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General Chat => Creative Common => Topic started by: The Legendary Shark on 21 November, 2014, 09:26:25 AM

Title: The Writers' Block
Post by: The Legendary Shark on 21 November, 2014, 09:26:25 AM
Writing (much like illustrating and lettering, I suppose) is a lonely job. It is also a frustrating and often confusing job. When artwork or lettering aren't working it's fairly obvious to see why - the foreshortening on that arm isn't right or that lettering needs more kerning - but when your script isn't working the reasons are not always quite so obvious. That's why I thought I'd start this thread so that we can discuss the mechanics of our craft, look under the hood of our stories and know what needs fixing and how to fix it.
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It's not my intention to start a "here's my idea for a story/character/setting, what do you think?" kind of thread but a "I can't figure out how to get my protagonist to situation X without violating condition Y, any ideas?" kind of thread, although I suppose there's room for both if that's what you want.
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Anyway, to kick off I'm going to describe a couple of useful ideas from John Truby's screenwriting course (which I highly recommend) that have helped me in my endeavours.
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Like most writers, at first I fell into the trap of thinking that writing was easy. I retained myriad unnecessarily oblique words in my memory and was capable of constructing unnecessarily lengthy, grammatically reckless yet still ultimately readable, if somewhat convoluted, sentences with relative ease and occasionally, flair and so I set to writing. I got an idea than just started writing - after all, I'd read plenty of comics an I've learned the format, so I'm all set, right? Wrong. I'd get a third of the way in then hit a wall. The story was going nowhere, the characters were going nowhere and the idea was going nowhere. Yet another beautifully written but abandoned script.
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What I hadn't figured out then but know now is that writing may be easy, which it is because virtually everyone can do it, but *storytelling* is hard - possibly the hardest job in the world; as difficult as quantum theory or five dimensional geometry. The storyteller has to take an idea, or a collection of ideas, and present them in one of the recognised story forms and/or genres. Audiences instinctively, and subconsciously, know that stories have different shapes and different beats and if any of those shapes or beats are missing the audience senses it. Your story doesn't work for them but they can't tell you exactly why.
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Story shapes and genres are an important tool for writers to know about because it can give you a useful shorthand, a framework of things you don't have to explain that sets the scene or mood for the audience immediately, allowing you to concentrate more on the story You want to tell within your chosen vehicle. For example, your audience will expect different things from the comedy and tragedy story types and different things again from the gangster genre or the western genre. Part of our job as storytellers is to give the audience what it expects, but in a unique way, and *more*. What's the *more*? I have no idea - if you ever figure out a formula for producing it, please let me know!
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The point is that I didn't plan my stories. As soon as I started doing that I had my first success ("The War of the Worlds" in FutureQuake # 15), although my plans at first amounted to little more than a page breakdown with each page containing vague story beats. Nevertheless, planning meant that I finished every script I started because, if something wasn't working, I caught it in the planning stage instead of hitting it head-on in another soon-to-be-abandoned script.
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My next major success (and I hope you don't mind using my own work as illustrations - it's really the only work I feel entitled to criticise) was "Flesh: Extinction" a 3 book, 4 episodes per book monster of a story which ran in Zarjaz (issues 10, 14 and 17). Some of the initial planning in this story worked quite well - for example the "traitor" exposed in the last episode of Book II is clearly visible doing the deal on page one of episode one of part one. I was proud of this little detail until I realised that I'd just used it as a trick to tie the story together and that it was nothing more than a happy side-effect of planning and nothing to do with my genius as a storyteller at all.
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The rest of that "epic" holds together fairly well, though, but still relied heavily upon instinct at the script writing stage and had a plan that was too shallow. The image in the final panel on the penultimate page of the very last episode was supposed to make a powerful statement about humanity, and I thought it was a very clever panel, but because I put it in on instinct and at the last moment there was no foreshadowing or "ground work" for the image and so it failed - and that's not the artist's fault, it's mine.
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So, to me at least, planning is the most important part of the mechanics of writing - you can't build a suspension bridge without a blueprint and you can't write a story without a plan. But where do you start with a plan?
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In the next post, I'll waffle on a bit about some of the factors that go into my planning - moral need, desire and the ghost.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 21 November, 2014, 10:38:01 AM
