In this episode, listen to Lora and Chris discuss the biggest problem in comics.
More importantly, they provide a series of tips that will help you write comics that engage your audience.
…and discover Chris’s favorite writing resource!
Episode Highlights:
- What makes an compelling character.
- How to keep the middle of your story interesting.
- What you can do to improve your writing today.
- How to bring focus to your plot.
- What makes a reader buy into your story.
Links Mentioned:
Writers on Writing
Chris Soth’s Million Dollar Screenwriting Podcast
Story by Robert McKee
Save the Cat by Blake Snyder
We would love to hear from you!
What is the most confusing or ambiguous part of writing for you?
So many excellent points brought up in this one. I particularly like the bit about the rules and formulas of writing and how many new writers are resistant to them.
Writing is’t functionally different as a skill than art. Practice improves proficiency and there are most definitely guidelines that will improve and support whatever story you are trying to tell. Saying you don’t want to learn them is like saying you don’t need to learn to draw anatomy or perspective. Even the most cartoony style takes these elements into account. As the saying goes, you have to know and master the rules before you can “break” them. And it’s not even breaking them. It’s bending them with consistency. You can say old Looney Toons “broke” perspective and color rules, but they didn’t. They were very consistent with a specific look and style that was grounded in traditional principles. it’s why cartoons that try to mimic that look so often seem just a little lifeless and “off”.
I also think people worry about writing “formulas” because they immediately think “formulaic, predictable, trite”. But that is only true in the sense that a figure study with two arms and two legs is “predictable”. Having a story without conflict is no story. It’s like a figure drawing without a figure. The two are mutually exclusive. A large part of any narrative endeavor is communicating an idea effectively, and there are proven ways to do that.
Great points Jake!
WOW!…Now that was awesome!
Firstly, Welcome back Wing Leaders!!
I just have to say that it is great to hear y’all together again! Well, chalk this up to another reason why we need to mass market foil hats…I have needed help with story a lot lately and you all need to stop using that brain..wave thingie, cuz I think its having adverse reactions…I keep trying to unlock the boat with the parrot and then feed crackers to the skull keys! Somethings wrong with that but I just can’t place my hook on it…
Hi, I am a penciler. I am part of this support group..er, podcast because I stink at other aspects of storytelling (and cuz y’all rock!) and I have realized that I need help. I found great points in this and two that I am latching on to right now are the need for structure and the “ocean”.
I like engines. I am amazed that with the proper mix of parts and elements you get propulsion. Think about it; we humans have figured out how to harness and facilitate the ballet of explosion! An engine has a system and I learned to appreciate it a long time ago. Without the structure and design it would not work at best, and at worst, it will blow up in your face. It works for a reason and I am a good enough stewart to abide by it. If I apply this mentality to my stories more often like you mention here, I guarantee that I will be less stressed and better prepared to approach a task. Great point!
The ocean comment is helping me to calm down and appreciate something. I have turned space into my ocean with my short story for the Illopond anthology (which I would like to continue afterwards) and it scared me after I realized it. I had just created a place where anything could happen. That is a lot of power…and that could blow up in my face. I love that this point helped me to realize that with creating my ocean, I too had the ability to control it. Now I just need to understand where I want to go in it and what is between me and that point. I didn’t create chaos, I created opportunity.
My struggle:
I don’t know how to transform situations into panels. I know that sounds ridiculous but I just don’t know what parts of a situation are most important and how to decide them. Ex: in a comic I tried writing for myself a long time ago, I was stalled on a page where the protagonist and one of the major antagonists were having a heated argument and I froze; what do I have them say? Do I snap back and fort with talking heads or do I do one big panel with lots of word bubbles? I know a lot of that depends on story style and theme but I couldn’t even get past what basic information was most important to move the story forward efficiently. This is something that I would really enjoy improving upon.
Thank you all for another great show and though I will miss the two-a-month schedule, I know this will make room for even more WInger Greatness out of you all.
Best be to yee, Yo’ Ho’!!!
Howdy, Cap’n!
I think the argument scene you described is one of the hardest to pull off in a comic. In an action scene, panel to panel decisions are a lot easier.
In a “talking heads” scene how do you keep it interesting?
I tend to do my layouts making sure they read with no words. Meaning, from the expressions/poses in each panel, can you tell what *kind* of thing they’re saying. Your argument should have a push and pull that the characters are reacting to. They should not just be angry in all six panels on the page.
