The Road to Manga - Creating a Concept for a Short Story 101 | Olga Rogalski | Skillshare

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The Road to Manga - Creating a Concept for a Short Story 101

teacher avatar Olga Rogalski, Professional Mangaka and Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (28m)
    • 1. About this course

    • 2. Introduction

    • 3. A few things to consider

    • 4. Business Secrets

    • 5. The Topic

    • 6. Getting your ideas organised

    • 7. Execution

    • 8. The Script

    • 9. Class Project

    • 10. Conclusion

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About This Class

Have you ever wished to draw your own manga but have difficulty when it comes to planning out your project? Or are you an illustrator, who wants to go into sequential art? Then this course is for you. 

My name is Olga Rogalski from Studio Oruga. I have published manga professionally and have been in love with manga for many many years. In this course I want to teach you my techniques. In this part of my course series I will be teaching you how to turn a manga idea into an executable concept for a short story.  One of the first things I learned, when I started drawing manga, was the importance to be able to portray a story on a limited amount of pages. Whether for a contest or for a publisher, this is a skill that is absolutely essential!  Now, I would like to share my knowledge with you. Let´s get those amazing ideas that are still stuck in your head onto paper! So let´s begin!

Meet Your Teacher

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Olga Rogalski

Professional Mangaka and Illustrator


It is never too late to start...

That is what I told myself when I first took up drawing seriously at 18 with the big idea of becoming a professional mangaka. Of seeing my books in the bookstores and touching the hearts and minds of readers.

A shy girl from a poor immigrant family in a sleepy provincial village in Bavaria, without any connections or funds. I knew that I would have to learn fast, be bold, be courageous. And I knew that I would make my dream a reality.

And I did.

Not right away but the following 4 years of constant study, self-imposed drawing bootcamps, searching, learning, project d... See full profile