Before I start on the moral need, desire line and the ghost, a boring question: What do you want to say? This was a question that I had never really asked myself, for various reasons, because I didn't think it was that important - I've got lots to say (as anyone daft enough to read The Political Thread will know!)  so I'll write lots of stories. But I want to be a professional so that's just not good enough - and so I sat down and actually thought about it.
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In a nutshell, I want to talk about freedom and authority. Now, it might seem rather limiting to base all my stories on that one thing but, looking back over the tales I've already written, that seems to have been my major subconscious theme anyway. Many of those stories would also have benefitted from my being aware of that theme when I wrote them.
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My current project is a multi-episode war story and so one of the initial steps was to decide on a theme for the story that fell inside my "freedom/authority" focus and decided to explore the subject of leadership - when to lead, when not to, how to lead, how not to, why to lead, why not to, who should lead, who should not, etc. This simple exercise immediately suggests characters, scenes and threads and is an important foundation to my story. If I get stuck I can go back to that theme and see how it applies, or not, to my sticking point.
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One of the deepest insights I've got from Truby is that protagonist and plot are the same thing. They must both develop together and be each a reflection of the other. This is why I start my plan at the end of the story. Hold that thought.
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Stories are about people. Good stories are about interesting people. The best stories are about interesting people who *change*. If the audience gets to the end of your story, even it's been a rollercoaster ride of explosions and car-chases, and by the end of it your protagonist is exactly the same person in exactly the same place, your audience, no matter how much they enjoyed the ride, will be disappointed at the destination. To write a good story, I think you must end with a changed protagonist. This is where the concepts of moral need, desire line and the ghost come in.
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The ghost is the event from the past that still haunts your protagonist and is in some way making him/her incomplete. It might be a fatal childhood drowning that manifests as acute fear of water or any one of a million other things. Ideally, the protagonists ghost should spill over, making it a problem for those people closest to him as well - perhaps one of the consequences is that the protagonist's children are never allowed to learn to swim, which might be a problem when the nearby river floods. The protagonist will be acutely aware of the ghost but not aware of all its consequences or how to overcome it. That's where the moral need comes in.
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The moral need is the thing your protagonist needs to become complete - but he/she doesn't know what that is. In the drowning ghost example, it may be learning that the protagonist's actions actually saved many lives but he/she was unaware of that at the time. This knowledge, dissembled at just the right time in your story (usually at your protagonist's lowest ebb, after their apparent defeat or visit with death) might be the kick your protagonist needs to ford that last river and confront the opponent. In order to take your protagonist on a journey of self-discovery, you need a desire line.
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A desire line is the engine of your story and changes all the time. Desire lines consist of two constantly repeating steps - revelation and action. For example, your protagonist receives a 'phone call from a friend who's moved back to town (revelation) and arranges to meet up for a drink (action). The friend doesn't show up (revelation) and so your protagonist decides to go to the friend's flat (action) but the flat is completely empty (revelation) and so on until you get to the end. This might sound simple and obvious but it is important - the revelation/action process are the feet of the story - if you don't keep putting one in front of the other your story will trip or fall - skillful application can make your story slow down, jog, run or even dance. If your story's stopped, check that you haven't lost your footing!
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A skillful storyteller will try and weave the ghost, the moral need and the desire line together as closely as possible, charting the individual lessons the protagonist must learn (or fail to learn), the obstacles to be overcome and the challenges to be faced into a dense and cohesive spine to build your story around.
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So, start at the end. Figure out what your protagonist is going to learn and how that knowledge will change the world and then build up to it. As well as being more satisfying for the audience, this approach is also unmatched in suggesting ideas and characters for your stories - making your story easier to write. In fact, I find myself with the delicious headache of ending up with too much story and having to decide what to cut out.
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So, is any of this even remotely interesting or should I just take my desire line and stick it up my moral need?
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Title: Re: The Writers' Block
Post by: Steven Denton on 21 November, 2014, 08:33:02 PM
the concept of moral need desire line and ghost boil down to a characters motivation and development. It's the kind of language that grates a bit with me because it aggrandises and mystifies what is a relatively simple question. 'why is this person behaving like that and what, if anything, do they learn'