If you’ll forgive me for sharing an example from my own work, check out this page and don’t read the word balloons: http://www.thedreamercomic.com/comic.php?id=287
Can you tell, just from the pictures the emotional push and pull the characters go through from their expressions and poses? If you can tell the story of the verbal fight without the words, it’ll keep your readers interested and engage. Six angry faces in a row won’t do that.
Best of luck!
Layouts is definitely something we plan to address in the future. It’s one of my favorite subjects. 🙂
Hellooooooo Lora!
Thank you for the response and please refer back to your work anytime! You are great at what you do and you understand how/why you did it that way so it makes complete sense. Now for that page, excellent example of what I was talking about. I love the way Bea starts from an upward, imposing angle and by the bottom of the page the characters are back on the same level, literally! Their heads are on the same level in the end placing them back in relation to each other as the situation calms down. I love it!
I do also look forward to layouts as Paper Wings gets closer to it. I want to learn about story badly but I know that it will connect more when we are learning more about connecting story content with the ways and means of presenting it. I have learned a little about the basics but I know I get lost on certain subjects, partially because I don’t read enough comics (real important!).
Thanks again, its good to have y’all back!
Hey Wingers!
Invisible Ink is a brilliant book on story, also my personal favorite. Brian McDonald has also released 2 other books Golden Theme & his novella Freeman, which I as yet have not read.
I always find that the hardest part of writing is actually finding a story worth telling. I’ll find I have a character or situation, but not a good enough reason( I guess a theme? or the point to the story) to put the effort into finishing the project. I usually get to a point where I think it all sucks and nobody would care or have a new idea pop into my brain and abandon the current project.
The only exception is a idea for a graphic novel set during WW1 that I came up with at uni. The ending popped into my head while researching,sketching and listening to music. The fact that I know where I’m going, what the point of the story is, I find really exciting. It lets you start putting all the other pieces together.
Thanks for another great podcast!
Leigh,
I’m in the same boat. I tend to not know exactly where I’m going and kind mill about with my characters and settings without a satisfying ending.
Yet on those occasions when I do have a solid ending, the writing goes quickly and end up with something pretty decent.
Invisible Ink has quickly become a favorite of mine as it makes you simplify and focus on taking steps to reach the ending.
I’ve got three question:
1. Can the “ocean” be two things that are wrapped up within each other? Or does it need to be simplified if that’s the case?
2. If you are creating a comic in issues, does each issue have it’s own 3-act structure and does the entire series also need some sort of 3-act structure?
3. Is it necessary to plot out the entire series structure completely in advance or can you go issue-by-issue with a tentative plan for the rest?
Of course I am no expert, but from what I’ve seen in regards to #2, I think the best series (both comics and television) have a system: the individual issue/episode structure, which is inside the arc/season structure, which is inside the overall plot structure (either on-going or from season to season). There might not be arcs if the series isn’t on-going or quite long, but this is what I’ve seen.
The issues need their own rise and fall of conflict to keep readers’ attention and feel satisfying as one small package, but may have cliffhangers and different uses of tension as according to where the story is in the overall arc. But either way, the reader needs that push to keep reading.
The arcs have their own rise and fall of conflict, as seen throughout the issues. I think this layer is closest to film structure (think of each Star Wars film as an arc), it just needs to be broken up carefully to fit into interesting issues/episodes.
But, through both of those, there’s the underlying purpose of everything that happens if it’s an on-going or long series. None of the other plots would mean anything if there wasn’t the beginning of the journey and a hopeful resolution or goal, and there would probably be obvious contrast in the significance/intensity of each arc as it gets closer to the overall climax.
I think Lora’s Dreamer and Fables are good examples of these, though obviously very different types of stories with very different ambitions.
Ahoy Sarah! This is a great response! I will contact my writer, Omar, and see if he has a bit of time to discuss this very thing. The book he and i have been working on for submiting has multiple issues and one, very large over-reaching goal. The thing is, in each issue; somthings are accomplished, some ground may be gained and there are failures or loss of life, propert or opportunity. Either way, there movement in the tale from beginning of the issue to the end and we get more entrenched within their world and situations with that progress. I dont onow how he did all of the awesome he did but it is well done. He would probably be able to advise on this really well.
Thanks, Sarah!!
Michelle, I think that an individual issue or chapter should have no arc, just a story. It’s when you put issues together that they become an arc.
