Comics Script Advice from Gail Simone

by Gail Simone

NOTE: This was originally a series of posts on Twitter (X). 

I have read a lot of first comic scripts by new writers lately.

A lot of them have very good ideas, but make basic mistakes in execution.

Here are a few bits of advice if you are just starting out writing comics, things to avoid.

Other pros welcome to add to this thread.

1/NAME YOUR CHARACTERS.

This  is annoying, and even pros do it.  If you have a character we are supposed to know, you have to name them ON PANEL, not just in script.

I read a major publisher book recently where the main characters were never called by name. 

A huge mistake.

2/TOO MUCH DIALOGUE

Almost all writers do this at times. 

But it is wearying, it is exhausting to read, and mostly it shows a lack of awareness of how to use a comics page.  There are people who do this well and a LOT who do it badly.

It's alienating. Don't do it.

3/VARY THE CAMERA ANGLE

You can't always do this, and again, sometimes it's on purpose.

But for god's sake, page after page of it, it might as well not have art at all. 

Sometimes, you write a diner scene and it's static. That's okay, but I see it in action scenes too.

4/USE ESTABLISHING SHOTS FOR GOD'S SAKE

Establishing shots give us mood and tone and a ton of essential information. Over and over I read stories where I have no idea where the characters are.

A good establishing shot also helps the artist, they don't have to draw repetition.

5/THE READER DOESN'T KNOW WHAT'S IN YOUR HEAD

Really, this shouldn't have to be said, but read your script through (or have someone else read it) as if you were coming in cold.

The stuff that you think is super cool means nothing if it's not actually on the page.

6/TAKE A SECOND DIALOG PASS

This is serious, if your dialogue feels like you're heard it before, for god's sake, take the time to rethink it.

No one is excited by dialogue they have heard before. Only surprise makes an impact.

Write, then rewrite.

7/INCLUDE YOUR ARTIST

The artist is your collaborator and partner, try to avoid what they hate drawing, and LEAVE ROOM for them to add their skills and talents.

I usually choreograph fight scenes carefully. With some artists, you just let them go, because they kill it.

8/PAY ATTENTION TO STORY VELOCITY

Stories have a speed to them. Try to vary it a bit, include a speaking scene before or after an action scene.  The emotional response from the reader is well worth it, and it stops your script from feeling one-note.

9/THAT'S IT

Other writers feel free to add on. A lot of people want to try to write comic scripts, and it used to be that companies had editors teaching basics like this.

That doesn't happen as much now.

Take your lessons where you can and use what makes sense to you!

Also, feel free to ignore what doesn't work for you. Just be sure you're right.  :)

Good luck!

Writing for Comics -- A Basic Primer for Newbs

Over the weekend I was able to teach a class on basic comic book writing. I always love these classes, but I realized while I was speaking that I'd never turned this talk into an essay for the blog, so I'm remedying that now. 

As the cheerleaders say, "Ready? Oooo-Kay!"

The Pre-Writing

Rule number one. Read comic books. Whether you want to call them graphic novels, sequential storytelling, floppies, or the classic term comic books, you must read them. 

If you want to know how this particular medium works you must be well versed in it. Just like a screenplay or a stage play has its own set of rules, comic book writing has its own set of rules as well.

Whether you write full script or Marvel style (more on that further in) you still have to know the language of comic books. This is no different than knowing the language of fiction writing with its grammar, beats, dialog, characterization, setting, plot, theme, etc. In fact, all those things apply to writing comics too, but writing for comics comes with even more tools you need to learn. Panels, word balloons, thought balloons, narrative captions, internal monolog captions, page turns, etc. These are new and important concepts to learn to be able to effectively and efficiently write a script for sequential pictures. 

Rule number two. Think big. Your special effects budget is only limited by your artist's ability and your combined imagination. That interstellar battle you could never get a budget for in an indie movie or for a stage play, go ahead and write it. That hospital being attacked by giant cockroach creatures from a mythology you made up, no problem (I, in fact, did write this scene in Fishnet Angel: Jane Doe). Just do it, as Nike said. The sky is the limit. Your SFX bottom line is infinity. Period. (Unless your artist's hand cramps up.)

Remember your basics. You still need a story. You still need a story triangle with rising action, falling action, etc. You still need a beginning, middle, and end (even if you are writing a multi-issue with cliffhanger endings). You still need well developed characters. You still need a reason for the story and it needs to have something to say. Comics are no different than classic literature or Summer bestsellers that way. 

