— Nick Spencer, from this Writer’s Workshop at Newsarama. This is a long read, but worth it if you’re a writer of any kind but especially if you want to be in comics. It’s alot of process, but there is quite a bit of valuable stuff, especially the stuff about the Mort Numbers which is something I kinda-sorta figured out the hard way.
Posts tagged with ‘on comics writing’
I’ve been fascinated by the possibilities of Fountain since it launched.
Here’s a long post where I talk about using it to write comics , complete with samples and a template. Enjoy.
Kelly Sue DeConnick's Advice on Getting Started in Comics
- : Find a collaborator and start producing mini-comics;
- : Produce a full-length script;
- : Read as many scripts as you can get your hands on -- here's a free resource http://www.comicbookscriptarchive.com/archive/
- : Take your favorite comics and reverse engineer them -- try to produce the script that would have resulted in that book;
- : Take the worst comic you can find and reverse engineer it. What went wrong?
- : Pick three artists whose work you admire and whose styles are different. :Write the same short script for those three different artists. Analyze your choices;
- : Read books on craft.
- Good advice.
This came up the other day— Alan Moore’s chart for Big Numbers, tracking the plot as it relates to each character in the story, per issue. Each row is a character, and each column is an issue. The project was never fully realized for various reasons (and/or cocaine). As I understand it, this is a shrunk down version of the original.
Well, here is a master class.
I should be all over this sort of thing, and I do desperately want it, but I’m constantly putting things up for debate vs a car. So book or car? So, for now, the answer has always been—car. And yes I do feel like an imposter.
I only have three rules for writing comics. Again, these are not universal, and are my own guidelines for my own work. Nothing to disagree with here, move on.
1. Character trumps plot.
2. Visual storytelling trumps dialog.
3. No meh widows.*
* A “widow” is when the last panel of a scene is on the next page. Not only should the last panel of a scene be the last panel of the page, it should contain a cliff-hanger of some sort, and not be “meh.”