Now, if you’re writing a single graphic novel, that’s your story–it’s like a 2 hour movie.
But if you’re writing a series of graphic novels, each book becomes an arc, and together they make up your whole story.
Does that make sense?
I think the TV series comparison is perfect. Episode = issue (one story). A season = arc (where did the characters start, vs where they ended. Each season should bring something new.) And series = series. When you get to the end, what was the story you wanted to tell?
The three Act structure is tried and true, and can really help you focus your story when writing it.
As for how you write it, I tend to write one issue at a time, but I have a pretty flushed out outline of what is happening in my current Act. I’ll write ahead in bits and pieces and just save those scenes in a pages doc. But I never start drawing an issue until the whole thing is completely written, and broken down into pages and panels.
I think it makes my comic read better.
Michelle, my .02 is that you can have your ocean be about whatever you want, but you need to realize that with each new thing or layer you’re introducing is making it that much more complex and you’ll have to be sharp not to lose your reader.
I don’t think each issue needs to be 3-act, but each story does. It might be splitting hairs, but some stories are one-shots, and some are 6, 12, 24 issue stories.
You don’t HAVE to have the whole series plotted out, but I think it’s a good idea. You don’t need the whole thing written, but I think it makes sense that with the more you have written, the more solid it will be. In the podcast, Lora talked about how some webcomics show that they are writing as they go along and you don’t want to be one of them.
This is the perfect podcast for me as I begin to plan new animations for my reel. I’ve been on the one side: wanting to design characters who look cool – or animation that has interesting motion. And I’ve also done the opposite, which you said was the “better way”, where I’ve written some great stories with words and thoughts and focused little on visual aspects. I’ve been working really hard to merge the two in everything I do. It was cool to hear that a lot of the points you mentioned are things I’ve already been doing (both instinctually and consciously) but with these tips, I plan to do it more consistently, starting with my new animation tests! Thanks so much
Hey Scott, I checked in on your December character design stuff a few times, and saw some really cool characters. It’s pretty cool you are at a point where are beginning to merge/balance both aspects of visual storytelling.
Thanks Steph! Most of those characters started with a story-driven, compelling idea first, then I found some reference and sketched away. I’m sure the visual appearance of all the characters could be refined, but I was worried first about story. Now there were several character “looks” and imagery I had floating around my mind, but I made it a goal to not commit to any of them until I found which of the character ideas I was brainstorming matched appropriately with the imagery.
The animations I’m currently planning are a bit more challenging, because I’m going for a certain “feeling” I want the shots to have – but now I have to find the surrounding story and fleshed out characters, but I’m keeping myself in check by listing every piece of the puzzle, asking critical questions, and sharing the ideas with my circle of trust.
I find I get stumped in storytelling because I have all these ideas for the great “twist” or climax, but no well-developed oceans or strong characters to place them in for context, nor beginnings or endings to work from. It’s kind of like working backwards in the worst sort of way. Instead of filling my sketchbook with characters and weapons and outfits, I fill it with sticky notes of these flashes of inspiration and then get stuck when I have to flesh things out.
I find this causes real problems because it takes a lot invent the perfect character for that situation without it seeming contrived or too plot-driven. Mayhaps a podcast on character development could be in the near future…? ; )
Hey Sarah,
I’ve been following your comic. Good stuff! I can’t wait to see where the story is going. Since your comic is much “younger” than many I have seen out there (in pages, I mean), it’s been really inspiring because you are actual out there doing, what I have been in a seemingly forever planning phase on. Kudos for that. 🙂
I do think actually, I have the same problem. I have twists and climax ideas that make me gleefully rub my palms together (and chuckle) like some cartoon villain, but my oceans lack the depth to carry them.
Thanks so much for following my comic! I really appreciate that you’ve noticed my hard work. One of my top rules to myself has been “don’t miss an update” –– seems to be working.
We need some world-building podcasts, sounds like.
Hey Sarah, I’m also continually liking the comic. Maybe what you can do as you find a climax which excites you is to next sit down and intentionally brainstorm “What are the possible oceans the character would have to cross to reach this climax. Then, of course you could wait a few days for the idea to gestate – and I think the sticky notes with inspirations is a great idea.
Thanks for reading UtAT. : )
S’just that… my “gestation period” is several years. I started the first form of UtAT back in 2007, when Lora first got The Dreamer online. It took until mid-2011 to get it truly going. But it’s worlds better for it, I spent a considerable amount of time fixing issues in the writing.
