --> 00:19:54.668 A third-party reader can easily catch such issues 417 00:19:54.668 --> 00:19:57.318 When writers receive this feedback 418 00:19:57.318 --> 00:20:00.068 they will then realize 419 00:20:00.068 --> 00:20:03.618 I left that part out and forgot about it 420 00:20:03.618 --> 00:20:05.718 For example, let’s say the protagonist 421 00:20:05.718 --> 00:20:08.568 gains a new ability at a certain point 422 00:20:08.568 --> 00:20:10.568 but the writer forgets to include that part in the synopsis 423 00:20:10.568 --> 00:20:14.118 It mentions the protagonist using the new ability in the next section 424 00:20:14.118 --> 00:20:16.718 When did the protagonist acquire this ability? 425 00:20:16.718 --> 00:20:19.868 That could be the feedback for it 426 00:20:19.868 --> 00:20:24.518 In Act 3, was the conflict built up in Act 2 ultimately resolved? 427 00:20:24.518 --> 00:20:27.168 Does the protagonist’s decision make sense? 428 00:20:27.168 --> 00:20:28.518 If it doesn’t seem convincing 429 00:20:28.518 --> 00:20:31.118 there may have been an issue in Act 2 430 00:20:31.118 --> 00:20:34.368 The lack of coherence in the events 431 00:20:34.368 --> 00:20:37.318 may have caused readers to react 432 00:20:37.318 --> 00:20:40.668 Why did the protagonist suddenly make that decision? 433 00:20:40.668 --> 00:20:43.468 We had this example 434 00:20:43.468 --> 00:20:47.468 This protagonist spent Act 2 fighting to determine the strongest 435 00:20:47.468 --> 00:20:48.768 but in Act 3 436 00:20:48.768 --> 00:20:51.268 he says, I’ve never enjoyed fighting 437 00:20:51.268 --> 00:20:53.468 Life is meaningless 438 00:20:53.468 --> 00:20:55.268 That would not make sense 439 00:20:55.268 --> 00:20:59.368 It's the coherence of events in Act 2 had problems 440 00:20:59.368 --> 00:21:02.568 Here’s an additional question I like to ask 441 00:21:02.568 --> 00:21:06.668 As a reader, do you think it feels rewarding 442 00:21:06.668 --> 00:21:09.718 to have followed along up to this point? 443 00:21:10.668 --> 00:21:13.118 But that last question, honestly 444 00:21:13.118 --> 00:21:16.718 isn’t necessarily something the writer must always consider 445 00:21:16.718 --> 00:21:19.468 For example, in Act 3, the protagonist 446 00:21:19.468 --> 00:21:21.818 meets an honorable and tragic death 447 00:21:21.818 --> 00:21:23.668 As in the earlier example 448 00:21:23.668 --> 00:21:26.968 hey sacrifice their life to save their enemy 449 00:21:26.968 --> 00:21:29.068 Some peer reviews may say 450 00:21:29.068 --> 00:21:33.268 The protagonist dying feels so pointless 451 00:21:33.268 --> 00:21:35.468 It doesn’t mean you should immediately respond 452 00:21:35.468 --> 00:21:37.218 Okay, I’ll keep them alive 453 00:21:37.218 --> 00:21:40.918 This is because this is merely about the structure 454 00:21:40.918 --> 00:21:44.868 and depending on how the writer develops the manuscript 455 00:21:44.868 --> 00:21:48.318 that sense of futility could evolve into something moving 456 00:21:48.318 --> 00:21:52.068 There are limitations to how this can be described 457 00:21:52.068 --> 00:21:55.268 The protagonist meets their death, and everyone remembers them 458 00:21:55.268 --> 00:21:59.817 What? They died? That would be the reaction for this synopsis 459 00:21:59.817 --> 00:22:01.867 But in a manuscript, they may understand 460 00:22:01.867 --> 00:22:06.267 I’ll make it neither futile nor just sad 461 00:22:06.267 --> 00:22:09.767 but instead, a deeply impact ending that stays 462 00:22:09.767 --> 00:22:12.767 in the reader’s memory for a long time 463 00:22:12.767 --> 00:22:14.967 Let's recap my comment 464 00:22:14.967 --> 00:22:17.217 Does it feel rewarding to have followed the story to this point? 