storytelling is in no way the hardest job in the world. (I assume you were being ironic when you said that it possibly was) but there is a tendency to exaggerate writing to a metaphysical level (see Alan Moore and Grant Morrison) in my humble opinion to understand the mechanics of writing you need to first strip away the mystique of creation.
Title: Re: The Writers' Block
Post by: locustsofdeath! on 21 November, 2014, 08:55:15 PM
I think the important thing is to first become an Alan Moore or a Grant Morrison before exaggerating writing to a metaphysical level. Horse before the cart, Shark.
Title: Re: The Writers' Block
Post by: Professor Bear on 21 November, 2014, 09:41:07 PM
Quote from: locustsofdeath! on 21 November, 2014, 08:55:15 PMI think the important thing is to first become an Alan Moore or a Grant Morrison

Do you mean like kill them and wear their skin?
Title: Re: The Writers' Block
Post by: locustsofdeath! on 21 November, 2014, 09:48:49 PM
Quote from: Allah Akbark on 21 November, 2014, 09:41:07 PM
Quote from: locustsofdeath! on 21 November, 2014, 08:55:15 PMI think the important thing is to first become an Alan Moore or a Grant Morrison

Do you mean like kill them and wear their skin?

Do you mean metaphysically or metaphorically?
Title: Re: The Writers' Block
Post by: TordelBack on 21 November, 2014, 10:27:13 PM
Quote from: Steven Denton on 21 November, 2014, 08:33:02 PM... there is a tendency to exaggerate writing to a metaphysical level (see Alan Moore and Grant Morrison) in my humble opinion to understand the mechanics of writing you need to first strip away the mystique of creation.

I'm not a writer, but I'm not sure I see much mystique in Sharky's post: beyond the terms themselves the three elements seem like good solid guides for storytelling.  It's not like he's advocating wanking over your fanmail or placing yourself in thrall to a sock pocket.  Errr, you're not, are you Shark? 
Title: Re: The Writers' Block
Post by: DoomBot on 21 November, 2014, 11:19:32 PM
I only came here for cake... Is there any cake?

I draw stuff. I don't write stuff. But I do draw what other people have writ. Maybe I missed it ( so many words sharky. I read comics because i don't like too many words. My reading nodes are all burnt... I digress). But a top key mega important ingredient for me in a story is that it has to be grounded in some logical reality. Doesn't matter if it's one you made up, but it has to be consistently logical and one I can relate to. When our hero jumps a 30 feet chasm to escape a baddie you've lost me irrespective of whether you have the other elements you mention

Title: Re: The Writers' Block
Post by: M.I.K. on 21 November, 2014, 11:30:51 PM
Let's see what that bloke from Brass Sun says on the matter (http://io9.com/the-universal-shapes-of-stories-according-to-kurt-vonn-1526559996).
Title: Re: The Writers' Block
Post by: Professor Bear on 21 November, 2014, 11:53:06 PM
Quote from: locustsofdeath! on 21 November, 2014, 09:48:49 PM
Quote from: Allah Akbark on 21 November, 2014, 09:41:07 PM
Quote from: locustsofdeath! on 21 November, 2014, 08:55:15 PMI think the important thing is to first become an Alan Moore or a Grant Morrison

Do you mean like kill them and wear their skin?

Do you mean metaphysically or metaphorically?

