i think one of the things i like about storyboarding for comics, especially as a stream-of-consciousness process, is that all you really need is a vague idea of where things should go, and if you have that, you can roll with the little surprises that change things up.
stuff will probably not quite gel with you later, and that's probably for the best, as you're spending time both processing visual and narrative coherency like, off the cuff. but it's GREAT because having the structure sparks new ideas. you can get a gut response from yourself.
but i also have a hard and fast rule of, "once you move on from a panel or sequence, you let it stay done" -- don't go back, don't tweak stuff, just take notes and keep movin'.
it's honestly just better to power through and read it later and do a small post-mortem on yourself to see what it is you like and what you wanna change, and go into the next draft with the big picture in mind, rather than focusing on all the little changes and tweaks.
tl;dr: make the shitty version of the thing before you try making the good version of the thing
makes me wonder if there's prose writers out there who thumbnail stuff to help them figure out how to write it or come up with ideas.
@Anderjak this is such good advice for any creative endeavor! Have you read Anne Lamotte's "Shitty First Drafts?" Very similar
@acdw
Never have, but now I got something new to look up!
@Anderjak the whole book, Bird by Bird, is also quite good. It's about the creative process
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i have trouble with just prose because i can't quite grapple story without some kind of visual element anymore, so drawing is my sweet spot for development.
so all my ideas literally come from jotting something super basic and shitty down, looking at it and going "one more pass"