One last thing... and this part is going to sound like I'm arguing with myself. These two things sound like they're the opposite of each other. But don't be fooled. They're important. 

Here it is: Tighten your story. Now, once it's tight, let it breathe. 

After 15 years, Sean Taylor's script book, WARTS AND ALL, is finally back in print!

FOR IMMEDIATE RELEASE

​Atlanta, GA--After 15 years of being out of print, Sean Taylor's script book, WARTS AND ALL, is finally back in print!

The book collects all of Taylor's comic book scripts from The Shooting Star Comics Anthology, Gene Simmons' House of Horrors, All-Star Pulp Comics, and more. WARTS AND ALL also includes never-before-published comic book scripts. 

​"If I had a dollar for every time someone at my convention table asked me how to write a comic book script," Taylor writes in the foreword, "let’s just say I’d make a lot more money that way than I ever made getting paid to write." 

It's in that spirit he offers these scripts again after creating a DIY version he copied on a photocopier years ago and sold out of promptly. Partnering with Kindle Direct, this new edition will be available for the long run both in print and eBook. He will have them for sale on his convention tables and also via Amazon. 

Available in paperback and eBook. 

Sean Taylor writes short stories, novellas, novels, graphic novels, and comic books (yes, Virginia, there is a difference between comic books and graphic novels, just like there's a difference between a short story and a novel). In his writing life, he has directed the “lives” of zombies, superheroes, goddesses, dominatrices, Bad Girls, pulp heroes, and yes, even frogs, for such diverse bosses as IDW Publishing, Gene Simmons, and The Oxygen Network. Visit him online at www.thetaylorverse.com and www.badgirlsgoodguys.com.

​# # #

The Writer Will Take Your Questions Now #334 -- Panel Problems

NOTE: This one comes from a friend with some questions about her first comic book script. She was gracious enough to let me share her questions and my responses here.

So, my artist sent me the first sketches of his sequential art and he's concerned because it has eight panels on the page. He said 4-6 panels was the norm with 7 being the upper edge (typically).

I don't have many pages in the book that are more than 5-6 panels, but there are a few. And I don't want to be dismissive of his concern, but I'm not sure if I should reshuffle the entire script to eliminate the few pages that have 8-9 panels.

What's your experience in this regard? Am I overthinking this?

It's not a simple as a black and white answer. In one sense, he's right. The current trend is to write between 4-7 panels per page in standard mainstream comics, fewer in manga. But, when laid out well, more panels than that are perfectly acceptable. It's all about readability.

There is this however: more panels = fewer words per panel in dialog and narration, fewer panels gives you room for more words per panel.

Watchmen is consider the pivotal masterpiece of graphic novel storytelling, and it consistently runs a 3x3 grid (9 panels per page) throughout the book except for key events. The trick is to find the right ratio for you and your artist since you're a team.

Nugget #27 -- Fill in the Blank Storytelling

It's uncanny how many comic book stories start with the idea of "How cool would it be if __fill in the blank__ fought __fill in the blank__? Wouldn't that be awesome?" With a market driven by fans who demand "dream battles" between immensely popular characters, that kind of story sells books and keeps fans happy -- but it doesn't necessarily make for a fulfilling reading experience.

Comic Book Kismet -- Writers and Artists Speak Out

It's time to revisit comic book writing since we haven't covered that in a bit. This week we're going to look at that particular kismet that happens between writer and artist, and how that is similar or different when the writer and artist is the same individual.

It's been said that the artist drawing the book is the primary audience for a comic book script writer. How does that change the way a writer approaches writing a story in that form?
 

Bryan J.L. Glass (Mice Templar): I write with an eye toward the visual. As my educational pursuit was to be that of a film director, I script my panel "shots" visually. Thus, I realize when I start writing any script that all of my visual descriptors are for the sake of the artist, who I must also allow the freedom of their own design sense (on MICE TEMPLAR and Furious, artist Victor Santos knows he has complete freedom to interpret as he will, knowing I only offer notes if I realize the script has been misinterpreted or an outright mistake applied).

Shane Berryhill (Sherwood, Texas): To write is human, but to pencil/ink/color is divine. Artists do all the heavy lifting in comics. So I try to make the job of of those I work with as easy as possible. You hear about comic book artists spending countless hours searching the web for art references. This is time they could have spent actually drawing. Therefore, I'm of a mind the writer should go the extra mile on the artist's behalf and scour the internet for them. I go looking for pics that capture the appearance/mood/feel of what I'm trying to convey with my words (After all, "a picture is worth...") and paste them directly into the script beneath the panel descriptions, labeling them as "art reference." I do this with the caveat that the pasted pics are simply to be a jumping off point for the artist.