Maybe I’ll make a blog post about my process. I’m not nearly as organized as Lora and Chris, haha.
The timing of this podcast is ideal for me as I’m in the planning stages for a new project. And there’s so much good information here, I took three pages of notes. Great job as always.
Unfortunately, much of my writing leans more towards “Alice in Wonderland” and less towards “Wizard of Oz”. It tends to lack structure because I don’t have a solid ending or beat around the bush getting there.
I recently finished reading “Invisible Ink” on Chris’s previous recommendation. It’s a great book and has very simple rules for the structurally challenged like me to follow. It has helped me quite a bit in following a process: from structure to outline to script to thumbnails to comic. I plan on picking up “Save the Cat” soon.
Interestingly enough, the one type of story I’ve never had problems with are ghost/horror stories. By their very nature, I always had to begin with the ending in mind and fill in the steps to get there. The goal is to train myself to work that way for all types of stories.
I really love Invisible Ink as well. Brian McDonald also has a blog with some real gems. I’ll spare you the novel I could write about his book or blog, and leave you with the link instead: http://invisibleinkblog.blogspot.com/
PS: Meant to say! Love to have you guys back! And I’m really loving the topic, as I’ve done a lot of work and research in this field in the last few months.
Also, sorry to see your comic on hiatus, Chris, but I totally get your reasoning with that. I look forward to its return.
Thanks for sharing that blog. I’ve put the book on my wish list, but I this blog will definitely ease the wait. I already learned a ton by looking though it.
Steph,
Thank you for the high praise and the link to the blog.
Happy to know you like the book and blog.
— Brian
Wow, you’re very welcome! Although I really don’t think I should be on the receiving end of thanks in this “conversation”.
Looking forward to more “Brian-awesomeness” to come.
Thanks for the knowledge and inspiration.
-Steph
Back in the saddle again…
So glad to have you guy’s back! Perfect topic for me too for I’m just now slipping back into Story mode, having finished a short freelance stint. And this being my first, it taught me something about my personal creative abilities & process. It’s hard to do both. Spending a couple months on visualizing someone else’s stories has made it tough to get back into my own.
It’s like the two hemispheres of our brain thing. It seems to me that Art and Story emerge from opposite sides, and when all attention is diverted to visualizing, at least for me, it’s a little awkward to renter the story zone. I can Pat my head and rub my belly at the same time, it just takes a minute if I haven’t done it for awhile. Does that make sense?
anyway… To answer Lora’s question, when it comes to writing, one of the hardest thing for me is to develop the little moments. Those necessary points in between the big moments. Something for instance that Jeff Smith did so well in Bone. Loads of little moments that, While not crucial to the Arc, are in themselves what make the whole so enduring. The moment Bone first meets Thorn for instance. and of course the Rat Creature Quiche moments. These are the moments that I find most challenging because if they are not given the proper thought and attention, it’s like putting a plastic model kit together without any cement. it just wont stay together.
Great to have you back again Guys!
Really good point about the ‘little moments’. They’re really what make us care about the characters, which is what makes the ‘big’ story important and not just a series of events… Hmmm…
Sam, you’re so, so right. Bone is one of my favorites. And those silly moments in the early part of the series just solidify your love for Smith’s world and characters.
The story gets darker and heavier as it goes on, but all of that early developmental stuff is the glue that holds it all together–because it’s your investment in the story.
Smith does a great job at this because they’re just small moments tucked into the story. He finds opportunities for character development within plot, not by hitting pause on the plot.
That’s harder than it sounds, and Bone is a masterful example of it. Thanks for bringing it up!
Hello Chris and Lora,
What a nice surprise, to find these kinds words about my book. Thank you so much for mentioning it. And I’m happy to know that you found it so useful.
And, I should mention that the book is actually in Kindle format, so people can get it that way if they want.
Thanks again,
— Brian
Brian!
Thank you so much for your comment and for writing Invisible Ink!
We’d love to have you as a guest on the show sometime!
Sure, I’d like to be on the podcast. Just email me here: [email protected]
— Brian
We would love this, and so would our listeners! Thank you so much!
Boy, this episode was so jammed packed with information!! I definitely need to listen again and take proper notes. I think these points will really help me develop a good, concrete story, and I’m looking forward to more from you guys about story development.