I mean wearing their skin like a suit. (https://www.youtube.com/watch?v=0CQokgv0dQw)
Title: Re: The Writers' Block
Post by: The Legendary Shark on 22 November, 2014, 06:41:07 AM
In my view, my first two posts here were intended to begin stripping away the mystique of creation. The problem - or *my* problem - is that as soon as I start to try and analyse and explain my methods I make them sound complicated and aloof, which they really aren't. I'm reminded of that old Barry Cryer quote, "analysing comedy is like dissecting a frog - nobody laughs and the frog dies."
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Yes, the desire line, moral need and ghost are all covered by "why is this person behaving like that and what, if anything, do they learn?" but they aren't meant to replace that question. Rather, they are the tools this writer uses to help answer it.
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I was only half-joking when I said that writing, or more specifically storytelling, is the hardest job in the world. This is simply because you have to take one of the basic stories, which everyone is familiar with, and present it in a new way.
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As an example, take Beowulf - a community near the shore is being terrorised by the monster Grendel, who attacks the community at will and with impunity, carrying victims off and eating them. Nothing the people of Heorot do has any effect and the community becomes paralysed by fear. Then a hero comes from across the sea, Beowulf, who hunts Grendel down in his own environment. There is a huge battle, Grendel (and his mother) are destroyed by the hero, the curse is lifted and the community of Heorot is saved.
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Okay, so we all know and understand that story so let's compare it with another story we all know from thousands of years later.
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For this example, take Jaws - a community near the shore is being terrorised by the monster shark, who attacks the community at will and with impunity, carrying victims off and eating them. Nothing the people of Amity do has any effect and the community becomes paralysed by fear. Then a hero comes from across the sea, Police Chief Brodie, who hunts the shark down in its own environment. There is a huge battle, the shark (this time alone) is destroyed by the hero, the curse is lifted and the community of Amity is saved.
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They are basically the same story but told in vastly different ways. That's what I meant by saying that storytelling is hard - one wrong move by Benchley or Spielberg and Jaws could easily have been dismissed by audiences as "Beowulf with the serial numbers filed off." And that's just the *shape* of the story, just one element before all the desire lines, moral needs, ghosts and whatnot are installed.
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So, it was not my intention to elevate storytelling or aggrandise it but to deconstruct it - take it apart to see how it works and then try to explain the components in the ways that I see them and try to use them. Alan Moore and Grant Morrison may have their own methods and perspectives but they're still basically playing about with the same few story types as everyone else. I don't want to be Alan Moore or Grant Morrison anyway - I want to be, and am, Mark Howard.
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I kinda' think that Locust might have it backwards - it's not trying to understand the mechanics of storytelling before sitting down to write but sitting down to write before understanding the mechanics of storytelling that puts the cart before the horse.
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I should also make it clear that I'm explaining how I write - the approaches and methods that help me. Some of the things I do might prove useful to others and (if this thread goes the way I hope it will)  other writers might explain some of their methods which might be useful to me.
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There are, I think, as many different approaches to storytelling as there are storytellers and we must each find our own best methods and practices - which will inevitably evolve as our understanding and experience of the craft (hopefully) expands.
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Originally, I wanted to kick-off this thread with a discussion about planning - which I think is the most important stage of the whole writing process - because it doesn't matter how good my ideas are or how groovy my characters are if the vehicle they're riding in, the story itself, doesn't work. The moral need, ghost and desire line are just a few of the elements I use to help me create my plan and fix certain problems I may encounter along the way, long before I get to the writing stage.
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I think Tordels correctly guessed my intentions - although I won't say on which subject ;-)
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Sorry, DoomBot, but there's no cake :-(  What you say is correct, though, each story must have its own internal logic (it's perfectly acceptable to have your protagonist jump a 30ft chasm to escape - if your protagonist is John Probe or a spasming Slaine but not if it's Judge Dredd or Tyranny Rex) and the planning stage is an enormous help with this. It seems to me that the most likely reason for an internal logic failure is that the storyteller has written themselves into a corner and the only way out is to break the rules and hope nobody notices. Planning should prevent this and also bolster and deepen a story's internal logic.
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Planning, see? It's all about the planning! So - what goes into your plans?
Title: Re: The Writers' Block
Post by: The Legendary Shark on 22 November, 2014, 01:27:24 PM
I apologise to Locustofdeath without reservation. My comment was in no way a personal attack or comment on our respective talents.
Title: Re: The Writers' Block
Post by: locustsofdeath! on 22 November, 2014, 01:47:11 PM
No need to apologize to me! Carry on.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 22 November, 2014, 02:05:55 PM
Heh, I think there's been enough pretentious piffle from me for the time being. I was kinda' hoping to read about and learn from the processes of fellow writers for a while.
Title: Re: The Writers' Block
Post by: TordelBack on 22 November, 2014, 02:42:29 PM
Quote from: The Legendary Shark on 22 November, 2014, 06:41:07 AM
For this example, take Jaws - a community near the shore is being terrorised by the monster shark, who attacks the community at will and with impunity, carrying victims off and eating them. Nothing the people of Amity do has any effect and the community becomes paralysed by fear. Then a hero comes from across the sea, Police Chief Brodie, who hunts the shark down in its own environment. There is a huge battle, the shark (this time alone) is destroyed by the hero, the curse is lifted and the community of Amity is saved.