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1. About this course: Have you ever wished to draw your own Munger? But have difficulty when it comes to planning your own project? Or are you an illustrative who wants to go into sequential art? Then this course is for you. My name is Olga regards give from studio yoga. I have published Munger professionally, and I have been in love with Munger for many, many years. In this part of my course, Siri's I will be teaching you how to turn among idea in Don't execute herbal concept for a short story. One of the first things I learned when I start drawing Munger was importance off being able to portray a story on the limited amount of pages, whether four contest or for a publisher, This is a skill that is absolutely essential. Now. I would like to share my knowledge with you. Let's get this amazing idea that are still stuck in your head onto paper. So let's begin 2. Introduction: do you have the dream off grading, among other touches, the heart of readers. But when it sit down and try to think of a concept, you are probably thinking about one off those super long stories like narrow toe bleach, Dragon balance on ensured an E pose. You might start to ride the story down, but the task is so daunting, and it is so difficult to keep track off all the characters and storylines that the project ends up being abandoned. If this happened to you, you're not alone. This is one of the most common mistakes beginners make, and almost everybody has made it. That is giving yourself a challenge that is just too big. You should realize that most often they're not. People who created such long stories did not start out with them Before attempting to create a project with 2050 or more volumes, they worked on shorter stories one shorts off under 50 pages or one volume stories. You have to learn to pace yourself before you attempt something big. You have to know how many pages you will need for certain scenes. Get a feeling about your pace, even experiment with your style. And for that short stories are perfect. Don't try to emulate. Oppose length Munger. I mean, I get it. It has a ton off. Also characters, awesome storylines and character development, but without assistance. And without a big publisher being your fortune to draw it, you are sitting yourself up for disaster. Don't start with anything that will take more than a year to accomplish when you're a beginner, usually the Munger that you see but popular America is not. Their debut. Work starts more in gain experience. Chances are you will not complete your first project. Your skills might improve so much that by page 10 or 20 the quality off your first pages might give you a scare. Or you might lose interest, which is why doing short stories in the beginning is so important. You have to get the experience off finishing something. Also, you need to get experience off telling a story at a small scale before proceeding to something bigger. You know, you can tell a story on 5 to 8 pages or 16 or 20 actually, one off the reasons people tend to start with an EP assess Project ISS, because they never learned how to tell a story in a small scale and end up literally drawing themselves into a corner and abandoning their monstrosity off story because they lost the threat or grew fed up with it. Doing a short story will teach you what is essential to your story and what can be left out or what can be compressed. Keep it simple, keep it short and build. Abuse kills with every project, it will be more awesome. More than once, I heard from editors that most Munger projects made by gifted beginners do not make it past Page 20. In that case, those are beginners who were actually lock enough to lend a paid gig with a publisher, and they still failed, since they elect experience the reality off actually having to create a Munger for the publisher paired up with the pressure off that lines and High Expectations letter on our block. Their stories were dropped, the contracts cancelled that they only known how to approach the project and had the experience off. Having finished short stories. Well, you do not have to suffer the same fate in this course. I want to teach you how to create a short story for a manga. When I started out a credit, a number of short stories that they would back the editors was in order to get their opinions. And I also created short stories for contest, which helped me lend a publishing gig. Later on for this course, I thought of the challenge of creating a concept for our 20 page Munger. You could called it the major number or to court and editor, the cursed 20 because so many projects did not get over that number of pages. That means the project was dropped before that. And since this is the trash hold, if you add the cover, your it paged when you want it, do pest it. If you're able to create a 20 page story, you will be able to create 180 page story and more because essentially the process off, creating a bigger project. Similar 3. A few things to consider: don't be a perfectionist. Chances are you expecting too much from yourself, waiting for a miracle to happen. Being to perfectionistic wanting to lend on bestseller. Wanting to be the best to draw the best is to create something similar toe one off your favourite serious. Maybe you're trying to learn everything there is to Munger before trying to jump into the water off publishing. If you continue with that course, it may well be that you will be spending the next 10 years learning all there is to Munger . It's still not feel that you are ready. I know people like that. I have friends like that. I have friends who have had the skills to make it in the Munger world 18 years ago, but did not do anything with them because they just couldn't get over the perfectionism. You don't need it. I get the wish off wanting to create better drawings, I really do. But by aiming for perfection, you are deliberately holding yourself back, putting chains on your hands and feet and wondering why you don't progress this fast us you want. So stop pressuring yourself into being perfect. You don't need to have learned every skill there is before starting to draw. Manga learned while you're doing it. Why? Because actually drawing a Munger will show you various strengths and weaknesses. Lie thinks simple. Be efficient. Efficiency and simplicity will build the bridge that will spend over there based off art blocks, frustration and burnout. Learn the things that actually matter to the story you want to do. You don't need to be able to draw spaceships or makeup when you want to draw a medieval story, and you don't need to be able to draw armor when you're doing a slice off life story around more than time. Life. Do you know how much time it took between the time I took up drawing seriously in between my first submission toe? A publisher. Six months? Why? Because I started drawing manga right away and by doing that quickly. So what has struggled with the most that helped me to streamline my learning process. When you know what skills your leg, you can tackle the issues head on. Sure, I did not get the publishing contract right away. It took me another four years. Still, I got my first contract with a publisher, but I can tell you from experience that going about it in that way made my learning curve in incredibly steep and made me progress extremely fast. Plus, it saved me a couple of years off needless frustration. So stop setting yourself up for failure. Start setting yourself up for success. 