Comics for Beginners

How to Write & Draw Comics

writing for comics

How to Write a Great Story – and Stick the Landing

by Leave a Comment

So you’ve read all the books on writing, from Syd Field to Scott McCloud and you still struggle with writing a compelling story. Nothing seems to work or hold your interest long enough to get the damn thing finished!

It sounds to me like you’ve been looking for inspiration in the wrong places. Books on storytelling can be great to help you course-correct but rarely feed the creative fire to create something from scratch. You need to turn your looks to your inner self, what stories are bubbling in there that you want to tell? Or read lots of fiction to get inspired for your own stories.

I certainly can relate to jumping from one story to the other, I do it all the time (see this post on writing for scatterbrains: https://comicsforbeginners.com/writing-tips-scatterbrains/). The main difference I think is I have enough discipline and/or experience to either abandon a story with total conviction (after not spending too long on it) or clench my teeth and finish the damn thing at some point.

A friend of mine who’s a very succesful and wildly productive writer once told me: “He who has written is wiser than the one who has not.” Meaning you DO learn and evolve, even though you may end up scrapping the ten pages you just wrote. My friend also suggest keeping all the failed attempts and false starts on file because who knows? Maybe one day that bad idea can be used as a subplot for another story, a character you wrote can be brought back from the dead to play a part in something else, or you will simply get a new idea from skimming through an old one. I personally just found a document I had forgotten I wrote, which turned out to be a pretty decent outline for a crime story that never really found it’s form. Looking at it now it seems perfect to pitch to this new editor I just had a meeting with.

Not everything has to pay off here and now. You can plant seeds and maybe one day some of it will bear fruit. Be patient.

That said, you need to finish something to build your confidence as a storyteller. Every abandoned project that just didn’t work or you lost interest in will add another frustrating chip in your armour, make you feel like a loser. I harp on this a lot, the fact that quitting half way through a project breaks down our self-confidence as creators – and we NEED that self-confidence, it’s at the core of our creative existence. We need to nourish it and shelter in from the slings and arrows of outrageous fortune as Shakespeare put it, keep it safe from the nay-sayers and the sceptics, because they will stomp that thing into oblivion if you let them.

I recorded a podcast episode on quitting that might be helpful: https://comicsforbeginners.com/comics-for-beginners-podcast-episode-30-why-we-quit/

Again, there is the possibility you just don’t have a knack for writing. And that’s totally OK! You can work with a writer or a writing partner (which might also help keep you on track and accountable). I wrote a post on getting an artist on board. If you flip the narrative, you might find some good ideas here: https://comicsforbeginners.com/catch-artist/

Choosing which story to pursue is not easy. Decide early on to ditch the idea or stick the landing. If you find yourself returning to a story again and again in your mind, then it’s time to commit to develop it further. Set a deadline, get an accountability buddy who agrees to read your first draft.

My final piece of advice would be to spend a day or two writing up a synopsis or just notes on a story, then leave it be for a week or more. If you keep returning to the story and characters in your mind, that’s an indication there’s more to explore in that world. If you don’t dream or think about the story at all, doesn’t mean it’s not a good idea – it just means you are not meant to write it.

How to Catch an Artist

by Leave a Comment

finding-a-comics-artistThis blog is focused on comics creation as a whole, rather than seeing writer and artist as two separate things. But what do you do if you have a great story written but don’t feel you have the drawing skills to pull it off?

It’s a big commitment for an artist to draw a comic book that someone else wrote.

Getting an artist on board on your big project is not going to be easy, unless you have the cash to pay for their time. And even then, you’re competing with other commitments and paid work.

Being both a writer and an artist, I can see things from both sides. And I know there are more people out there who can write than there are people who can draw. Time is another important factor. You can write five 22-page issues of something in the same time it takes an artist to draw just one. So how do you lure someone into spending weeks and months hunched over the drawing table working on your book?

Here’s what I think will help:

  • A script. I would never agree to draw something from a pitch or an idea. If a writer can’t show me any writing, all the alarm bells go off. And if I am expected to commit to a longer series, I need not only a script for the first ten pages, I need to know where it’s all going. I need to know the writer can write and has a plan.
  • A track record. Again, showing that you can produce something helps convince others to get on board. If you have other finished projects on your resume, you may be able to hook an artist with just a detailed outline with a beginning, middle and end. A few pages of script is still necessary, to show that you can write.
  • A smaller commitment. It’s much easier to agree to draw ten pages in black and white, than a six issue series or a fully painted graphic novel. As a writer, this also gives you a chance to see how the relationship works out. Just because an artist can show excellent work doesn’t mean they can produce it consistently, keep a schedule or be easy to work with. Doing a shorter story is mutually beneficial.
  • Money. Sure, we are all for sale. The more money you can put up front, the harder it is for an artist to say no. But like mentioned above, artists can be flaky, so doing a shorter thing together is a good idea before you pay an artist a huge sum for a book they may never deliver.
  • Ownership. If you offer to give the artist a creator credit, it helps sell the message that you are both in the same boat. If you do a pitch together (see this page for how to create a compelling pitch) to get a publisher, having split ownership of the property makes the artist invest more time and effort.
  • Trust. The cornerstone to any working relationship is reliability and trust. To get an artist to commit time and energy to your project, you need to trust them to do their thing without you looking over their shoulder. You need to trust their decisions and listen to their input – or at least pretend. But you also need to deliver on your promises and not be late with a script, feedback or payment.