Fascinating analogy there (especially if you see Quint as Unferth, first doubting Brodie and then giving him the weapon he thinks he needs (Orca/Hrunting), but which in the end proves ineffective leaving the hero to depend on his own abilities) all the more so because as you say, that's just the outline - for me what makes Jaws such a compelling and, let's face it, perfect film are all the other things that the structure doesn't even hint at: Hooper (unless you see him as the hero from across the sea!); the clockwork beauty of of the world of Amity itself; Harry's hat.  All the good stuff.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 22 November, 2014, 03:04:16 PM
Jaws is my favourite film of all time.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 01 December, 2014, 06:52:59 PM
Okay then, sod planning. How about action?
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Does anyone else find that balancing action is a tricky thing? Too much or too little can ruin a story. When James Bond's mangling a train with a JCB or Spock's beating seven shades out of Kahn on the back of flying whatchamacallit, it's all very thrilling but the plot's basically stalled until we find out who wins the fight.
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I personally find "all-action" stories quite dull because they tend to go action, action, action, plot, action, action, action, plot, plot, plot, action, action, action, action, action, plot (all those Steven Segal films, for instance).
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I think the best films (Raiders of the Lost Ark, for example) have more regular beats of action, plot, action, plot, action, plot, action, plot.
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Of course, the best way is to mix plot with action but, as we're talking comics here - how much "conversation" is it okay to put into a fight scene? I remember reading some Marvel comics as a kid and thinking that all these superheroes were either talking very fast or fighting very slowly. A lot of the time it was frankly ridiculous, with the villain having time to reveal his evil plan in minute detail only for the hero to explain back, again in minute detail, how the villain's plan will be thwarted - all between punches! But is there any more to be said for a page full of scrapping with no dialogue at all? Plot-wise, is that a 'non-page' and just an excuse for the artist to show off?
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To be honest, I do like giving my artists the opportunity to show off - preferably with an action page.
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Then again, is action just car chases, dogfights and fisticuffs? Or is action literally any movement - from a creeping snail (remember Sam Neil waiting on his horse for the snail to cross the road because it had "right of way"?) to an exploding galaxy?
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As comic writers, how do we regard and handle action? I'm increasingly of the opinion that should be some action in every frame - something moving, somewhere - preferably someone moving. Even if the character's alone with his thoughts in the back of a taxi he should be cleaning his gun, fiddling with the window or picking his nose or something - anything other than just sitting there. These details can be left up to the artist but pointing out certain small actions can, I think, deepen a script and help us cut out as much of that pesky dialogue as possible!
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So - anybody want to discuss action? What it is, how to use it, when to use it and so on?
Title: Re: The Writers' Block
Post by: The Legendary Shark on 29 March, 2015, 12:49:05 PM
Okay, so sod action, too.
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Seems a shame to waste a perfectly good thread title so how about we turn it into a place where writers can show off? We are writers, after all, and we like to have our words read. If we didn't, what would be the point - right?
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Anyway, a poem:
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On Tribalism.
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Why are we so tribal,
In this modern age?
Why do we accept that,
War is all the rage?
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Leader A and Leader B,
Must fight for this or that,
Under one flag or another,
Like a dog or like a cat.
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We must choose a side, they say,
Support or keep it zipped,
You're either with us or against us,
Idolised or whipped.
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It's a certain type to blame, you know,
For all our country's woes,
Not them who think like thee and me,
But villains, cads and foes.
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It's the Russians, it's the Muslims,
It's New Labour, it's the Jews,
Asylum seekers, migrants,
The spooks who write the news.
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It's the bankers, it's the MPs,
It's business folk or Fate,
The only thing we know for sure -
It isn't *my* fault, mate!
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Stop being so tribal,
Don't go where you are led,
Renounce the party, quit the team,
Join the human race instead.
Title: Re: The Writers' Block
Post by: blackmocco on 29 March, 2015, 04:30:29 PM
Oi! I'm reading, Shark! There's plenty to talk about.

Yes, writing is harder than drawing, I think, for the very reasons you state. It's easy to see when you've drawn a duff fucking hand (not saying it's always easy to fix it, mind you) but writing is such a weird process, like spinning plates, that sometimes you can't see where you've gone wrong until you're knee deep into it.

I'm like you, I like to write but my processes - if I can be so bold as to call them that - are maddening. Planning's important, I've learned over time, but too much planning kills my enthusiasm for it. Stephen King talks about this in his EXCELLENT book On Writing: Essentially it's good to have an idea where your story/characters are going to go but don't be so rigid with those ideas that you can't surprise yourself by changing them. His process sounds pretty organic and pliable.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 30 March, 2015, 12:43:52 AM
I think you're right. A plan must be strong enough to stop me writing myself into a corner or taking a wrong turn but loose enough to adapt should I encounter an unexpected opportunity. It's not easy, sometimes. My plans often evolve alongside the story itself; like using a road-map - you spot a place you want to visit on the way and plan a detour, kind of thing. My plans generally aren't all that detailed in order to allow for diversions. I find it's generally the shorter stories which need the most detailed plans because you need to get everything you need into a small space; longer stories have more scope for growth. That's how it seems to work for me, anyway.
Title: Re: The Writers' Block
Post by: Montynero on 31 March, 2015, 10:07:05 AM
One of the first things I realised when writing comics was how boring action is. I mean, I love action - the kinetic flow of it across the page - but it really means nothing after a panel or two unless there's something emotional at stake, some simultaneous character or plot development. Then it's cool.