I’ve owned Save the Cat for sometime, so I should really get to reading it. Currently I’m reading 45 Master Characters, which is very concise and useful. And have just bought 20 Master Plots and How to Build Them and am looking forward to that. Another book I have (and haven’t read yet) is The Seven Basic Plots, but I didn’t realize is was so massive and so it’s quite intimidating. I definitely want to get a hold of Invisible Ink now as well.
I definitely see the value in using structure (hence buying all these plot books). I do believe that great stories all work from a proven formula– something that we can all relate to and understand and compel us. Definitely not meaning that everything is cookie-cutter, but, like you said, there is a framework in place.
One thing that is definitely holding up my writing is research (Your last point!). My story is kind of sci-fi, and set in the not-so-far future, so that means me thinking about how the world will realistically be in, say 100 years– how will technology advance, etc. etc. That is the part based in reality, and the “lie” is stretching it and making it interesting, having it support the plot, as well as reflect on our society as it is today (part of the theme).
My worst fear is to make up something “scientific” and it be completely not believable. It reminds me when I saw Iron Man 2 with some friends, and my engineer friends all scoffed at how Tony Stark basically created a new element in his basement. It’s one of those things that is believable enough when you watch it, because you’re caught up in the moment, but really could never happen. I guess it’s like the Disney “plausible impossible” mindset. The hard part is balancing the plausible and the impossible! Nonetheless, lots of research, hahah!
(I’m not sure if HTML is allowed in the comments, so I hope my links work…)
Well, your lie will be a lie. Robert Downey Jr. building a large hadron collider in his basement his hilarious in its campiness.
Sometimes I think the best sci-fi worlds are the ones that don’t try to explain away every detail. Of course, a lot of sci-fi and fantasy is super descriptive this way, so it might just be a part of a genre that I don’t really enjoy. But I think a book like Enders Game or 1984 works because every detail of their world isn’t explained away.
I think the big takeaway in that point is that you get one lie (space travel) but the rest has to still feel real. So you don’t get space travel, time travel, vampires and super powers. I mean, you could, but it would read like a Marvel Cross-Over event gone bad… 😉
As someone who has to do a LOT of research for the kinds of stories I write, I would encourage you not to become paralyzed. At some point you just have to start writing. And to be honest, writing my story and posting it publically, I’ve actually met tons of people–historians, biographers, docents and enthusiasts on my subject who have actually helped me with my research so my story is even more solid than it would have been if I’d just written it by myself until it was perfect. Getting started (with a solid foundation, of course) opened all kinds of doors that never would have been open to me if not.
Best of luck!
That’s what I love about Dr. Who. Anything broken can be fixed, any door can b opened, every problem can be solved with the buzz from his handy dandy sonic screwdriver.
Did you say Invisible Ink is not available digitally? I found it in the Kindle store:
http://www.amazon.com/Invisible-Ink-ebook/dp/B00408ASDM/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1328161817&sr=1-1
And it’s only 5 bucks.
Great episode, by the way!
Awesome! I couldn’t get it at my library, this will be a fantastic alternative.
Yeah, when Chris first mentioned Invisible Ink and Save the Cat during the flashbang q & a, I immediately got both on my Nook Color within a few minutes. 🙂 Can’t beat the price if you have an eReader!
Yeah, sorry about that, Wingerz. I’m usually on the ball with digital. For some reason I had it in my head that Invisible Ink was not available in ebook format.
But it is!
This post is a bit late after the podcast, but I just finally got around to finishing listening! (College really puts a damper on my time.) But anyway, I always have had–and I’m sure I always will have–the same problems with writing, whether it’s a comic, short story, longer story, etc., and that is the middle section.
The dreaded middle section! It has hammered many a nail into many a coffin of my stories. I write out the opening, I know the ending–sometimes, I even know what the middle mostly is!–but then when I get to WRITING it, something just happens. I lose interest. I get lost. I feel overwhelmed. And I stare at the screen with frustration before finally shoving it aside.
I think it’s because the middle, at least for me, feels like this big open void. The opening is easy, the opening is my favorite part–creating the characters and the world. This always comes first for me! I LOVE creating characters! As I brainstorm them, their personalities and the conflicts that can arise become steadily more and more solid. There’s your beginning. The ending is much the same way–it’s sort of a redefining of the characters, who you want them to become, where you want them to be.