465 00:22:17.217 --> 00:22:19.117 I asked that for a reason 466 00:22:19.117 --> 00:22:21.367 Here's an example 467 00:22:22.567 --> 00:22:25.967 after an epic adventure 468 00:22:25.967 --> 00:22:28.167 the ending is, oh, it was all just a dream 469 00:22:28.167 --> 00:22:29.867 Don't write stories like this 470 00:22:29.867 --> 00:22:33.517 We often joke about these dream endings 471 00:22:33.517 --> 00:22:35.867 in a very sarcastic sense 472 00:22:35.867 --> 00:22:38.667 Even without going as far as saying 473 00:22:38.667 --> 00:22:40.517 it was all a dream or an illusion 474 00:22:41.267 --> 00:22:43.667 there are cases where writers 475 00:22:43.667 --> 00:22:46.767 intentionally create endings that disappoint readers 476 00:22:46.767 --> 00:22:49.467 If it’s a deliberate choice 477 00:22:49.467 --> 00:22:51.817 there’s no reason for third parties to stop them 478 00:22:51.817 --> 00:22:54.867 But for long Webtoons 479 00:22:54.867 --> 00:22:58.567 I would personally ask the writer to consider 480 00:22:58.567 --> 00:23:00.917 how much time readers have invested in the story 481 00:23:00.917 --> 00:23:03.217 If it has 100 episodes 482 00:23:03.217 --> 00:23:06.517 readers would have spent over two years on it 483 00:23:06.517 --> 00:23:09.717 If, after all that, the ending is that it was a dream 484 00:23:09.717 --> 00:23:13.967 followed by the protagonist saying, time to go to school 485 00:23:13.967 --> 00:23:16.767 it will make the readers very sad 486 00:23:16.767 --> 00:23:19.317 And why would you want to do that? 487 00:23:19.317 --> 00:23:22.567 If the writer doesn’t have a clear answer 488 00:23:22.567 --> 00:23:26.767 then I’d suggest that you consider 489 00:23:26.767 --> 00:23:28.617 being a bit more considerate of your readers 490 00:23:28.617 --> 00:23:30.767 But this is ultimately up to the writer 491 00:23:30.767 --> 00:23:34.217 and I don’t believe it’s my place to dictate 492 00:23:34.217 --> 00:23:36.317 Still, I think it’s good for writers 493 00:23:36.317 --> 00:23:39.517 to be aware of these reactions, that they may feel sad 494 00:23:39.517 --> 00:23:42.117 that they might dislike some endings 495 00:23:42.117 --> 00:23:45.067 If you still want it, then go for it 496 00:23:45.067 --> 00:23:48.317 If not, it might be worth 497 00:23:48.317 --> 00:23:51.567 reconsidering and making adjustments 498 00:23:51.567 --> 00:23:55.617 Revising the Manuscript 499 00:23:55.617 --> 00:23:59.317 After receiving a pile of feedback from your peers 500 00:23:59.317 --> 00:24:01.917 you might feel a bit down 501 00:24:01.917 --> 00:24:05.817 or you might be pleasantly surprised to realize what you forgot about 502 00:24:05.817 --> 00:24:08.967 Either way, it’s now time to finalize 503 00:24:08.967 --> 00:24:10.917 and revise your plan based on that feedback 504 00:24:10.917 --> 00:24:12.617 If the peer review went well 505 00:24:12.617 --> 00:24:15.417 your plan is likely already somewhat polished 506 00:24:15.417 --> 00:24:18.467 but referring to a checklist while doing the final revision 507 00:24:18.467 --> 00:24:20.367 could still be helpful 508 00:24:20.367 --> 00:24:24.567 Here are the final questions I’d like you to consider 509 00:24:24.567 --> 00:24:28.917 Does the synopsis maintain an objective perspective overall? 