Same thing applies to films. I think many people have been bored by the CGI action fests ending most Hollywood blockbusters of late. Whereas in Jaws every action beat reveals character, and the tension is amped by the absence of CGI and the limitations on the filming process. CGI enables filmmakers to do anything, so they do nothing. They seem to get giddy with the animatic possibilities and overcook it completely.

CGI rarely feels real to me. Whereas if you feel you are genuinely watching something that happened, something dangerous or unexpected, like Indy hanging off going under the lorry in Raiders, then pure cinematic action can hold you spellbound. Comics aren't the best medium for that. Comics are all about the resonances between moments, between words and pictures. Comics can simultaneously tell you how something felt, smelt, looked, sounded and tasted, so it's much easier to develop character during an action sequence in comics than in film. You could block out the action visually, and then bring in something entirely different through the prose. Or you could intercut each panel with another scene, shedding new light on both.

Whenever I've spoken to Marvel eds about comics, they're primarily interested in character: what the character arc is, what your take is on the character and their various relationships. The action set pieces are never the focus. I find that very pleasing.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 March, 2015, 10:23:03 AM
I think you're spot-on, Monty. The poorer stories mistake motion for action, I feel. When two characters are fighting on the roof of a speeding train it can be very exciting but it's got to mean something. If the opponent is just some cardboard character with no other purpose than to show us how tough the hero is or to liven up the narrative, then what's the point?
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Action can be a fight on the roof of a speeding train or a single footstep. I think action, true storytelling action, is motion with meaning. There must be some action otherwise any story is just talking heads but too much and it becomes meaningless spectacle. Finding the correct balance is the hard part, I find.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 01 April, 2015, 06:29:52 AM
8 Reasons why Authors are Assholes. (http://www.whimsydark.com/blog/2015/3/30/8-reasons-why-authors-are-assholes)
Title: Re: The Writers' Block
Post by: Montynero on 01 April, 2015, 10:25:32 AM
Or "8 reason's Why Authors Should Man Up and Act with Some Professionalism". Jeez. Who cares if the guys hungry or somebody didn't like parts of his work. That kind of thing happens every day, for every working person. People all over the world deal with it and act politely. Why the hell should authors get a special pass?

Didn't Alan Moore say writers are  more likely than not to go mad at some point? I think Rich did that interview in FutureQuake. Maybe someone can furnish the full quote, I'm half remembering it. The bottom line is sitting at home contemplating your own work for years on end is not good for you. Writers need to get out and live as interesting and varied a life as possible. Otherwise they'll soon run out of relevant things to write about.
Title: Re: The Writers' Block
Post by: Professor Bear on 01 April, 2015, 11:05:50 AM
On people not liking your work, I deal with criticism by factoring it into one of two definitions: constructive or negative.
Constructive criticism is merely an observation how your work can improve, but annoyingly has to be contextualised within the creative preferences of the critic, ie: a fan of manga may complain that your characters sound human and have motivations that make sense.  Your work will always be evolving even if you don't know it, so it makes sense to be making it evolve as you want or need it to so that you're improving rather than just picking up bad habits.
Negative criticism - which sometimes masquerades as constructive criticism - exists merely to make you or others feel bad about your work.  You can usually spot this quite easily because it'll come with some form of comment pointing out - if not actually explaining in detail - why you're a douchebag.  You should dismiss this kind of criticism immediately and remember that it's not your fault - they nailed Jesus to a tree and that guy did almost everything right, so you don't have a hope of escaping dismissal by an asshole or two somewhere in your career.