4. Business Secrets: I will let you in on a couple of secrets that for whatever reason, nobody talks about one. You don't need perfection for manga. Instead, you need speed and consistency. Let me elaborate. Even when they work for publisher, they don't expect you to drop perfectly. But they expect you to draw fast enough to keep up with the dead lands and to keep the overall quality of your drawings the same. If the quality goes up, as it sometimes does, was enough time and experience good. But if you intend to spend 40 plus hours on one Munger page, then you might be better cut out for illustration to. You don't need to be a detailed monster, but your backgrounds, unless it's your passion. I mean, I get it. I laughed, creating intricate and detailed backgrounds, and it almost ruined my health during my first longer project. So if it's not your thing, don't feel pressure to do it. I will tell you about two things that, according to my editor readers really care about. First is the characters faces like facial expressions, mood hair and second, the story in dialogue. Unless your reader is a big around fetishist there will spent less than fraction off a second on the background. And I'm not saying that having a beautiful background, it's a bad thing. It can certainly add to the mood and raise the quality of your Munger. But should the level of detail in your background be a hurdle that this standing between you in the publication off your Munger, then screw digital backgrounds? You think that the beautiful backgrounds, often seeing among aware drawn by the manga, cut themselves more often than not? They were drawn by assistance or transferred from photos by assistance, or could be basted in from special books, leg scenery collections or are even a screen tone. Also, more and more. Three. DS used things to software like clips, catch up or blender. Why? Because backgrounds take time in time of short when drawing a Munger three references. Some people have this notion that using references is somehow cheating, and it's not, at least when you don't confuse it with scoping in there is a difference. Copying is taking somebody else's artwork and recreating it line for line that is not referencing, even though people sometimes used that term in this context, references taking image material and based on that, developing your own content by taking parts off the references, it's changing it to fit your projects. You can take a post, but draw it from a different angle. You can take the texture off a stone and applied in your own drawings of the ground and so on. You still great, your own composition. You still great, your own art. And that's not cheating that's working smart. As mentioned before, it is quite common to use photos for backgrounds. Oftentimes, Monica will send out their assistance to shoot photos off a certain scenery from different perspectives, and this will be then transferred with ink by using a light table into the background. There, a lot off reference books that are, maybe for exactly that kind of purpose that only for background but also for characters and poses for manikins, Forget wouldn't manikins the artists off the day uses Body Kun body John Stigma archetype and if you want to spend a bit more money but have more and ability and form ability fees in fees and are basically for mobile, squishy dolls that are more anatomically correct than Body Kun and figure archetype and can do more realistic poses, for instance, with fees, and you can really cross the arms. Also, there's an app that you can use like easy poser. It's all perfectly legit. Clip studio paint also has three D models that you can use. Yes, that's blender. It's all perfectly legit, and a repeat. Using these many Kansas reference is not cheating, in fact, proposing them and drawing them. You're teaching your brain to think is three D five materials. You do not need the non plus ultra materials In order to be able to draw Munger, there are some good bye moderately cheap art supplies that you can use. Plus, there is free software out there. So if you are on a budget or are starting out, you can try the following things first. Secure omicron. Find Lina to Della Torre. Start a kid. Three maybe bank software. I would recommend, though getting good quality paper. It doesn't have to be expensive. Try high quality printing paper I for one use color copy. You can find more information about materials in my skill share course about thinking six muscle memory. The secret to drawing faster. It's developing a Muslim memory having a muscle memory. It's like, Well, if your hand is alive and as if it just draws what you want to draw. I know it sounds spooky and awesome. You can develop muscle memory but drawing a lot for a prolonged period of time. The more you do it, the easier it gets for me. After about two months off, drawing more than four hours a day, my hand gets to the point. We're just draws without me having to consciously think about where the line should go. Seven. Unsteady hand Do we have an unsteady hand? There is a trick that I accidentally developed when I waas commuting between my home and art school all those years ago. I started drawing aboard off moving vehicles like trains, buses, and it improved the steadiness off my hands a lot. But a word of caution. You shouldn't drove and you're the one behind the wheel 5. The Topic: decide what the story's about. You can create a short story about anything. Just be aware off the limitations in these are one. Since the Page Countess Limited, you do not have much space for character development and to do toe the same limitations. Your story can deal only with one big problem. So let's say you want to do 20 pages. That is the maximum that I would recommend for a first short story. This case you have about five pages to introduce your character, the location off the story and the problem. Then you have 10 pages toe escalate the problem and five pages to solve the problem. Finish the story and the problem can be anything. It can be confessing to a crash. It can be overcoming a fear, or it can be something totally absurd. Like my favorite sold experiment. Imagine a demon or monster kidnapping the wrong person. The reason can be anything. Maybe the good drunk Or maybe the lost it playing cards with their fellow demon friends. I like that one, since it can have so many interpretations and spending general from comedy to mystery to shone into shoulder toe horror to even voice low for Gustloff. Depending on the character and the Muti are going for. The premise can be developed in all kinds of storylines. Short stories in particular deal with one main topic or conflict. Here are some possible topics one. Achieving dreams. Your character wants to be among Gorka. What's holding them back? Or they want to confess toe there. Crush what happens or a crush confesses to them. What happens. They want to go to Japan or any other country but have no money. What will they do? They want to get to a certain school or university or certain company. Why? What will they do? Two. Facing nightmares. The biggest fear is X, and after they moved to a new house, they discover that it's there, like spiders, ghosts, monsters or they have a certain phobia, and they have to overcome it in order to save our left. One three. What if What if they discovered that they had a special power? What would it be? And what will they do with it? Or what if they want the lottery? Or what if there's a meteor coming or what If on earthquake it, how will they react to the chaos around them? Or whether they should. The photo off a ghost at an abandoned castle 6. Getting your ideas organised: getting your ideas organized. There are a couple of Fendi questions that can help you organize the story. Who is doing what, where, when, why and to what end. One who. This is a short story, remember, so our characters don't have much space for character development, but still you have tow. Ask the same questions about them that you would do for a longer story. You have to have at least a clear picture of who they are. What are their physical trades like? Size, body built, posture, color of the eyes, hair, skin? What happened color of closest to They like