Ron Fortier (Green Hornet): I totally disagree with the premise about the artist being the primary audience of any script I write. Sure, he or she is the first to read what I've put down, but I never consider them an audience. They are my collaborators in producing a finished product that is the story...both of us create together...me with words...they with pictures. Together we work to entertain the PRIMARY AUDIENCE...OUR READERS.

Rob Davis (Star Trek): Artists are the FIRST to see the script, but Ron's right. It's the readers who are "primary." The best comics are a synergistic sum of what each creator brings to the final product, meaning the outcome is larger than what each brings to the project.

Roland Mann (Cat and Mouse): I'll be the one to jump in and disagree. (not viciously, just food for thought) I've always said that a comic script is different from all others (duh, right?): it has two audiences: first, the artist. When comic writers compose the PANEL ART DESCRIPTION portion of the script, it's TO the artists and no one else (editors, included here, of course). Only hardcore fans seek out and read scripts. As writer, when I know the artist I'm working with (which is often), I tailor that portion of my script so that it speaks direction to him (or her). I want that portion of the script to be so strong that it creates a shared vision of what the final product should be. Even when I was an editor, it wasn't unusual for me to see the writer directly address the artist in the script: "Hey Darrick, as we discussed on the phone..." blah blah. The 2nd part of the script then, is for the consumer/reader. I think, the idea it all works for a final product is correct...just a different way of getting there.

Percival Constantine (FemForce): I'm going to agree with Ron as well. I don't think of the artist as the primary audience, I think of them as my collaborator. Even if the characters and the story are completely my own invention, the artist is going to have to bring those things to life on the page, and so it's important to respect the collaborative aspect of it.

As a writer, how does one make the process of translating your words into pictures as smooth as possible? What are the pitfalls comic book writers should avoid?

Ron Fortier: How do I help the artist? By making my exposition as clear as possible, to be willing to entertain a better idea or approach from the artist...and most importantly providing my artist with all the photo reference material I can to help them get into my head and see what going on in there. If I say this actor looks like Patrick Stewart, I provide pictures of Patrick Stewart. If I say the character is driving a 1930 Spider automobile, I provide pictures of that car. Again, I have an obligation to give him or her tons of stuff...which they can then use to tell our story.

Bryan J.L. Glass: All dialogue and visuals are always with a mind toward how the collaboration will resonate upon the reader!

Percival Constantine: You make things as clear as possible. If you have trouble describing something in words, then try to provide some sort of reference, again like Ron said. But at the same time, there's the danger of tying the artist's hands and you don't want to do that, either. It's important to know how the artist works and to establish a good working relationship, so you can play to each other's strengths. Also, although this isn't related to the art, as a letterer I feel obliged to mention this: be careful with the amount of words that you intend to put on the page. I've lost count of the number of projects I've lettered where the writer has several paragraphs of captions and dialogue that would be enough to fill an entire page of panels, let alone a single panel. 

For an artist, what can a writer do to help you see the images he or she is envisioning as he or she creates the script?

Rob Davis: Well, "first audience" perhaps. A good writer sets up a scene in the first panel of the scene and then allows the artist to work within that scene. Any items of foreshadowing for later in the story ("if a gun goes off in the 3rd or 4th act, it must be shown in the first or second act.") and specific items that need to be there to tell the story well should be included in the description. The emotional state of each character should be clear and any specific actions the characters need to or should take should be there as well.

What do you do as an artist when you see a different vision for a page or part of a story that you know can improve the final product over what was written?

Rob Davis: If it's a radical change I talk it over with the writer. If it's just a compression or expansion of the number of panels I go ahead and do it without consultation. I find a number of artists take far too many liberties with a writer's script without consulting them- sometimes to the destruction of the "beats" and through plot of the story. "The play's the thing," the story should be what dictates how a scene is depicted not what would make a "cool" or convention sale page. Comics is melding of words and pictures where both create a whole greater than the sum of its parts—or synergy.


For you revolutionary do-it-all folks, how does the process change when you're the sole creator, both writer and artist (not discounting the work of inkers, colorists, and letterers, of course, but we'll slice those roles in a later article)? Do you find the process more or less stressful? More or less enabling? How so?

Steven Cummings (Wayward): It's less stressful because I don't have to over draw my pencils and can write to my strengths.

