Scripting Graphic Novels

in contemporary comics graphic dolls for tell everyone all the during our two distinct hands one is the writer illustrator has a car tuning fork tell that person to do both the other two sumbody princess collaborator who doesn't know anything these are obviously very very different variances and so in talking about how it creates to respect us I think we both gave us a really nice insight into the difference that works and really interesting to me that your bathtub you're both talking very much about sm attic language or you television that said that just visual storytelling but that it really does seem that more and more info on TV the story works are using have become more than with my comic books and I'm wondering how different is it when you were thinking about the static image versus a movie the obviously was building but music sound but all kind of other ways cuny on let's not have to do to control the movers of what's happening with a comic book you've got to find another way to suppose somebody hair looking you get to be sort of really paying attention but these cubes they don't talk about using the visual language whatever those other sound advice it seems that the unique take on a book is that how how close it is what the ins apartment or experience because it's immersive into the bookends that it draws the reader in you have to survive read or not and you as creators have to sort of help us get the effect that you're after yeah I mean I guess I I never it was a really good thing and actually I asked when I first started writing if I can see you script and they said we want to build with him there's a conference room tables so they send me one of his which I was like to her but he is very like you know he caused all both hands and it's like you use a sort of movement language talk like a sort of stuff like you should have talked about the command stretched out across you know the top of the page and everything is sort of you know ECU extreme close-ups and sort of overhead shots and stuff like that I think the thing that I found really tricky and I didn't think of it as movement I really do so I guess I talk about them as a sort of sort of status I think frames but the thing that I had a really tricky time with those transitions I caught you move from the end of one's getting into something else how to even from the end of one livin into something else and I used nice basically went and watched all my favorite movies and saw how they went from one shot like how you been to see if i was thinkin feet wide and feedback in of how people do it and it is the sort of other it's not a lot of American suppose but it was really fascinating to see how filmmakers do it I mean to sort of 40 what they do with stuff but yeah it's not a good thing I need is that you be comics you see how they do it like Jason Lucas is amazing graphic novelist breaks conversations in this way and incorporates it's like you said with the sort of person sitting on a couch you sort of have these little shifts in the image even though it's a sort of the static image into my little changes and Jason and sprites conversations in a way that you actually feel like you're watching a conversation on film does he uses so many more panels but it's so it's got this like you know this like texture in fact when he does it is amazing you have to be that's another are you be staying with us a story or do stretching things out are you did you have a meet how did you approach combining the yours is very taxing for instance but it's really the images carries doing the momentum loss I'm guessing that you would have started with some damages in terms of what have I offers you didn't so did you do it like a script out of Detroit no I just think hi I think it's because I always have to have language and under what is by the glass the boxes descriptions mainstay happen in stitches which I wanted to show anybody wonderful archival material when a person it is amazing because the thing with those descriptions is nobody reads them so in a way like I needed my editors and within the illustrator is gonna be done so in a way it's like it's hard to just very flat some time to describe what you know that you panel scene in which girls running away perhaps to a friend's house and you're like candidate during this out like at ridiculous but then you're sort of like you know I edited fix them up because I was embarrassed about sending these ridiculous paragraphs and i would spend all this time editing them because i was like someone fair maid for some time but i couldn't put them in a box so i was like you're spoiling over something that only two people PhD yeah when you first for the money don't know what that is and billing it's immensely i think are mostly just part of the story so i have every draft skin I have every you know because almost like I'm attached to them like they help you create the story

1 thought on “Scripting Graphic Novels

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