510 00:24:28.917 --> 00:24:31.317 For example, sometimes the writer’s voice 511 00:24:31.317 --> 00:24:33.867 suddenly pops up in the synopsis 512 00:24:33.867 --> 00:24:35.017 What I mean is 513 00:24:35.017 --> 00:24:40.367 for something that is clearly a fantasy story 514 00:24:40.367 --> 00:24:42.917 thing are happening, this and that 515 00:24:42.917 --> 00:24:46.367 and then it features contradictions that are ruining our society today 516 00:24:47.217 --> 00:24:50.667 or comments on politics of the leaders of where 517 00:24:50.667 --> 00:24:54.066 Wait, why is the writer suddenly intruding here? 518 00:24:54.066 --> 00:24:59.716 Or, it narrates, just like 519 00:24:59.716 --> 00:25:01.366 the climate change that plagues us all... 520 00:25:01.366 --> 00:25:05.016 It’s evident that objectivity is not being maintained 521 00:25:05.016 --> 00:25:07.516 Please consider whether 522 00:25:07.516 --> 00:25:09.766 such commentary is truly necessary 523 00:25:10.266 --> 00:25:14.966 Writers often lose objectivity about their characters 524 00:25:14.966 --> 00:25:15.916 which is understandable 525 00:25:15.916 --> 00:25:18.816 because they have affection for their characters 526 00:25:18.816 --> 00:25:22.466 However, things like suddenly criticizing 527 00:25:22.466 --> 00:25:25.166 defending, or explaining the character 528 00:25:25.166 --> 00:25:28.166 in the synopsis are entirely unnecessary 529 00:25:28.166 --> 00:25:31.316 Jane Doe wasn’t actually a bad person 530 00:25:31.316 --> 00:25:34.516 but they made the wrong choice in this situation 531 00:25:34.516 --> 00:25:37.766 However, they will deeply regret this choice later 532 00:25:37.766 --> 00:25:38.916 With this, readers will 533 00:25:38.916 --> 00:25:44.316 not say that oh, they’re not a bad person 534 00:25:44.316 --> 00:25:48.016 but rather, okay, so what? 535 00:25:48.016 --> 00:25:52.516 What readers feel in the story is everything for them 536 00:25:52.516 --> 00:25:54.816 When the writer tells them otherwise 537 00:25:54.816 --> 00:25:56.416 that this character isn't bad 538 00:25:56.416 --> 00:25:58.216 it creates resistance 539 00:25:58.216 --> 00:26:01.716 So, if it were me, I’d omit such descriptions 540 00:26:01.716 --> 00:26:05.316 If your beloved character Jane Doe 541 00:26:05.316 --> 00:26:07.316 seems too much like a bad person 542 00:26:07.316 --> 00:26:11.216 I think it’s better to simply revise the description or narration itself 543 00:26:12.016 --> 00:26:17.066 This is a mistake often made by writers 544 00:26:17.066 --> 00:26:18.916 confident in their story’s events 545 00:26:18.916 --> 00:26:21.516 It’s worth considering whether you’re unnecessarily 546 00:26:21.516 --> 00:26:23.516 listing overly detailed events 547 00:26:23.516 --> 00:26:26.266 For example, it's a mystery story 548 00:26:26.266 --> 00:26:28.516 with an amazing mystery trick 549 00:26:28.516 --> 00:26:32.866 The idea behind the locked-room setup is brilliant 550 00:26:32.866 --> 00:26:34.566 and you’re so eager to showcase it 551 00:26:34.566 --> 00:26:36.916 You'd love to talk about it 552 00:26:36.916 --> 00:26:39.566 In a one-page synopsis, you might write 553 00:26:39.566 --> 00:26:41.816 The second murder used such-and-such trick 554 00:26:41.816 --> 00:26:45.316 It appears to be a locked-room murder, but actually 555 00:26:45.316 --> 00:26:47.416 this happened instead of that, and so and so 556 00:26:47.416 --> 00:26:49.116 Turning the bookshelf here 557 00:26:49.116 --> 00:26:51.466 will reveal that it's actually fake, so on 558 00:26:51.466 --> 00:26:54.566 You might go into exhaustive detail 559 00:26:54.566 --> 00:26:57.616 Unfortunately, from the reader’s perspective 560 00:26:57.616 --> 00:26:59.616 it still feels like, so what? 561 00:26:59.616 --> 00:27:03.416 Such details are unlikely to contribute 562 00:27:03.416 --> 00:27:05.516 to the overall flow leading to the conclusion 563 00:27:05.516 --> 00:27:07.666 Those are merely details 564 00:27:07.666 --> 00:27:09.416 The important thing is whether 565 00:27:09.416 --> 00:27:13.466 the detective cleverly uncovered the truth of the trick 566 00:27:13.466 --> 00:27:17.066 or if they were defeated by the intricacy of the trick 567 00:27:17.066 --> 00:27:19.316 That's the big gist of the storyline 568 00:27:19.316 --> 00:27:21.316 Details disconnected from that should 569 00:27:21.316 --> 00:27:24.216 unfortunately, be considered for removal 570 00:27:24.216 --> 00:27:29.816 However, if the intricacy of the trick is 571 00:27:29.816 --> 00:27:32.966 a major marketing point for the work 572 00:27:32.966 --> 00:27:36.366 I’d recommend creating a separate section in the project proposal 573 00:27:36.366 --> 00:27:40.816 Call it Example of the Trick, or Sample Episode 574 00:27:40.816 --> 00:27:43.216 If you’re confident in the tricks 575 00:27:43.216 --> 00:27:46.166 and if your work features a lot of good tricks 576 00:27:46.166 --> 00:27:48.815 you need to add a section dedicated for that 577 00:27:48.815 --> 00:27:52.115 If you force these into the synopsis 578 00:27:52.115 --> 00:27:55.215 it's like seeing a patch of stickers 579 00:27:55.215 --> 00:27:57.465 or colored highlights on an X-ray image 580 00:27:57.465 --> 00:28:00.215 which feels bizarre and uncomfortable 581 00:28:00.215 --> 00:28:04.665 Another point to be cautious of here is descriptions 582 00:28:04.665 --> 00:28:08.965 Check whether your descriptions are overly verbose 583 00:28:08.965 --> 00:28:11.015 For instance 584 00:28:11.015 --> 00:28:15.765 some writers want to describe characters in great visual detail 585 00:28:15.765 --> 00:28:18.765 thinking it’s very important 586 00:28:18.765 --> 00:28:21.865 For example, reading this in a synopsis 587 00:28:21.865 --> 00:28:24.315 may throw the reader off 588 00:28:24.315 --> 00:28:27.115 A woman with golden blonde hair cascading like a waterfall 589 00:28:27.115 --> 00:28:29.915 and ivory-like skin so translucent it seems almost transparent 590 00:28:29.915 --> 00:28:32.065 approaches with a sound like silk brushing against ice 591 00:28:32.065 --> 00:28:35.115 This feels more like a novel than a synopsis 592 00:28:35.115 --> 00:28:38.115 When the writer's asked about this 593 00:28:38.115 --> 00:28:41.915 they can say that the character is really beautiful 594 00:28:41.915 --> 00:28:44.865 so they couldn’t leave out the description 595 00:28:44.865 --> 00:28:46.715 I hear this sometimes 596 00:28:46.715 --> 00:28:48.915 I completely understand this 597 00:28:48.915 --> 00:28:50.915 I’d recommend moving this description 598 00:28:50.915 --> 00:28:53.965 to a separate section, as we talked about before 599 00:28:53.965 --> 00:28:57.515 Let's use our Character Description section of the proposal 600 00:28:57.515 --> 00:29:01.565 Descriptions like golden blonde hair 601 00:29:01.565 --> 00:29:05.965 and translucent skin like ice, they can go there 602 00:29:05.965 --> 00:29:11.015 and keep the synopsis itself clean and concise 603 00:29:11.015 --> 00:29:13.865 The final step is spelling and grammar 604 00:29:13.865 --> 00:29:17.415 Some people say that they can simply use a spell checker 605 00:29:17.415 --> 00:29:20.365 But don’t let your guard down 606 00:29:20.365 --> 00:29:25.365 Spell checkers don’t know the unique terms of your fantasy world 607 00:29:25.365 --> 00:29:29.215 So they may say strange things 608 00:29:29.215 --> 00:29:34.065 For example, if your world includes 609 00:29:34.065 --> 00:29:38.165 