Revisting Comic Book Arc Length -- Shane Berryhill

What determines the completeness of a comic book story arc of any length?

In the case of SHERWOOD, TEXAS, we knew from the beginning that we have a finite amount of issues to work with in regard to the first story arc. And that was perfectly fine. It meant the tale we were telling would be lean and mean and have no room for BS. But, traditionally, most stories occur in three acts. Ergo, there’s a beginning, middle, and end. But that doesn’t mean you can’t have a one act story or a twelve act story. A story’s complete when the tale is told. End of story (pun intended ;).

How do you work in the beginning, middle and end of individual issues against that of the central story's begging, middle and end?

In SHERWOOD, TEXAS, what I did was take a “fractal” approach to plotting the script. That is, I had a very general premise (ie, the central story: Robin Hood reimagined as a modern day biker epic in a Texas Border town) that comprises the full arc. Then, I broke that down into more concrete terms between issues. For example, I took that main premise and broke it down into five minor premises (the five issues comprising the first story arc). Then I repeated that for each page of each issue, then each panel of each page until the parts equaled the sum and vise-versa.

Let's look at writing for various length stories. From a plotting perspective, how is working on an anthology story (6-10 pages) different from working on a stand-alone issue story or a multi-part story filling several issues?

My first true published comics work was a three-page short that appeared in Grayhaven’s ‘Hey, Kids!’ comics anthology issue. Working with such a limited amount of pages forced me to be creative. So what I did was throw out what they’d actually brought me on board to write (haha) as I knew it wouldn’t work within the confines of the allotted page count. I realized that what I had to do was work in broad strokes that, not only told a complete story, but also offered readers an instant emotional connection to the character(s). So I wrote a Jack Kirby tribute that borrowed ‘devices’ from Thurber’s ‘The Secret Life of Walter Mitty.’ In essence, the space I had to work in defined the content and tone of the story I told. I think I did a decent job as, once Grayhaven saw the finished pages, they never even brought up the fact that the story wasn’t what they’d asked me to script, haha.

But longer doesn't necessarily mean better. Writing is about cutting out whatever's unnecessary. Even when writing a multi-issue story arc, every panel of every page should be driving the reader forward to the story's completion. Anything that doesn't do that arguably needs to be left on the editing room floor. You're only doing your job as a writer if the reader keeps turning pages to see what happens next.

[Link] Beauology 101: I Am Woman, Hear Me Roar… And Write It Correctly

by Beau Smith

Comic books have been around for more than 75 years, in that time we’ve seen women characters go from girlfriends, mothers, and the ever popular damsel-in-distress to super powered heroines dressed like Las Vegas strippers…AND girlfriends, mothers and the ever popular damsel-in-distress. After nearly seven decades, the comic book business is still run mostly by men, written and drawn mostly by men, and still read…mostly by men.

Yes, there are more female readers now than there have ever been, but still not enough to equal the domination of males in and around comic books. Personally, and with regrets, I don’t think that’s going to change much in the next 75 years. I think that for a few reasons. One, I think comic books will always be seen as a “man thing” much like being a mechanic, hunting, fishing, and bottling up your emotions like it was a fine wine. Two, publishers need to stop stereotyping female creators to only books that feature females as well as having men just write “tough guy” books. Variety is the spice of life, it’s time to change the ingredients.

Continue reading: http://westfieldcomics.com/blog/interviews-and-columns/beauology-101-i-am-woman-hear-me-roar-and-write-it-correctly/

[Link] Brutal Tips On Breaking In To Comics

by Gail Simone

All right,  recently, I lost two very dear friends of mine, writers who were intelligent, inspiring and endlessly supportive to me. One was Perry Moore, author of the lgbtq YA superhero novel HERO, and the other was Dwayne McDuffie,  one of the finest writers of comics and animation ever.

These two guys were dissimilar in many ways, but they both had a quality that made them heroes to me, and that is that they spoke truth to power. They loved comics as fiercely as the rest of us, but they were not afraid to point out the blemishes and open wounds, and they addressed those problems in their own work.  And over a period of just a couple weeks, we lost both their voices. They can’t be replaced but others can carry on with that mission.  Maybe you’re one of those people. And that’s why I’m doing this, to potentially help someone who has that goal in mind.

