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Post by nolan on Jul 4, 2006 13:34:19 GMT -5
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Post by jayvee on Jul 4, 2006 14:37:10 GMT -5
Some companies like their scripts to be in certain formats, but beyond that (and it's not even an issue, really), a good script can always be recognized as different from a bad one. So, if it's good, it's good and will probably get noticed. I read that somewhere, in a Wizard from several years back, I think.
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Post by nolan on Jul 4, 2006 17:29:25 GMT -5
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Post by rachelevil on Jul 5, 2006 0:31:04 GMT -5
First comic script I ever really sat down and read ('cuz I was one of the many hopefuls before Marvel decided they weren't doing the Epic thing anymore): Brian K. Vaughan's script for Runaways #1: www.bkv.tv/pages/runawaysscript.html |
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Post by nolan on Jul 5, 2006 1:16:04 GMT -5
First comic script I ever really sat down and read ('cuz I was one of the many hopefuls before Marvel decided they weren't doing the Epic thing anymore): Brian K. Vaughan's script for Runaways #1: www.bkv.tv/pages/runawaysscript.htmlThat script isn't up there any more. My friend and I were working on a brilliant series but it ended. |
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Post by rachelevil on Jul 5, 2006 2:42:15 GMT -5
That script isn't up there any more. My friend and I were working on a brilliant series but it ended. Damn. It was a good script, too. My Epic-submission-to-be was... horrible, really. A story I had in my head for ages, and then abandoned 'cuz it was crap, and have kept the only two halfway decent characters from it around for a future project I hope to get done some day. But, yeah, the thing I worked on for Epic... utter crap. I'm glad I never sent it in. |
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Post by nolan on Jul 5, 2006 3:22:24 GMT -5
Ours was absoutely awesome.
Though a few things in it came up in a different form in Ultimates later (like asking if a character was real or fake). I won't say what it was but Marvel has brought it back within the last 2 years or will be bringing it back in the next year.
To compare it to a book out there, its part Ultimates and part Supreme Power, only not quite as politically oriented.
But I still think that its a viable pitch for when we get to be big creators.
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Post by dragonaces on Jul 5, 2006 9:48:50 GMT -5
I've always wondered about "scripts". I hate writing in scripts because it really breaks up the flow of the story, I understand that in comics its important because the artist needs to know what the writer wants drawn. Does an artist really need to be told? Shouldn't a good artist be able to read and then interpret by the images developed by the writer? It seems that an artist gets no freedom when drawing from:
Medium-sized panel: Fred and Barney stare quizzically at the great gazoo who hovers between the two cavemen. In the background is Fred's house with Pebble and Dino playing if you can fit it in.
FRED: You mean to tell me that I can do whatever I want?
GAZOO: Whatever Dum-Dum.
I didn't realize that comic writers needed to be directors as well.
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jstevenson
New Member
Task Force 1 writer
Posts: 13
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Post by jstevenson on Jul 5, 2006 10:49:37 GMT -5
There are a number of scripts available over in the Scryptic Studios script library: www.scrypticstudios.com/linkdb/index.php?c=10We actually had a bunch of scripts donated by writers for Marvel and DC books, but we got a cease-and-desist from DC saying the writers weren't authorized to make those scripts publicly available (we even had a piece from Devin Grayson about how a story gets broken down and plotted out for DC). We pulled the Marvel ones just to be safe. One of my goals for this year is to see if I can get signed permission from those companies to get those back out there. |
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Post by nolan on Jul 5, 2006 23:25:00 GMT -5
I've always wondered about "scripts". I hate writing in scripts because it really breaks up the flow of the story, I understand that in comics its important because the artist needs to know what the writer wants drawn. Does an artist really need to be told? Shouldn't a good artist be able to read and then interpret by the images developed by the writer? It seems that an artist gets no freedom when drawing from: Medium-sized panel: Fred and Barney stare quizzically at the great gazoo who hovers between the two cavemen. In the background is Fred's house with Pebble and Dino playing if you can fit it in. FRED: You mean to tell me that I can do whatever I want? GAZOO: Whatever Dum-Dum. I didn't realize that comic writers needed to be directors as well. I hardly ever put panel sizes in things. The only times I really do: 1. One panel needs to be the emphasis on a page. 2. Its a small panel of someone's response. 3. The story actually warrants it. But I think its just silly to do this all the time. I read someone's script where they did this and it was ridiculous, he said things like 2/9 of a page. And I almost NEVER put camera angles in unless it absoultely has to look some way. I think thats ridiculous to do. |
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Post by dragonaces on Jul 6, 2006 8:15:01 GMT -5
so if I just wrote what I wanted in the panel and then lay out the dialogue that would be acceptable?
I'm half tempted to try it because I never have before and I suppose that's what's needed to write a comic book.
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Post by jayvee on Jul 6, 2006 8:22:44 GMT -5
The panel thing I can understand. I did that with my first two scripts eons ago and I went back and saw how tedious it was and vowed never to do it again. I felt I needed to have more faith in the pencils.
As for the camera angle thing, though, I'll slip one in here and there so the artist can see an image closer to what I'm seeing in my head when I wrote the scene. Perspective can make some dynamic changes to a panel. Most of the time, it's best to leave an artist to plot panels because the good ones have extraordinary sense of placement and movement; it's necessary sometimes, though, like certain shots in certain movies wouldn't work nearly as well if done from a different perspective.
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Post by davidaccampo on Jul 6, 2006 15:10:00 GMT -5
I think it's definitely got to be a back and forth thing.
Now I'm more likely to put in approximate panel sizes because I'm tryign to be aware of:
a) how much empty space is needed for dialogue or captions
b) the effect the large panel has on the story
Point A is really just an extension of learning to write for comics (where you have to be aware of the fact that your words vie for space on the page.
Point B is more about awareness of what panels do. If i want characters in confined space, but then I want them to open a door into a large expanse, I can create that feeling by opening up the panels.
I don't necessary need my artist to stick to my exact layout, but I want some say in how the page looks.
I imagine this would change over time if I got to know an artist and knew what I needed. But I tend to err on the side of caution when I don't know who will be drawing something.
Does anyone actually do thumbnails for pages?
I will do this sometimes -- actually draft a layout so I know how much space I have and how small some panels will be. It helps me figure how much space each panel will have for dialogue or captions while still maintaining a story flow.
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Post by jayvee on Jul 6, 2006 16:19:09 GMT -5
I've done a couple layouts but the guys who were supposed to be drawing those books flopped.
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