Sometimes an article needs to be looked at in some detail.
Io9.com published an article on writing comics that I think needs to looked at
in some great detail.
Action and Dialogue: The point it makes about is one you need
to take to heart. Every scene needs to move the plot forward, and that applies
to action as well as exposition. Exposition are important, especially as they
allow you to explain what is happening, but you don’t want just random
explanations; you want to parcel out exposition as needed. Action scenes should
also move the plot; don’t place them solely to have some excitement to happen;
excitement needs to be parceled out just like exposition. Dialogue can be used
for both; it can also aid in establishing characterization. It’s all about the
pacing; mind your pacing and your comic will flow like Shakespeare. Use
dialogue, action, or exposition without a good reason, and it slows or disrupts
anything you are trying to set up.
Being Gritty: The first reboot is always a dark, gritty one.
For some reason when people do a s sequel or a reboot, it almost always comes
out more violent, more corrupt, and with more sex than the first, and it is
done so often that it’s become a running joke. Try to avoid the temptation; it
rarely works out well. Sure, once in a while you get something like Wrath of
Khan or Empire Strikes Back, but generally you get something like the New
Universe or Battlestar Galactica, and that’s something you want to avoid. Try
to avoid the temptation, or do it with the intention to get it out of your
blood; just don’t get to mired in it.
Origin Stories: The easiest way to get things going is to
start at the beginning. That’s why writers do the origin first; it’s a good
starting point and the hero starts with that fresh character smell. However,
you can also start halfway through the story and debate flashbacks as you go;
this is actually a pretty fun way to do it as you get to keep the readers
guessing and they love trying to figure things out. Try to avoid starting at
the end, and flashing back to beginning; this kills all sense of suspense and
some twists feel like they were added just to stump people. Readers hate surprise
twists; earn them like you do everything else. Short form: Start with an origin
or halfway in, but START.
Illusion of Change: This is not a bad idea, especially for a
comic strip. You want your characters to become an archetype, make as few
changes to the universe as a whole. This is why superheroes don’t die; for them
to die permanently we need to acknowledge change, and change can wreak its own
changes on the universe. At the same time, a more dynamic universe requires
that this illusion be dashed, such as one where the rebels actually win or the
lovers start raising kids. Decide on what level of change your universe needs,
and go for it.
Reboots and Retcons: Occasionally you will need to make
sweeping changes because you either need to better organize your universe or
because things just aren’t working out. Don’t be afraid to hit the restart
button every so often, but make sure that you work out all of the changes ahead
of time. This can be great for re-inspiring you and getting you going again, as
well as refreshing the universe. Just don’t use more than you absolutely more
than you need to; if you use it too often you erase the anchors that your
readers depend on, and changing those anchors by cost you readership. They need
something to depend on; eliminate that and you eliminate them.
Yeah, I’ll be addressing the last point by itself, and I may
be revisiting these in a week or so. But this should get your started…