Happy hunting!

PS: Even if you never plan to draw anything, it might be a good idea to at least have an idea of the process. So sign up for my 100% free 7-day crash course here.

Bonus Video: A Most Productive Year

by 1 Comment

If you thought I was lying on a beach somewhere, you are thoroughly mistaken! Here’s part of what I’ve been up to this past year or so. Probably the busiest time of my life ever – and still is. Watch the video to find out why.

ProFile: Jason Brubaker

by Leave a Comment

ProFile-Jason-BrubakerJason Brubaker began his career in graphic novels in 2011 with the Xeric Award winning reMIND which also got on the Great Graphic Novels for Teens list 2012. In 2014 he quit his full-time job as a Visual Development artist at Dreamworks Animation to pursue publishing his own comics. You can support Jason’s work here: patreon.com/jasonbrubaker

What made you decide to work in the medium of comics?

I grew up loving comics and always wanted to draw sequential art. But when I started working as a professional artist I put aside comics because I thought they were for kids. 10 years later I was convinced to give comics a try again and I’m glad I did because now I realize how powerful and effective they are at telling stories and getting a message across. I love comics because they are the perfect medium for solo artist/writers to tell their stories.

What part of the process is the most challenging or frustrating to you?

I think the most challenging part is the marketing part, or social media part. These are just so unnatural for me as an artist and sometimes I just want to ignore it all and just work on the books but at the end of the day I need to put my stuff out there in a social way to that others can see it and respond to it.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Make sure you really believe in what you are trying to say in your story. It takes a lot of commitment to get a full comic story finished and if you don’t believe your own message then it’s going to be near impossible to put in all the work to finish it and it will also be hard to put your best work into it too.

Writing the first draft

by 2 Comments

plan your story with post-its
Using post-it notes or index cards can be very helpful in planning your story

When you’re writing your script, it’s important to take the pressure off and ban your inner critic from meddling.

Writing a script for my comics was the lesson that took my process to the next level. And after I learned to write a script, the next most important lesson was to think of my script in terms of drafts. After all, if it’s a first draft, you don’t have to be Alan Moore right from the go!

Here are some pointers for getting that first draft done:

  • Empty your head as fast as you can. Get it on paper, beginning, middle and end. You can always change the particulars later.
  • Perfection is not what you’re going for. It’s a first draft and it will be edited later! Don’t worry about grammar or mull over character names or location description, just get the story beats down.
  • Resist the urge to show your writing to anyone before the first draft is finished. Stephen King talks about writing with the door closed or door open in his book On Writing (which I can highly recommend). This means the first draft is yours and yours alone. If you have people critizing or asking the wrong questions it can totally derail your process. Write your first draft with the door closed.
  • Think through scenes before you sit down to write them. Take notes or just run through the scene in your head. The good thing is you can do this anywhere, anytime. And it makes the actual writing SO much easier.
  • Break it down into manageable parts if you feel looking at your entire story is overwhelming. 1st act, 2nd act, 3rd, act, individual scenes. Decide how many scenes is necessary to get from point A to point B and deal with each scene as its own little story, with beginning, middle and end.
  • Always be moving forward. Force yourself to get to the end before you go back and change things in what you’ve already written. Take notes of what you want to change but save the editing for the second draft.
  • Know the ending before you write the beginning. No, you don’t need to know the particulars but have an idea, a destination. At least know if it ends on a happy note or if it’s a tragic journey you’re setting out on.
  • Bonus tip: When you DO get to the end and write that the way it’s supposed to be, go back and rewrite the beginning so you can put in little clues about the ending!

Now, as I say in episode 2 of the tutorial videos, it’s time to put your script in a drawer and forget about it!

Related video: Writing your script

 

 

 

ProFile: Richard Starkings

by Leave a Comment

ProFile-Richard-StarkingsRichard Starkings is the creator and writer of HIP FLASK and ELEPHANTMEN. Born and raised in England, Starkings worked for five years at Marvel UK’s London offices as editor, designer and occasional writer of ZOIDS, GHOSTBUSTERS, TRANSFORMERS and the DOCTOR WHO comic strip. He is perhaps best known for his work with the award-winning Comicraft design and lettering studio, which he founded in 1992 with John ‘JG’ Roshell. Starkings & Roshell also co-authored the best-selling books COMIC BOOK LETTERING THE COMICRAFT WAY and TIM SALE: BLACK AND WHITE.

What made you decide to work in the medium of comics?

I always loved comics — at the age of 9 I started reading a comic called COUNTDOWN featuring strips based on TV shows like DOCTOR WHO, UFO and THE PERSUADERS. In some ways I preferred them to the TV shows they were based on. That comic inspired me to draw comics and cartoon strips myself and from that young age I started identifying the artists and styles I liked.

Years later, I remember reading an article in Dez Skinn’s WARRIOR magazine in the 80’s about breaking into comics. I was on a train from Weymouth to London and I kind of realized at that moment that it was possible to get a job in comics and committed myself to that goal. I never seriously considered anything else.

What part of the process is the most challenging or frustrating to you?

As a writer, you’re dependent on your artist to make real your imaginings. So it’s important to find artists with whom you are sympatico. Finding those creators can be very rewarding and challenging all at the same time.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Write! Draw! ALL the time. Write about life, draw from life.

More about Richard Starkings and Elephantmen on hipflask.com