The middle, however? I’ve already created the characters. Now, however, they have to interact in this massive world I’ve created. It’s like I feel the weight of their free will and vulnerability on my shoulders. I’m not sure if that makes sense, but it’s even hard for me to try and discern exactly what happens when I hit that middle section!
I am trying so hard to avoid this for Everdusk. I think one thing that helps me is thinking as specifically as possible–having scenes planned in my head in all parts of the story (beginning, middle, end), both big scenes and small intimate scenes. I think that should help me weave together the entire tale as I then fill it out.
On a lighter note, it’s great having you both back! Honestly, you two are lifejackets for me and my huge undertaking of a graphic novel. I don’t know if I can finish it without you guys and the Paperwingers. So I can’t wait to see what you have in store for us! ^_^
I’m pretty much on par with what your saying. I’ve had a story that I’ve been working on for the last year, and I know my beginning, I know my end, and I know my characters. How to make that work with the middle is pretty much the bane of my story ha ha. This podcast definitely gave me a new perspective with my writing. But hey, its all good, we artists are persistent and I know you’ll get it done.
Great episode Chris and Lora! I learned a lot.
I have recently begun reading more long-form fiction in order to figure out how to develop stories better. “On Writing” by Stephen King put a lot together for me. His book approached writing without fear. Basically writing through your story and editing out the bad stuff later. One of the essential parts of writing for him was to read as much stuff as possible. Find out how others write.
That being said character and story development, and research are still difficult areas for me to grasp. I thought that Lora’s suggestion via Irving was very valuable. Coming up with the conclusion sentence first and sticking to it makes a lot sense. I believe you said the moral or point of the story.
Lora, how did Irving suggest you make a strong concluding sentence? What elements were necessary? Which elements are distracting or unnecessary?
His whole concept was rather mystical. The sentence just formed fully in his mind and he worked the rest of the story out from there.
The interview was in regards to Last Night in Twisted River when it came out. If you google it, I’ll bet you can find it pretty easily. I want to say it was only 10 or 15 minutes long. One of my all-time favorite books, btw. 🙂
HEy you two. I love the podcast so much that it actually inspired me to research tips on writting and maybe find systems that could help me focus my brain in the construction of my own story. In my research i fell upon this website http://www.how-to-write-a-book-now.com/plot-outline.html that is a simple out look but really well thought out way on how new people can write their stories. It touching on alot of topics that you talked about but it also helps people collect their thoughts so it just doesn’t feel like a bunch of random notes on pieces of paper but gives reason to those notes. Hope this website it helpful and thanks for taking the time to talk to us i really enjoy it. TaD
Hi guys- glad to hear thepodcast ‘gain.
I found this link a few weeks ago, but this podcast reminded me to share:
http://www.booktrope.com/book/invisible-ink
What’s better than free?
Wow, so much great conversation flowing from you all, Wingers! Chris and Lora it is great to hear from you guys once again. Thank you for your efforts to share your inspiration, provide amazing content, and becoming a true resource for the creative community. I am so excited to learn more about all the big plans that you guys have for this year. You’ve created a special place here, and it sounds like you’ve got some great things to help facilitate it even more. But, Chris, I am bummed to hear about the hiatus of the Sideshow, however I completely understand your predicament, and await it’s return when the time comes. Keep it up, WINGERS!
Wonderful information, thanks so much for sharing!
Hi guys,
Just wanted to say that I’ve just discovered Paper Wings and think it’s a fantastic podcast. Thanks so much.
Hey guys!
Great show as always. ^_^
On the fast fire Q&A on a previous show, Chris mentioned Save the Cat and Invisible Ink for learning more about story. I had both of them on my Nook in about 2 minutes, and was tearing into Invisible Ink, then Save the Cat shortly thereafter, and it really opened up my writing world…thanks!
Speaking of resources, I thought I’d share one that I got through artist/writer Eric Merced; its called Scrivener. Its a writing program made for writing extended, long texts, with organization in mind. Its got functionality for Blake Snyder’s “The Board,” and I thought it would be useful to the ‘Wingers. Its super cheap, $35-$40 depending on what platform you want it on. Enjoy!
http://www.literatureandlatte.com/scrivener.php
That in mind, I don’t think creating compelling characters is my issue now…its more a matter of presentation! How do you present your stories to your audience in a way that will keep them coming back for more? How does this play with stories that have a definite ending, such as Ratfist by Doug TenNapel? I love Doug’s work, but I haven’t been to Ratfist.com since it ended. :/ I’ve been playing with some ideas, but haven’t moved forward on any of them just yet, and wanted to get yours and the ‘Winger’s thoughts on this. 🙂
Thanks! Looking forward to future episodes. 😀
I’m pretty sure nobody’s going to answer to this this late after the release of the podcast, but I’ll post it anyway just for the sake of it.