a group called the Alashica Tribe 610 00:29:38.165 --> 00:29:40.715 And the spell checker change it all to Alaska 611 00:29:40.715 --> 00:29:43.065 You’ll need to review 612 00:29:43.065 --> 00:29:44.765 these cases manually 613 00:29:44.765 --> 00:29:48.315 Another issue might be awkward sentences 614 00:29:48.315 --> 00:29:52.365 Fixing these on your own can be challenging 615 00:29:52.365 --> 00:29:55.665 For this part, even if the person isn’t familiar with comics 616 00:29:55.665 --> 00:29:58.415 you can ask someone skilled in writing 617 00:29:58.415 --> 00:30:01.815 to check if there are awkward sentences 618 00:30:01.815 --> 00:30:05.665 But why does getting hit by a truck lead to reincarnation in another world? 619 00:30:05.665 --> 00:30:08.915 That’s how these stories work, and move on 620 00:30:08.915 --> 00:30:13.315 After addressing spelling and grammar issues 621 00:30:13.315 --> 00:30:15.615 and completed revisions, you’ll likely have 622 00:30:15.615 --> 00:30:17.665 a polished project proposal in your hands 623 00:30:17.665 --> 00:30:20.465 Of course, this isn’t the kind of work 624 00:30:20.465 --> 00:30:23.315 you can type out in an hour 625 00:30:23.315 --> 00:30:26.115 I know that this isn't that kind of work 626 00:30:26.115 --> 00:30:28.615 Now that the lecture is over 627 00:30:28.615 --> 00:30:32.265 many of you will begin putting this into practice 628 00:30:32.265 --> 00:30:34.365 One of the best parts of video lectures 629 00:30:34.365 --> 00:30:37.315 is that you can revisit them anytime you need 630 00:30:37.315 --> 00:30:39.415 Take advantage of this flexibility 631 00:30:39.415 --> 00:30:41.365 in a way that suits your needs 632 00:30:41.365 --> 00:30:43.415 As we truly wrap up the lecture 633 00:30:43.415 --> 00:30:46.715 there’s one last thing I absolutely want to say 634 00:30:46.715 --> 00:30:48.615 Earlier, I mentioned that 635 00:30:48.615 --> 00:30:52.915 you now likely have a polished project proposal in hand 636 00:30:52.915 --> 00:30:55.964 You might think, okay, time to submit this! 637 00:30:55.964 --> 00:30:58.464 But one proposal alone is not enough 638 00:30:58.464 --> 00:31:02.364 Sometimes, we come across debut works that are so outstanding 639 00:31:02.364 --> 00:31:04.614 for a debut work 640 00:31:04.614 --> 00:31:08.464 However, in most cases, such authors have 641 00:31:08.464 --> 00:31:11.114 a wealth of practice works under their belt 642 00:31:11.114 --> 00:31:13.064 It’s incredibly rare 643 00:31:13.064 --> 00:31:15.314 for one polished project proposal 644 00:31:15.314 --> 00:31:17.814 to turn directly into a masterpiece and hit success 645 00:31:18.714 --> 00:31:22.314 Behind it, there’s often a long history 646 00:31:22.314 --> 00:31:24.364 of failures and trial-and-error 647 00:31:24.364 --> 00:31:26.964 I'm saying this because 648 00:31:26.964 --> 00:31:29.314 some people say this 649 00:31:29.314 --> 00:31:31.614 I won’t settle for creating a mediocre piece 650 00:31:31.614 --> 00:31:33.814 I’ll only make truly great works 651 00:31:33.814 --> 00:31:36.964 You may not believe me there are people like this 652 00:31:36.964 --> 00:31:38.964 I hear this very often 653 00:31:38.964 --> 00:31:41.914 I only want to work on my debut work 654 00:31:41.914 --> 00:31:43.664 I’m in a hurry 655 00:31:43.664 --> 00:31:46.414 If it’s not good enough to debut, it’s a waste of time 656 00:31:46.414 --> 00:31:48.664 Such people might start a piece 657 00:31:48.664 --> 00:31:50.664 drop it, start another, and abandon it again 658 00:31:50.664 --> 00:31:52.914 after writing just the beginning 659 00:31:52.914 --> 00:31:54.064 a bit on the proposal 660 00:31:54.064 --> 00:31:56.414 but that's not debut-worthy either, so start over 661 00:31:56.414 --> 00:31:59.564 They end up tinkering with fragments 662 00:31:59.564 --> 00:32:02.964 and eventually stop creating altogether 663 00:32:03.264 --> 00:32:07.664 This is not a method I recommend 664 00:32:07.664 --> 00:32:11.114 People often leave ideas and projects unfinished 665 00:32:11.114 --> 00:32:15.014 because nothing feels good enough 666 00:32:15.014 --> 00:32:17.014 to meet their standards 667 00:32:17.814 --> 00:32:20.964 This reminds me of someone who says 668 00:32:20.964 --> 00:32:24.964 I’ll only swing for spectacular home runs 669 00:32:24.964 --> 00:32:27.114 And ends up standing idle at the plate 670 00:32:27.114 --> 00:32:29.564 not swinging at any pitch that doesn't feel like it 671 00:32:29.964 --> 00:32:33.814 Or in a different example 672 00:32:33.814 --> 00:32:36.214 I’ll save all my energy 673 00:32:36.214 --> 00:32:39.514 for the upcoming Boston Marathon 674 00:32:39.514 --> 00:32:41.914 but they can’t even run 30 minutes on a treadmill 675 00:32:41.914 --> 00:32:44.464 This is closer to this case 676 00:32:44.464 --> 00:32:47.464 Does this analogy seem absurd? 677 00:32:47.464 --> 00:32:49.814 Will they ever make it to the Korean Series? 678 00:32:49.814 --> 00:32:51.414 Not even make an amateur baseball league 679 00:32:51.414 --> 00:32:53.314 They don't practice for it 680 00:32:53.314 --> 00:32:55.914 Similarly, that runner wouldn’t make it 5 km 681 00:32:55.914 --> 00:32:58.314 They're not running at all 682 00:32:58.314 --> 00:33:02.164 It may seem like I’m stating the obvious 683 00:33:02.164 --> 00:33:04.064 but writing a story is the same thing 684 00:33:04.064 --> 00:33:06.164 I’m not doing anything now 685 00:33:06.164 --> 00:33:09.964 but when a brilliant, debut-worthy idea strikes 686 00:33:09.964 --> 00:33:11.714 I’ll give it my all! 687 00:33:11.714 --> 00:33:16.164 Chances are that such an idea will never come to you 688 00:33:16.164 --> 00:33:18.814 Why? Because finding and developing ideas 689 00:33:18.814 --> 00:33:22.214 is a skill in itself, and if you don’t practice it, it won’t grow 690 00:33:22.214 --> 00:33:25.164 It’s not about saying pouring everything into this one project 691 00:33:25.164 --> 00:33:27.464 Instead, it’s like what figure skater Kim Yuna once said 692 00:33:27.464 --> 00:33:30.214 What’s the point of thinking? You just do it 693 00:33:30.214 --> 00:33:32.264 The same goes for our planning process 694 00:33:32.264 --> 00:33:34.664 You won’t suddenly receive divine inspiration 695 00:33:34.664 --> 00:33:36.364 while walking down the street 696 00:33:36.364 --> 00:33:39.464 Instead, take small ideas, develop them 697 00:33:39.464 --> 00:33:41.913 and practice creating proposals 698 00:33:41.913 --> 00:33:45.413 Even if the story seems trivial, the more you work on it 699 00:33:45.413 --> 00:33:47.063 the more you might feel disappointed 700 00:33:47.063 --> 00:33:50.263 Despite that, see it through to the end 701 00:33:50.263 --> 00:33:52.813 and think about your protagonist in the end 702 00:33:52.813 --> 00:33:57.113 Do they remain a coward but gain a little courage? 703 00:33:57.113 --> 00:34:00.013 Do they still have low self-esteem 704 00:34:00.013 --> 00:34:03.313 but no longer have negative thoughts? 705 00:34:03.313 --> 00:34:06.363 Are they still an outcast, but 706 00:34:06.363 --> 00:34:09.263 now they can reach out to someone? 