When I am talking to people about breaking in, I am honest, but I try to be kind, and polite, and patient. I try to find positive things to say. The problem is, and I’m sure everyone who has reviewed a portfolio knows what I’m saying, that that’s not what someone who REALLY wants to break in and has the stuff to make it happen needs to hear. They need to hear the truth. So, I’m going to give some truth tonight. A lot of this, you should already know.  I am not going to talk about craft or format or anything like that. That material is out there. If you want to do this right, find it, study it, buy the books, do the research. I’m going to assume for this discussion that you have the baseline talent level required to make it in.  I’m also assuming for this discussion that you want to work at one of the larger publishers.  That may not be the case for you, but it’s what I get asked about the most.

I want to make this very clear…I’m not presenting points for an argument, I’m not offering an opportunity to present excuses. No one can fix whatever roadblocks are in your way but yourself.  Telling me about it doesn’t help anything. If you want my advice, which you are then free to ignore, just listen, let it sink in, and then do with it what you will. I’m trying to help, but how seriously you take it is up to you.

I am going to say some things that will make some aspiring creators unhappy.  It will be uncomfortable.  Again, it’s your choice to listen. If my saying that fanfic can be holding you back makes you feel defensive, I’d stop right here, because it gets a lot worse.

Simply put, there’s a lot of polite stuff out there. There’s a lot of books on craft and blogs with scripts you can study.  Partake of that stuff.

This is more to kick your ass and get you to stop kidding yourself, if that’s what’s holding you back.  It is SOLELY intended to help you get to a position to work on comics. What you make of that chance is up to you entirely.

Continue reading: http://gailsimone.tumblr.com/post/4654769851/brutal-tips-on-breaking-into-comics-warning-long

The Writer Will Take Your Questions Now (#247) -- Comic Book Arcs

What determines the completeness of a comic book story arc of any length?

The same thing that determines the completeness of any story in any publishing format -- does it have a beginning, a middle, and and end, and does the central character experience change or growth, or at least the opportunity to change or grow (and refuses)?

This is the basic standard for any story. And it can be done in 4 pages, 8 pages, 22 pages, 4 issues, 6 issues, or 100 issues, but that's the concrete you mix to set a story.

What isn't a complete story, again in any format, from TV to comics to books, is a soap opera-like meandering in and out of the lives of characters without any real plot development or growth arc for the character(s) going through the experience.

(Yes, massive, marketing-driven crossovers, I'm talking about you.)

The Writer Will Take Your Questions Now (#234) -- Graphic Novels/Comic Books

What's the difference between writing a
graphic novel and writing a comic book?

For starters, the most obvious difference is that a graphic novel is longer, but that doesn't just mean it takes up more pages. It also means it takes up more plotting. It takes up more thought for building up your characters. It takes up more time to let your story unfold in a way that it might not be able to in a monthly comics that needs it's own "3 bangs and a cliffhanger" each month. (Even if it's being collected later as a trade, because a trade collection is a different animal than a graphic novel, though the two are often marketed under the same name.)

When writing a graphic novel, you must think about it the same way a writer thinks of writing a novel. A monthly comic is akin to a serialized group of short stories and must meet those criteria, but a graphic novel is far more reaching than that. Sub-plots, minor characters, build-up scenes, segues, denouement, etc. are all going to demand your attention in a graphic novel, and you'll have the time and the room to play with them -- providing their the best tools to use in your story.

My favorite part of crafting a longer-form work though is that I don't have to follow the arbitrary "22 pages ending on a cliffhanger" rule. In an original graphic novel, if I need a 3-page chapter, that's fine. I'll add it. If a chapter needs to go into 28 pages, that's not a problem either. Because the book isn't designed to be read monthly. It's a take a bite at a time to devour the elephant kind of experience instead.

The Writer Will Take Your Questions Now (#233) -- Comic Book Arc

How long should a 'typical' comic book story arc be?

This ran 8 pages.

This ran 6 issues.

For starters, I don't believe that anymore there is such a thing as a typical comic book arc. The days of the single issue story are most likely long behind us. The marketing opportunities that have come with the trade collection and the graphic novel (which are not the same thing) have perhaps forever changed the playing field.

However, I don't believe that should change the nature of both a story arc and an individual issue having a solid beginning, middle and end. I'm still a big fan of good stories, regardless of them being eight pages, ten pages, three issues, four issues or six, just as long as they clearly pace themselves in a way that keeps me reading and give me a solid sense of beginning, middle and end.

The Writer Will Take Your Questions Now (#232) -- Comic Book Panels

Tell us a little about your approach to writing a comic book panel. 

Art by Martheus Wade

Okay. There are several different approaches writers use when describing a panel in a full-script format. (And that's not even including the plot-style format.) Let's go over those first, at least the ones I can remember.

