Hey hey, it’s one of my favorite topics, writing comics!
So, the funny thing about comics is that few people sit around for fun and read comic book scripts. In fact, few people have ever seen a comic book script. Or tried to write one. There’s no standard format for a comic books script. There’s everything from controversial “THE MARVEL METHOD” (i.e. plot outline, here you go artist, fill in the details) to full page-and-panel breakdowns.
Which is superior? No one know or can agree! But you can check out this twitter conversation between writers like Scott Snyder, Gail Simone, Warren Ellis, and others as they talk about scripting.
- In the meantime, educate yourself about comic scripts by reading a bunch of comic scripts here at the Comic Book Script Archive.
- Then, check out Cullen Bunn’s excellent article on how he writes a comic script: “Plot to Script: This is How I Do It.” Seriously, this article revolutionized my little comics-writing world.
- Here’s Jim Zub talking about plot structure and his method for writing comics. And y’all know how much I love me some structure.
- What’s that? You’d like to write some female characters in your comics? Particularly if you feel iffy about writing female characters, how’s about you listen up to Greg Rucka lay down some wisdom.
We confuse arousing with sexy in the same way we confuse strength with cruelty. A strong character isn’t, by definition, a mean one, but the confusion between the two has lead to a shorthand where the attempt to depict a female character as “strong” translates to “bitch.”
- Also, although they don’t apply as specifically to comics, for the love of all that is good writing check out this article about how to recognize when male gaze is happening in your writing, a.k.a. the “Omniscient Breasts” article.
Imagine a female pov character is going along about her protagonist adventure, seeing things from her perspective of the world as written in third person. She hears, sees, considers, and makes decisions and reacts based on her view of the world and what she is aware of and encounters. Abruptly, a description is dropped into the text of her secondary sexual characteristics usually in the form of soft-focus Playboy-Magazine-style sexualized kitten-bunny-I-would-fuck-her-in-a-heartbeat lustrous-eyes-and-nipples phrases. Her breasts have just become omniscient breasts.
This is what I mean when I speak of the male gaze. The breasts are no longer her breasts, they have become the breasts as described by the omniscient heterosexual male narrator (in the person of the writer) who is usually not even aware that he has just dropped out of third person and into omniscient to describe her sexual attractiveness in a way that caters to a heterosexual male audience.
- And this one about Writing “Strong Female Characters” is pretty great, too. I think I linked to it long ago, but here it is again.