707 00:34:09.263 --> 00:34:12.963 Think about where your protagonist ends up 708 00:34:12.963 --> 00:34:14.363 and don’t stop there 709 00:34:14.363 --> 00:34:17.313 Turn it into a polished project proposal 710 00:34:17.313 --> 00:34:19.163 That's a very important practice 711 00:34:19.163 --> 00:34:22.113 This builds up until you’re ready for the real thing 712 00:34:22.113 --> 00:34:26.013 I’ll work when the real thing comes along? 713 00:34:26.013 --> 00:34:28.863 Practice leads to the real thing 714 00:34:28.863 --> 00:34:31.263 And for practice to be effective 715 00:34:31.263 --> 00:34:34.363 especially before it becomes a habit 716 00:34:34.363 --> 00:34:35.863 it needs to be easy and simple 717 00:34:35.863 --> 00:34:38.413 Once it becomes second nature, it’s fine 718 00:34:38.413 --> 00:34:40.313 It'll come reflexively 719 00:34:40.313 --> 00:34:43.263 But before that, if it’s too overwhelming 720 00:34:43.263 --> 00:34:45.713 it’s hard to practice effectively 721 00:34:45.713 --> 00:34:48.563 If someone told me to do 100 sit-ups every day 722 00:34:48.563 --> 00:34:50.113 I wouldn’t do it either 723 00:34:50.113 --> 00:34:53.913 But until then, let’s start small, you can do that 724 00:34:53.913 --> 00:34:55.463 like doing five sit-ups a day 725 00:34:55.463 --> 00:34:59.013 So, this lecture was designed 726 00:34:59.013 --> 00:35:01.313 to make Webtoon story planning 727 00:35:01.313 --> 00:35:03.863 feel as approachable as possible 728 00:35:03.863 --> 00:35:07.413 I'm not sure if you're feeling that right now 729 00:35:07.413 --> 00:35:11.513 I sincerely hope this lecture has sparked 730 00:35:11.513 --> 00:35:13.663 even a little motivation for those of you 731 00:35:13.663 --> 00:35:15.763 aiming to plan webtoon stories 732 00:35:15.763 --> 00:35:19.563 Thank you for your hard work, great job everyone 733 00:35:20.063 --> 00:35:20.763 Purpose of a Synopsis To showcase the structure of the story 734 00:35:20.763 --> 00:35:21.513 It ensures that Acts 1 to 3 are well-arranged, with Act 2 expanding conflicts while maintaining logical coherence 735 00:35:21.513 --> 00:35:22.263 leading to a satisfying conclusion of the story 736 00:35:22.263 --> 00:35:23.013 Peer Review Feedback 737 00:35:23.013 --> 00:35:23.813 What is Peer Review? A collaborative process where everyone evaluates a work together Helps the author identify elements they may have missed 738 00:35:23.813 --> 00:35:24.513 For highly genre-specific projects, feedback should come from individuals knowledgeable about the genre 739 00:35:24.513 --> 00:35:25.263 Consider the perspectives of platform managers or judges who will read your proposal when selecting your feedback audience 740 00:35:25.263 --> 00:35:26.013 Advantages of Peer Review 741 00:35:26.013 --> 00:35:26.763 Less pressure compared to directly asking for individual feedback 742 00:35:26.763 --> 00:35:27.563 Feedback is informed by current market trends and genre knowledge 743 00:35:27.563 --> 00:35:28.463 Revising 744 00:35:28.463 --> 00:35:29.413 Checklist for Final Revision Is the synopsis written from an objective perspective? 745 00:35:29.413 --> 00:35:30.363 Are unnecessary, overly detailed events included? Is the description overly verbose? 746 00:35:30.363 --> 00:35:31.263 Have spelling and grammar been checked? Have awkward sentences been revised? 747 00:35:31.263 --> 00:35:32.213 Mindset for Creating an Outstanding Debut Work 748 00:35:32.213 --> 00:35:33.113 Remember that exceptional debut works are often preceded by numerous failures and iterations 749 00:35:33.113 --> 00:35:34.063 Develop the habit of working on small ideas, refining them into proposals 750 00:35:34.063 --> 00:35:34.963 Practice leads to readiness for the real deal