Wow lots of great advice and resources in this one. I suppose one thing I need to ask is: Can I approach an artist as someone who's never written a comic script before? I've got both the novella and screenplay versions of the story, but I suppose I'd be hoping that I could work with an artist who knew what they were doing to engineer the story in the best way for this medium.
I don't see why not, Harvey. They could potentially work 'Marvel style' from a synopsis, whereby they break down the story into pages and panels, then you add the dialogue. Otherwise, you're looking at working 'full script' whereby you're the one breaking down into pages and panels in the form of a script and formalising the dialogue. Bear in mind that if you're working from a novella/screenplay (a screenplay that's around 90 minutes), then you're probably looking at around 120-150 pages of comic. Unless you're looking at drastically truncating the story. In which case, you'll definitely want to go full script, I reckon. Absolutely no harm in reaching out to an artist, though, and establishing a relationship.
Love this Alex as usual. I’m now writing a short comic script based on a short film script I wrote. I’m also studying From Hell and others. Your own comic scriots were very useful as well - I wonder if u can show more of your work n do a commentary - like how Brian wood did with Demo - one of my faves
I'd love to do something like that, Andrew. Though I can't commit the hours just yet. Something to think about when it comes time for me to offer a paid tier, which I'm not likely to do until I've scored at least 2,000 subs. Will check out that Brian Wood piece you mention, though.
I have a feeling you will like Brian wood. He’s well known for DMZ. Demo is my fave black white indie comic series. When u have time Alex , I look forward to any thoughts u have on craft. I really enjoy reading your posts
I would give similar advice to anyone else wanting to start writing, but I'd never tell them to "fuck the classics". The classics are the best ones to learn from!
Sure. You NEED to read the classics. But you also need to know WHY you're reading them and to also QUESTION them. Okay, so WHY is Austen or Auden so great? Rather than just nodding along with whoever has deemed this book worthy of canonising. I meant 'F the classics' only in terms of developing enough of a critical sense that you can challenge them, and the more accepted they are, the more lofty their status, the more they should be challenged. Oftentimes, of course, I'll go and read, say, Great Gatsby. Question it, challenge it, and conclude: yes, it's awesome! Othertimes, I can read, an established classic or Next Big Thing in comics or fiction and say, 'nope, I think this is garbage, and - crucially - here's why...'
Hey, Alec! Thanks for your more than valuable tips and insights. But I was wondering, I wanted to ask you, I remember reading once, I assume it was af 2014 text on these same matters, but you outlined in there a two Future Shocks tales that illustrate your points from a metaphysical point of view, that I couldn't find in these 4-parts walls of text. Or either my eyes are giving up on me.
Hey, Milo! Thanks for reading. Really glad you found it useful. As for those Future Shock stories. Hmmmm... I'm really not sure what they could have been. I don't think I edited the original too much. Rather I added more than I took out. :P Sorry I can't be more help there... Let me know if there's any other way I could point you in the right direction...
Thanks Alec anyway. I perused through my 2000ad files that I have and progs 1754 and 1837 which I think are the one you recommended (scripts done by Si Spurrier and David Baillie). I see now what you meant by doing a successful metaphysical Future Shock. But I have another question for you; have you ever made adjustments to the rejected Future Shocks proposal, once you got the horrible little letter from the editor and then re-send again?
Ah, yes!! I remember the one you mean! The Last Future Shock, right…? As for the other thing, I wouldn’t make adjustments and resend unless the editor has specifically asked you to do it. No means no, in that case. But I’ve reworked rejected pitches for other publishers plenty of times. A good idea is a good idea. It just might not be for that publisher. Hope this helps, Milo.
Wow lots of great advice and resources in this one. I suppose one thing I need to ask is: Can I approach an artist as someone who's never written a comic script before? I've got both the novella and screenplay versions of the story, but I suppose I'd be hoping that I could work with an artist who knew what they were doing to engineer the story in the best way for this medium.
I don't see why not, Harvey. They could potentially work 'Marvel style' from a synopsis, whereby they break down the story into pages and panels, then you add the dialogue. Otherwise, you're looking at working 'full script' whereby you're the one breaking down into pages and panels in the form of a script and formalising the dialogue. Bear in mind that if you're working from a novella/screenplay (a screenplay that's around 90 minutes), then you're probably looking at around 120-150 pages of comic. Unless you're looking at drastically truncating the story. In which case, you'll definitely want to go full script, I reckon. Absolutely no harm in reaching out to an artist, though, and establishing a relationship.
Ok thanks for the advice! I suppose the full story would stretch along 4-5 issues then... I will reach out, and see how it goes.
Good luck, Harvey.
Love this Alex as usual. I’m now writing a short comic script based on a short film script I wrote. I’m also studying From Hell and others. Your own comic scriots were very useful as well - I wonder if u can show more of your work n do a commentary - like how Brian wood did with Demo - one of my faves
I'd love to do something like that, Andrew. Though I can't commit the hours just yet. Something to think about when it comes time for me to offer a paid tier, which I'm not likely to do until I've scored at least 2,000 subs. Will check out that Brian Wood piece you mention, though.
I have a feeling you will like Brian wood. He’s well known for DMZ. Demo is my fave black white indie comic series. When u have time Alex , I look forward to any thoughts u have on craft. I really enjoy reading your posts
Loved Wood's Northlanders! And thanks so much for reading my posts, Andrew. Really glad you're getting something out of them.
I would give similar advice to anyone else wanting to start writing, but I'd never tell them to "fuck the classics". The classics are the best ones to learn from!
Sure. You NEED to read the classics. But you also need to know WHY you're reading them and to also QUESTION them. Okay, so WHY is Austen or Auden so great? Rather than just nodding along with whoever has deemed this book worthy of canonising. I meant 'F the classics' only in terms of developing enough of a critical sense that you can challenge them, and the more accepted they are, the more lofty their status, the more they should be challenged. Oftentimes, of course, I'll go and read, say, Great Gatsby. Question it, challenge it, and conclude: yes, it's awesome! Othertimes, I can read, an established classic or Next Big Thing in comics or fiction and say, 'nope, I think this is garbage, and - crucially - here's why...'
Hey, Alec! Thanks for your more than valuable tips and insights. But I was wondering, I wanted to ask you, I remember reading once, I assume it was af 2014 text on these same matters, but you outlined in there a two Future Shocks tales that illustrate your points from a metaphysical point of view, that I couldn't find in these 4-parts walls of text. Or either my eyes are giving up on me.
Hey, Milo! Thanks for reading. Really glad you found it useful. As for those Future Shock stories. Hmmmm... I'm really not sure what they could have been. I don't think I edited the original too much. Rather I added more than I took out. :P Sorry I can't be more help there... Let me know if there's any other way I could point you in the right direction...
Thanks Alec anyway. I perused through my 2000ad files that I have and progs 1754 and 1837 which I think are the one you recommended (scripts done by Si Spurrier and David Baillie). I see now what you meant by doing a successful metaphysical Future Shock. But I have another question for you; have you ever made adjustments to the rejected Future Shocks proposal, once you got the horrible little letter from the editor and then re-send again?
Ah, yes!! I remember the one you mean! The Last Future Shock, right…? As for the other thing, I wouldn’t make adjustments and resend unless the editor has specifically asked you to do it. No means no, in that case. But I’ve reworked rejected pitches for other publishers plenty of times. A good idea is a good idea. It just might not be for that publisher. Hope this helps, Milo.