Writing 302: Action in Panels by FelipeCagno, literature
Literature
Writing 302: Action in Panels
You may think this is solely up to the illustrator of the book but in fact it's actually a shared responsibility between writers and pencillers.
Camera Angles and Storytelling through Panels
As a writer it's your job to define the pacing and flow of the page and how your story will reach the readers. The artist's job is to take those directions, execute them as best as he can and apply his vision on top of the writer's. It is a collaborative effort and that's why writers and artists have to keep a constant communication.
Drawing a pin-up is one thing, telling a story through pictures is something else entirely. All your choices have weight
So you've just completed your masterpiece, the script is just out of the oven and you can't wait to start working on the art.
BUT WAIT!
Did you carefully lay out the path ahead? As much fun as working in comics is, there's still a lot of logistics to handle, especially if you got a team working on the same title.
First off the bat, my advice is to always team up, even if you're like a Swiss army knife with ten thousands utilities and talents, crafting a comic book from beginning to end is just too much work, and that is the main reason I believe people quit halfway through.
If only you had access to an amazing community of talented artist
Writing 204: Lego Blocks by FelipeCagno, literature
Literature
Writing 204: Lego Blocks
Remember back in the day when you got that kick-ass Lego pirate ship with thousands of little pieces in a snowy X-Mas? And how much fun it was to build it just like the picture on the cover? Building the whole thing up from scratch always comparing your work with the one on box.
Awesome, so based on the current poll I'll discuss index cards, character development and why not a little bit more about structure.
Your outline, which hopefully you broke into smaller chunks, say fifteen or sixteen of them, is the picture on the Lego box. And your index cards are the actual Legos.
So now it's time to build your story just like you planned... befo
Writing 203: Nice to Meet You by FelipeCagno, literature
Literature
Writing 203: Nice to Meet You
Today's article is extremely important as it is key for successful character development.
KNOW YOUR CHARACTERS INSIDE AND OUT
That's today's lesson. You have to develop all your characters well enough they become real people. Except those with one line only, like Officer #1 or Hot-Dog Dude. Those are walking puppets to populate your world.
But your primary and secondary characters must be well developed, there's no way around it. Their actions must be driven by their personality and back story. Even though most of this information will never see the light of day, it is imperative they exist through your characters' actions.
If you need a
Writing 202: What's your Job? by FelipeCagno, literature
Literature
Writing 202: What's your Job?
Couple of days ago I covered how big should your cast be and today I'll cover their functions within the story. This should be extremely helpful to see which characters should be gone and those that are key to your plot.
One of the best books I read on Character Development was "The Writer's Journey - Mythic Structure for Writers" by Christopher Vogler. He covers classic structuring as well but for me, the highlight in his book is how he maps his plot through his characters.
Basically he divides every single character in seven (7) Archetypes, the most common ones. Sometimes a character can "be" more than one thing but this helps figure out
Writing 201: Crowd or Cast? by FelipeCagno, literature
Literature
Writing 201: Crowd or Cast?
You should know your overall plot by now and I'm sure you have your cast of characters in mind, now it's time to cut your cast in half, yep, seriously, cut it in half as you have too many characters. Yep, that's right, we'll focus today's article on something most people tend to ignore: how big should your cast be?
Here's the thing, the more characters you have, the more pages you will need to develop them in a satisfying manner. So, unless you're writing the next 1000+ novel I suggest you keep your cast with the minimum number of characters as possible your plot requires.
Why have two bad guys when one suffices? What's the point in having
Writing 102: The Outline by FelipeCagno, literature
Literature
Writing 102: The Outline
Time to take the next step. By now you should have three big chunks of plot, a beginning, the middle and hopefully an end.
Now we are going to break these chunks in smaller pieces in what is known as the "Three Arc Structure". Any form of entertainment follows this classic structure in some way, even the smallest joke, which has the set-up, the middle and finally the punch line.
There are very creative pieces of work that throw that Three Arc Structure out the window but I guarantee that the author behind such work knew this theory backwards and upside down and thus was comfortable enough not to follow it. Know you craft before innovating.
Writing 101: Find your Ending by FelipeCagno, literature
Literature
Writing 101: Find your Ending
Writing may seem easy but if you intend to write entertainment in any form there are ancient rules to follow, the Greeks knew it thousands of years ago, about time you learn them too.
A linear story must have a beginning, a middle and an end. Pretty obvious, heh? Not really, smart ass... you see, in reality most people start writing without having an end, not even an idea where to take the story, no prior planning. You can't build a house without a blueprint, same goes for story telling.
Writers tend to get so carried away having so much fun, they lose themselves in the story in a way that what began as a twenty four page One-Shot becomes a