The Movie Director:
This writer covers everything from the "camera angle" to the lighting and gives the artist almost no free rein to interpret the panel. Expect to see words like "panoramic" and "bird's eye view" and "worm's eye view" a lot in the script.

The Comic Book Editor:
This writer decides exactly how the borders of the panel will look and whether it will be a full-width panel taking up the middle third of the page, etc. He or she may also provide drawings of the suggested page layout.

Art by Jim Ritchey III

The Literary Maestro:
This writer uses prose in the manner of the great authors and reveals a character's motivations and past events leading up to this panel and how it matters in the grand scheme of the character's live from this point on. Read any of Devin Grayson's scripts to see this approach. They're amazing pieces of literature in and of themselves sometimes.

The Minimalist: This writer is pretty much bare bones with the panel description. He or she simply tells what happens and leaves the camera angles, mood, tone, page layout, etc. to the artist to decide. Chuck Dixon is a shining example of this approach.

Art by Richard Kohlrus

Now to answer the question on a more personal level. I am a blend of all of these charming folks, though my default tends to be the minimalist. Whether I'm a movie director or a minimalist can depend on whether I'm working with an artist I've worked with before or writing for an artist who may not know my quirks and may need more information. When I have a scene that's particularly important in a book that's not a straight-up action book, I'll sometimes slip into being the literary maestro for a panel or two. And when I've got a certain look in mind for a creator-owned book, don't be surprised to find me become the comic book editor for some of the important pages.

The trick in each of these cases (or for each of these writers, one might say) is to trust the artist to interpret and provide the script as a guideline, regardless of the type of approach, and not as a set-in-stone monument to your ability to create a story. The artists with whom I work often will improve on my scripts and ask me about rearranging page elements or changing the size or panels or using other, far better camera angles. It's my job to trust them and make sure the book is a partnership.

The Writer Will Take Your Questions Now (#231) -- Comics Scripts

Do you have a link to a comic book script sample online?

Absolutely. It's right here: http://taylorverse.com/Script%20Template.pdf

This is one I put together when I was working as managing editor at Campfire Graphic Novels when we wanted to get the writers on one page with format and help the writers who hadn't written in a comic book script format before.

Enjoy!

The Writer Will Take Your Questions Now (#175) -- Triangles Within Triangles

When you write a multi-issue story arc for a comic book series, how do you work in the beginning, middle and end of individual issues against that of the central story's begging, middle and end?

 Well, it looks like this.

Simple, huh? (Just kidding.)

Let's look at it closer.

I learned the basic structure for a single comic book issue from the master -- Chuck Dixon -- which is basically this: three key action sequences tied together by short interludes (when necessary for flow). So, when I do a multi-issue arc, I simply expound on that.

First I look at the full story plot (the red triangle) for the main breaks in the story (rising action, falling action, key conflict that triggers the conclusion, etc.).

Then I break those key plot points (or actions) into the number of issues required for the story (the green triangles). A three issue arc is a piece of cake because it plays right into my evil plan for world domin-- I mean my plan for breaking down a story into its parts.

Let's take an example... Say the story is about an alien who comes to earth, settles into a life of a fashion model, becomes enamored with earth culture and changes sides to stop the pending invasion from her home planet, and her subsequent sacrifice to give her own life to safe the earth. Then the first issue will be about the "before" in which our alien begins to become enamored with earth culture and at the end of the issue decides she must stop the invasion somehow. Issue two will be her failure to do so, and the action that leads to her willingness to give her life to save the earth, thus making the conflict one that actual has impact on the reader and the characters. Then the final issue will chronicle her success and her sacrifice. 

Next I break each issue down into each key scenes (the blue triangles) to convey those story beats and breaks (the blue triangles). And each scene must have its own beginning, middle, and end.

To continue our example, in issue one, we set up the status quo in scene one, create a situation that causes her to rethink her own culture in scene two (perhaps witnessing the good of humanity or something as shallow as finding the best pair of boots on the planet), and then in scene three, she comes to realize she wants to stay and not destroy all the great shopping on earth's malls. 

Then in issue two, we'll have her contact her own planet present the case for earth, then become the target of her superior officer who now considers her a traitor, then have her earthly neighbor help save her from an assassination attempt (which means that we'll need to introduce the neighbor somewhere in issue 1 -- see how that works), and then get word that her plea has been heard and overturned. Not only that, the timetable has been sped up and the invasion begins NOW!

So, now let's turn this into a workshop. You tell me what the third issue will be like. What are the three key scenes and the interlude beats to get you there?