I find it funny that you guys say it is easier to write the beggining of the story than it is to write the middle. I don’t think you’re wrong, I just have found it to be the oposite way.
I’m writing my graphic novel and I intend on having the thing be a series of 4 books. and as hard as I’m trying to write the first book I can mostly just come up with stuff for the second book, stuff that needs the setting well stablished, the relationships well gounded so they can be threatened and torn to pieces. I can’t for the life of me, write anything half as interesting for the first book.
Now, and for this I’m thankful I have a writer friend who’s helping me, I’m being told this is common, he states that the middle is always the most interesting for it is there where the real action happens, and I think he’s right.
I’m slowly getting myself to think of some ideas. for the first book and my friend said a phrase that really helped me, he said “readers will be engaged in book one because they’ll get to know the characters and start to care for them. And so I’m trying to prepare everything for the s&%$t storm that will be book two and onward.
Anyway, awesome podcast as always!
Too bad there aren’t dates on the comments. I can’t tell how late you wrote this. xD
But anyhow, most authors who write series, have separate story arcs for each book, as well as an over-arching series goal. So it might help you to think of a begging-middle-end for each individual book, in addition to your four book plot.
Hi, thank’s for a very inspiring and informative blog/podcast!
I have a request though, could you please write out the title to the episode and the episode number (in iTunes). I cant find the above mentioned episode in iTunes 🙁
/Peter
Buzz isn’t REALLY a Space Ranger?!?! WHAT?!?! Have you never heard the phrase, “Spoiler Alert”?!?!
I am writing my first comic book and this was BEYOND helpful for me! Thank you does not suffice. You guys rule.
The Audio file isn’t there anymore
Hi Chris and Lora,
This was really informative! I’m in the beginnings of working on my own comic project and have had some difficulty wrapping my head around writing (and drawing and everything else all at the same time). This definitely helps to apply some structure to what I’m doing and helps make the whole process feel a little less daunting.
btw – I believe I found the short by Michael Arndt on youtube:
http://youtu.be/A6mSdlfpYLU
Hey there, Chris and Lora! This may be a few years later, but I wanted to listen to this podcast before going to your updated on that I got today!
The information is just wonderful and so helpful for me. I think a story my best buddy and I have started (we’ve been on hiatus, ourselves, due to life stuff) has been rather successful because we had a story before we started the comic. The story actually had that “ocean” in there.
We had a strange ending but…lots of the story was formed well enough that we could bring it (modified) into a webcomic! I just put the comic in the website part. It’s been 2 years since we started again, and we’re just slowly getting to it. I think it was easier to even start because it’s based on video games already done.
Anyway…wow that was long. >_< Pardon me!
I'm trying to start my own comic…that is considerably harder…I don't even have names for much more than the main character. At first, she wasn't going to be the main character and she was to be a villain. But she's less of a villain now, and I fleshed her out much more than any other character so far. I just never got to create the comic or make the full story. Bits and pieces, including an end that I'm not sure is solid enough for my liking.
Hopefully with these notes I can think more and figure out what more to do, because this comic is my own stuff, and it's been YEARS since I'd done a lick with any part of it. 🙁
Thanks for sharing this! I needed to find all this info!
I’ve finally (after months of wanting to do this) managed to sit down and take actual notes to this podcast, while outlining my wbecomic. It’s just such an amazing boost to my story.
I listen to a ton of writing podcasts that are all incredible, but so far this is the one that sums up the most useful overview of what you need in a great story. It’s an excellent place to start.
Can you get to the point.. Jesus Christ, so much hot air.
Hey, I was directed here from Chris Oatley’s “How To Write A Comic Book Script and Other More Important Things”, but I’m bemused to find there is no audio file! It also doesn’t appear to be on the iTunes Podcast. How might I be able to obtain a copy/find a stream of this?
Really disappointed! I’ve searched all over the internet and no one seems to have this file anymore! It no longer plays here or any of the podcast forms I’ve tried! Anything you can actually do to repair this? I’d really like to listen to it!!
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