Now that my secret love of comic books is no longer a very well kept secret, I’ve had a lot of people – artists, writers, and readers – talk to me about their work, their favorite titles, and share some great stories about the industry. It’s been lovely to sort of “come out” as a geeky, comic book reading, girl, and not get the kind of dismissive “what do girls know” attitude that made me stop fangirl squeeing in public a long time ago. But …
One of the most common things I hear when I talk to other people about comics is, “Oh, I thought about writing a comic book someday”. Their idea is that writing comics is a) pretty simple and straightforward, and b) still more important that the work of the artist, who (it’s assumed) will just draw what the writer wants. Because I talk about writing here, I thought I’d lay out the facts of the situation, with some helpful quotes and links to other people saying it better than I could. This quick overview is meant to be the beginning, not the end, of the conversation, and assumes you already know things like “come up with original ideas”, “use a spellchecker”, and “edit your work”.
How do you get started in the writing side of comics?
Step one: Read everything. If you don’t read enough to have a sense of what’s being written, or has been written, especially in your genre, go do that.
“Do not learn to write comic books from reading comic books only. (Nor should you learn to draw comics from comics.) Reading good comics will help you learn elements of form and style, but it is also inherently limiting. You get into the law of diminishing returns, for if you don’t have any reference points beyond comics, everything you write will be derivative. Read novels. Read newspapers. Read non-fiction. Watch foreign films. Go to the theater. Expose yourself to more than what you find on comic book shelves. The more you know about the world around you, the more material you will have with which to build stories. The more storytelling styles you have encountered, the larger your own bag of tricks will be.” – Joe Edekin, Writing for Comic Books
Step two: Be a great writer. Not just a good writer, but the best one you can be. Write short stories, novels, plays, whatever – but be a great writer before you turn your hand to comics because you will need to be a great writer to work in comics. Don’t let yourself fall into the trap of thinking that that comics are easier just because “you only have to write what happens, not describe everything”. Writing a comics script is more complex than writing a screenplay – which probably is the easiest kind of writing to do – because you will create your script as if you are the writer, director, art director, casting agent, and more, all in one.
“The fact of the matter is that as a comic book writer, you are responsible for everything that goes on the page, just as if you were writing in prose. The artist is your partner, not your substitute. Think of writing a comic book as a collaboration with another writer, one to whom you must give very good instructions!” – Barry Lyga, Writing Comics
Step three: Learn what you like and don’t like in comics. There’s only one way to do this. You have to read every comic you can get your hands on, take recommendations from friends, seek out other work by writers you like, and always check the credits to see who did which part of the book. Who is the writer? Were there multiple authors? Is there a creative team manager overseeing a large crew, or is it a single artist/writer/creative on the book?
Step four: Learn how to write a comic book script.
“Too many writers think about the script merely as a tool for them. It’s not; it’s a tool for the entire process. It should be prepared as such.” – Comic Related, Learning The Craft: Writing
Step five: Be sure this story is best told as a comic.
Deciding that you’re writing a story told in both words and pictures, an adventure in narrative art, means that it won’t just be your words telling the story. You will need an artist to bring your ideas to life. You have to give up on the idea that the story will be 100% yours, that everything good about it will come from your brain. And, of course, you’re going to need to pay your artist to drop everything and work on your book, even if you plan to submit it to publisher. Even if you haven’t any idea how to get paid for doing this story as a comic, you need to spend money to hire an artist to create it with you.
Because a comic isn’t just words. As Kelly Thompson says in her “Don’t Write Comics” series:
“I know, I know, you’re saying that your story is SO GOOD THAT THE ART WON’T MATTER. That is great news. Write it as prose. Seriously. If the art doesn’t matter, if your story doesn’t HAVE to be a comic book, then simply don’t do it. It’s only worth all of this if you know that comics is the right medium for your story. And if comics is the right medium for your story then the art very much matters.”
What do you think?
The script for Cable #83, with comments from author Robert Weinberg
Dark Horse’s comics submission guidelines, including guidelines for writers and a sample script
Dennis O’Neil’s series on writing comics: part 1, part 2, part 3, part 4, part 5, part 6, part 7, part 8, part 9, part 10, part 11, part 12, part 13, part 14, part 15 & 16, part 17, part 18, and finally, part 19
Anina Bennett’s list of terms: Visual Language, writing for comics (with a lot taken from Scott McCloud’s Understanding Comics)