to bear. Make a color chart for the characters, which will come in handy when doing illustrations. What are their emotional traits? What are their strength and weaknesses? Do they have phobias? How do they deal with happy and said events? How would they react? Toe Unexpected events? What do they like? What do they hate? Do they have certain motivations? Beliefs. Gold's. Did they have a dream that they gave up and why? What do this motivations and goals have to do with the story? What are their sociological traits? Did they grow up in the big city or in the countryside. Who are their parents and friends? What do they believe in? And how did the rate the characters, if it all, Where did they go to the Kindergarten School University? If they are studying and working in what field to what? What do your characters do in your story? Make a summary off the events. Three. Where where does your story take place? Which town or village? Which country? Which continent, or is it a person all? Maybe it's an alternate universe. For when? What season is a story taking place? What year? What century? If, with this taking place in the past, we can use historical data to back up your story and make it more authentic. The time also has implications regarding the level of technology, the closing, morals and behaviors. Five. Why? Why are the events in your story taking place? Is it something that you characters have initiated, or is it something outside of their control? If they initiated it, what are their motivations, if not what happened? Toe Koth. The problem in your story to occur. Six. What end? What is the outcome off your story? Ideally, the events off the story have changed something in or for the characters 7. Execution: If you have 20 pages to Burke with, then you can divide the pages as follows. Intro. Have five pages to introduce your character. The location off the story in the problem midpoint. After that, you have 10 pages to escalate the problem. Conclusion. Five pages to solve the problem. Finish the story. So let's get into detail. Intro. Your reader needs to know when and where the story takes place, who your character is, what their motivation is and what the issue off the story is. You can show where the stories taking place by depicting the location in the first panel. We can build in the information about the time by including a textbooks or by showing it through the use off green tones or by adding on additional panel that provides more information when they are cherry blossoms in spring. Then you introduced the character. How you do it, It's up to you. You can show a situation, or you can use internal monologue or a mix. What seen introduces your story? You can use a dramatic start by showing your character being in trouble. If you do not want to use an introduction off the character by him or herself. You can use the way others see them in order to give a first impression to the reader. You can introduce the character behaving. Somebody talk about them. It can be somebody who looks upto them, or it can be somebody who hate them in this gossiping about them. That way you can build in a lot of background information that would take dozens off pages or even chapters to depict. After you have introduced the character to your audience, it is time to introduce the problem. If you haven't already, what is your story about? Are they facing a challenge or are they creating a situation themselves? But Page five year reader should know the basic facts about what the story's about, who your character is went and where the story is taking place and what challenge they're facing. You can use visual cues to convey information. For example, instead of having to spend pages on an event, you control newspapers with an article about it in one panel, seven year lots off space that you can use on resolving the problem. Here are some of the first pages off short stories that I did in the past. For instance, in this short story, a demon girl wants to be an angel and tries her best to achieve her goal, even though her family certainly doesn't like it. In this short story that I did for a contest, a boy gets chased by bullies. This is a short story that I did for the publisher for a short story project in this story ago gets backed every day on the school bus by a boy. This is another story that I did for a contest. It's a story about a girl who finds a magic lamp at the bazaar. And in this story, as you can see, the stories based in a different world midpoint the midpoint of the meat of this story. This is where the tension is rising until it reaches its peak in the 20 page story of it suggest a reserve at least 10 pages for it. It may be that the problem that the characters facing becomes dire, and the character has to resolve it somehow. Ideal is the solution should present itself at the end of those 10 pages. Conclusion In a 20 page story, leaf. At least five pages for the conclusion at the beginning, off the conclusion of the tension, its highest, and it goes down until the end. But the situation is resolved. Leaf at least one page for the end when drafting pages would suggest toe first, start with the end than the beginning and then do the midpoint. Very often, people run out off pages when the first through the beginning and then the midpoint. They often run on hold at the end, especially when you work for publishers and have a limited amount off pages cannot afford to run out of pages, so doing the end First insure that the ending it's not cramped during the beginning next ensures that the readers are introduced toothy characters properly, and they know who he characters are. And since you already have done the ending, you know where the story's going, so you can use for shadowing in the beginning. Sure, you should know where the story's going, since you really should have a script finished before you started any drafting. But it happened super often that people just start without a plan, and then the story tends to go off the original idea 8. The Script: it is really important to have the script before you start drafting pages. Have it as detailed as you need. I would suggest to write it down page by page, panel by panel. Describe what you want to include in the panels. Which perspective? If you want to use what is being said, and maybe even write down what impressions and feelings you want to invoke with the content off the panels, it will help you. When you start doing your pages, you will find some templates in the attachment that you can use. I will not be going into the drawing process off the pages in this course, but you can find information on the practical side for designing pages in my paneling course and in my course on inking. 9. Class Project: for the class project. I want you to develop the concept for a 20 page story. I wanted to do the following things. One. Come up with the idea for short story to ride the scenes that will happen. The story in a sign Pages tow them based on the beginning. Midpoint Conclusion System three. Right down the dialogues and Penhall descriptions, but will happen in the pages. Four. Develop character descriptions that fit the story. 10. Conclusion: it is an essential skill to be able to great among us to be able to put a story into a limited amount of pages. If you can tell a story in 18 16 or 20 pages and it it's possible, then you will be able to tell a story in 185 100 or 1000 pages. It will also teach you the skills off selecting the most essential scenes and be able to compress informations so that you can use the space for the scenes that really matter to the story. I really hope that this class can help bring you a step closer toe, fulfilling your dreams. Feel free to reach out should be anything you don't understand or that I can help you with . If you want to learn more about a certain topic than let me know, good luck.