The Writer Will Take Your Questions Now (#147) -- Comic Book Completeness

What determines the completeness of a comic book story arc of any length?

The same thing that determines the completeness of any story in any publishing format -- does it have a beginning, a middle, and and end, and does the central character experience change or growth, or at least the opportunity to change or grow (and refuses)?

This is the basic standard for any story. And it can be done in 4 pages, 8 pages, 22 pages, 4 issues, 6 issues, or 100 issues, but that's the concrete you mix to set a story.

What isn't a complete story, again in any format, from TV to comics to books, is a soap opera-like meandering in and out of the lives of characters without any real plot development or growth arc for the character(s) going through the experience.

(Yes, massive, marketing-driven crossovers, I'm talking about you.)

The Writer Will Take Your Questions Now (#101) -- The Long and Short of It

What's the difference between writing a graphic novel and writing a comic book?

As I say in my bio for the conventions, "Yes, Virginia, there is a difference."

The specifics? I'm glad you asked.

For starters, the most obvious difference is that a graphic novel is longer, but that just doesn't mean it takes up more pages. It also means it takes up more plotting. It takes up more thought for building up your characters. It takes up more time to let your story unfold in a way that it might not be able to in a monthly comics that needs it's own "3 bangs and a cliffhanger" each month. (Even if it's being collected later as a trade, because a trade collection is a different animal than a graphic novel, though the two are often marketed under the same name.)

When writing a graphic novel, you must think about it the same way a writer thinks of writing a novel. A monthly comic is akin to a serialized group of short stories and must meet those criteria, but a graphic novel is far more reaching than that. Sub-plots, minor characters, build-up scenes, segues, denouement, etc. are all going to demand your attention in a graphic novel, and you'll have the time and the room to play with them -- providing their the best tools to use in your story.

My favorite part of crafting a longer-form work though is that I don't have to follow the arbitrary "22 pages ending on a cliffhanger" rule. In an original graphic novel, if I need a 3-page chapter, that's fine. I'll add it. If a chapter needs to go into 28 pages, that's not a problem either. Because the book isn't designed to be read monthly. It's a take a bite at a time to devour the elephant kind of experience instead.

An Issue Too Long? How Long Should a "Typical" Comic Book Arc Be?

This week's roundtable discussion comes from a reader who wrote in with the following:

If I can suggest a question for your question of the day -- How long should a 'typical' comic book story arc be? I ask for various reasons but the main one is that it used to take an issue or two to tell an origin story and I've read several new titles that are on issue 6 and not sure if they've finished any origin story arcs yet.

I loved the question and thought it would be a great one, particularly for those of us who have experience in comic book writing. However, acknowledging the variation of questions included in that one, I broke it down into its pieces.

What determines the completeness of a comic book story arc of any length?

Erik Burnham: A "typical" arc, I think, should run anywhere between 60-120 pages. So long as someone doesn't try to make a 60 page story into a 120 page story, I think we're golden. But 6 issues/120 pp is the outside of where I'd like to see for a typical arc. Longer stories can be done, but then those would be atypical.

Chuck Dixon: The easy, and obvious, answer is a story with a beginning, middle and end. And the end must come to a satisfactory conclusion either through a change in status quo, an emotional catharsis, a resolved conflict or a major reveal. In the best case scenario an arc should either create a new character or show a character growing or changing in some way. In comics, it’s okay to leave a few dangling plot threads to be picked up in the next arc. But NEVER leave the reader feeling as if the purpose of the arc was only to build to the next one. It’s okay to leave the reader wanting more but wrong to leave them feeling as though you gave them less than they expected.

Bobby Nash: Usually, it's the editor or publisher who sets the length. When creating my own stories I generally try to stick close to industry norms. Graphic novels can be 40, 66, 80, or 100 pages depending ont he needs of the story. Standard comic stories tend to be 22 or 28 pages.

Lee Houston Jr.: For a story to be complete, it must have a beginning, a middle, and an end. Granted, not all of a series ongoing subplots have to be addressed in any one specific arc, for many serve as springboards for future stories. But at the very least, the ones pertaining to the specific story in progress must be addressed and resolved, even if they result in new subplots for future arcs themselves. 

How do you work in the beginning, middle and end of individual issues against that of the central story's begging, middle and end?

Martheus Wade: I'm not average in this as I don't write issues. Writing trades allow me to block my stores according to story beats inside of a 70-80 page story. I started by knowing my ending of the story and work backward.

