I don't normally write blogs about this sort of thing, but several people have asked me lately what my writing process is like and who am I to deny the people what they want?
So, let's do a little talking about writing process. Since it's what most you probably know me for, I'll start with comics.
The Idea/Outline Phase
Generally, ideas either come to me fully formed or I have virtually nothing in mind but a single scene or maybe just a cool title that I'd really like to use. You laugh, but a lot of writers think of cool titles and then write stories around them.
In the case of an idea coming to be fully formed, I go to the outline phase. I used to be what's called a "pantser" meaning, I wrote by the seat of my pants, meaning, I had a general idea, but was mostly making it all up as I went along. It can be done and it can work just fine for short stories, but for longer works, it's a pain to make it work consistently, so I got into the habit of making an outline and I basically don't do anything without one now.
An outline doesn't have to be terribly in-depth (although some of mine for prose works read like short versions of the work itself) and you don't have to stick to it like glue if you find a better way to do something, but they give you a ten-thousand mile overview of what the final work should look like and that can be immensely helpful in figuring out the details.
Since comic scripts are broken down by page and panel, my outlines are much vaguer and look something like this (not a real comic's outline):
So, let's do a little talking about writing process. Since it's what most you probably know me for, I'll start with comics.
The Idea/Outline Phase
Generally, ideas either come to me fully formed or I have virtually nothing in mind but a single scene or maybe just a cool title that I'd really like to use. You laugh, but a lot of writers think of cool titles and then write stories around them.
In the case of an idea coming to be fully formed, I go to the outline phase. I used to be what's called a "pantser" meaning, I wrote by the seat of my pants, meaning, I had a general idea, but was mostly making it all up as I went along. It can be done and it can work just fine for short stories, but for longer works, it's a pain to make it work consistently, so I got into the habit of making an outline and I basically don't do anything without one now.
An outline doesn't have to be terribly in-depth (although some of mine for prose works read like short versions of the work itself) and you don't have to stick to it like glue if you find a better way to do something, but they give you a ten-thousand mile overview of what the final work should look like and that can be immensely helpful in figuring out the details.
Since comic scripts are broken down by page and panel, my outlines are much vaguer and look something like this (not a real comic's outline):
It's incredibly loose, but it gives an idea of the set-up and the scene and expresses a little bit (for my own use) what is in my head. In theory, I could even give this to an artist and they could break it down into panels/pages on their own, rather than my doing so - though I usually write full-script so I'll do that myself later on. But since this is just an outline and an idea for plot ideas, I can jot down anything I want here and see how it flows, see how the story carries itself and the characters along. I can just keep scribbling this stuff down until I get to the end of where I'm going, be that the end of an issue or the full story, if I feel inclined. It all depends on what my current needs/desires are for the project.
And once I'm happy with what I've got...
And once I'm happy with what I've got...
The Script
I can then turn this outline into a script, like so:
You'll note that it's the same general flow, but with more details about both the scenery and setting, as well as Mister Fakkey himself. Since I write full-script, I include dialogue in the body as well as sound effects, narration and so forth. This gives the artist an idea of how much space they'll need to allow for text (some artists even like to do text mock-up to ensure that the art and text balance as well as possible), as opposed to some writers who simply do panel descriptions then go back in later to do dialogue. If that works for those folks, fine and well, but I find it awkward to do so. Of course, before anything is lettered, I do a "lettering script" wherein I compare what I've originally written to the art the artist has created and make adjustments to ensure everything balances and flows smoothly. Adjustments I might make include adding or removing sound effects, shuffling dialogue/narration around from one panel to another, splitting dialogue into additional balloons if it'll fit better or even eliminating it entirely, if I decide it's necessary.
Keep in mind, too, that once a script has been finished, it isn't necessarily finished. Just like any other writing, you should be doing multiple drafts to ensure you're turning out the best possible story you can tell. Having a second set of eyes--an editor, if you've got one or just a friend whose opinion you trust--is invaluable.
. . .
That's the very short version of my process for those who asked. Further questions? Feel free to put 'em in the comments below.
Keep in mind, too, that once a script has been finished, it isn't necessarily finished. Just like any other writing, you should be doing multiple drafts to ensure you're turning out the best possible story you can tell. Having a second set of eyes--an editor, if you've got one or just a friend whose opinion you trust--is invaluable.
. . .
That's the very short version of my process for those who asked. Further questions? Feel free to put 'em in the comments below.
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