Chuck Dixon: Action. The simplest thing is to provide a solid action set piece in each part of your story. A reveal about a character or situation is also a good tentpole for an individual issue. “My girlfriend is from the Moon!” kind of reveal. But each issue should have something that makes it stand out as a unique reading experience. As, Andy Schmidt, my former GI Joe editor put it, each issue should have a “oh, that’s the one where Captain Skidmark found out his parents are dead” element to it. Or, I’m parphrasing him, anyway. Captain Skidmark is all mine, baby!

Lee Houston Jr.: But although I've heard the "writing to the trades" claim, the creative teams on any comic book should remember to treat each issue as just one chapter of an ongoing saga. "The never ending battle," etc. Sure, some of those chapters later get collected into a trade paperback or a hardcover, depending upon the popularity of the title and/or the creative team involved. Yet those on the other side of the page producing the comic books have to remember that a lot of people (like me) still acquire their issues monthly, especially now with the big push to promote comics in the digital realm.

Bobby Nash: I plan for that in the plot. If I'm writing a story that I know will cover multiple issues then I try to end each issue on a cliffhanger. I like cliffhangers. I wish we had more of them in comics these days. I work in the beginning, middle and end of individual issues the same way I do the overall story. I plan out my plot.

How is plotting different when you're already given a length for an arc and you must either (a) fill it or (b) cut to fit it?

Chuck Dixon: Plotting should be organic. In comics you have to think visual action first. Always trim your plot before you cut action. If you don’t have room for the action in your assigned arc then you have too much plot. Simplify your through-story and make your characters motivations more pure. None of this computer program format or Joseph Campell structure crap.

Bobby Nash: When you know you have a set number of pages to fill then you plot accordingly. Sometimes that means cuts have to be made or additional material has to be added. The later is easier, of course. It's part of the job. You just dive in and do what needs to be done to meet your publisher's expectations by your deadline.

John Morgan Neal: There's nothing worst than a story that is drug out to fill time or space.

Ken Janssens: It always depends if you are working for someone else or yourself. If you are working for yourself, you let the story itself determine how long it should be. If you are working for someone else (as a fill-in arc and not your own book), then they will likely give you an issue count for the arc. Sometimes your idea comes out of that constraint. If you already had your story in mind, then you will have to either lengthen or shorten your story. The best way to do that (I've found) is to figure the main points and themes then space them throughout the numbers of issues for which you have to write. Then you take the secondary plot points and scenes, placing them in between the main ones.  For the individual issues of arcs, they should all have beginning, middle, and ends, but since it won't be for the whole plot, those should be of theme, character, character path, or end just with sheer cliffhangers.

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To follow the works of these fine creators who took part in this roundtable, simply look at the list of Heavy Hitters links on the right side of this page. 

The Writer Will Take Your Questions Now (#88) -- Story Arcs

How long should a 'typical' comic book story arc be? I ask for various reasons but the main one is that it used to take an issue or two to tell an origin story and I think DCnU is on issue 6's and not sure if they've finished any origin story arcs yet.

For starters, I don't believe that anymore there is such a thing as a typical comic book arc. The days of the single issue story are most likely long behind us. The marketing opportunities that have come with the trade collection and the graphic novel (which are not the same thing) have perhaps forever changed the playing field.

However, I don't believe that should change the nature of both a story arc and an individual issue having a solid beginning, middle and end. I'm still a big fan of good stories, regardless of them being eight pages, ten pages, three issues, four issues or six, just as long as they clearly pace themselves in a way that keeps me reading and give me a solid sense of beginning, middle and end.

[Link] JOHN OSTRANDER: 101 Mistakes

by John Ostrander

Almost every mistake I’ve ever made as a writer comes down to what I call a “Writing 101” mistake. I’ve been writing for a living for umpty-bum years at this point and you’d think I’d have graduated to at least Writing 102 mistakes, but no. It keeps coming down to the basics.

It usually happens because I think I don’t have to bother with the basics because, after all, I’ve been doing this for umpty-bum years now and it should all be second nature to me. Or because I’m behind in my deadline and don’t have time to bother with all that stuff.

Here’s a helpful clue. When you’re running late, you only have time to do the job right. Take a deep breath, clear out the cobwebs, looks at the basics, and work carefully. It winds up saving you time.

I need to have that pounded into my head with a very large mallet every so often.

What are the basics? To start off it’s the classic questions of who, what, when, where and how. ...

Continue reading: http://www.comicmix.com/columns/2012/02/05/john-ostrander-101-mistakes/