Plus you always have to remember that your work just might not be for everyone.  You can write the greatest novel of all time and some people still won't read it because it's about a footballer - to this day I refuse to acknowledge that The Old Man And The Sea might be worth a read because fishing is for wankers.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 01 April, 2015, 12:18:54 PM
I read The Old Man and the Sea for the first time just a few weeks ago. I thought it was a good story but needed polish.
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I do like a good critique - the author's development youwriteon.com is good for those. You post your work there and review each other, one for one. I like the reviews where people enjoy my stories and gush about them (few and far between, in my case) and also the ones where readers point out what they didn't like and why (I get lots of these) but occasionally you get one where the reader has obviously just skimmed through and criticises things that don't exist. I had one review where the reviewer admitted to having stopped reading half-way through and then criticised the ending because 'it was going to be obvious.' All one can do with those reviews is laugh.
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Title: Re: The Writers' Block
Post by: locustsofdeath! on 01 April, 2015, 02:48:36 PM
Quote from: The Legendary Shark on 01 April, 2015, 12:18:54 PM
I read The Old Man and the Sea for the first time just a few weeks ago. I thought it was a good story but needed polish.

I'm sure if Hemingway were alive today, you'd straighten him out with some pro tips.  ;)
Title: Re: The Writers' Block
Post by: I, Cosh on 01 April, 2015, 03:54:33 PM
The film's pretty good.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 01 April, 2015, 04:28:27 PM
And I'm sure Mr Hemingway would give me a well-deserved punch in the face for my impertinence!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 02 April, 2015, 08:57:01 AM
Here's the ninth reason why authors are assholes; shameless self-promotion.
.
I will probably never be able to say this again in my lifetime but - I'm Number One! (http://www.youwriteon.com/charts/general-chart.aspx)
.
I'm not ashamed to say this kind of thing feels good, just as a bad review feels bad. I think it's okay to experience these emotions but it would be a mistake to dwell on either. They're just highs and lows along the way. In a hundred seconds, who's gonna care, right?
.
Reason 10: Talking bollocks.
Title: Re: The Writers' Block
Post by: MenschMaschine on 07 April, 2015, 09:53:08 PM
Action is the result of a conflict. You only have a conflict when you have characters enough developed to the point of antagonizing each other. I'm particularly in favor of a slow burn kind of narrative. Find out a clever way to introduce the characters and then build up tension ( the reader is watching all this, powerlessly knowing- or not knowing- where it's leading up to) to reach your climax in a credible way.
Dropping an action scene in the middle of a story only because you're counting the pages- and after 3 pages of dialogue you gotta give the reader his adrenaline pills- you'll be on the verge of blowing up not only  entire fictional cities, but  your narrative structure as well.
Even an untrained eye can spot something wrong when you force things to happen. Though it all depends on your intentions as a writer, I'd only include action sequences when and if I really need then. I could easily go with a actionless story if I'd have my homework done and brought to the table some interesting characters. If you get it right, the readers will stick with you for the ride.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 11 April, 2015, 03:42:17 PM
What Comic Book Artists Need to Know About the Writers They Work With (http://kisforkomics.com/2015/04/08/what-comic-book-artists-need-to-know-about-the-writers-they-work-with/)
Title: Re: The Writers' Block
Post by: Steven Denton on 12 April, 2015, 10:47:25 PM
Read this in spite of it's epic length.

1) The article says there are vastly more writers then artist. There are more 'pro' artist then writers because pro writers can handle multiple books per month. In my experience there are vastly more would be writers then would be artists and that's the strata he's talking about.

2) His proposed solution that artist stop accepting money for lower quality work and just work for free on stuff they like is fucking retarded. What he's describing is a hobby. If you don't want to pay an artist don't. wait for a collaborator or a publisher to pick up your work.

The reason artist charge money is simply supply and demand. If there are 5 writers and one artist it's never going to be long before a writer tries to stand out by offering a cash incentive. Writers have to collaborate with an artist, if they cant get a publisher to pay the artist, then they become they either become the commissioning body or they search for a collaborator. A collaborator may well want increased creative input, they may want scrip changes, they may have character suggestions and plot ideas.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 13 April, 2015, 03:08:54 AM
I agree with your point entirely, Mr D. I, for example, see myself as an amateur and would never consider paying an artist just to get my scribblings published. If my work isn't good enough to be accepted on its own merits then it isn't good enough, period.
.
That said, writing can be a frustrating business for the reasons stated in the article. It's much easier to appreciate an artist's work but then that's simply the nature of the beast.
.
I have only ever encountered one artist who seemed to believe their art was vastly more important than my script. Every other artist I've worked with seems to believe, as I do, that it's the finished product which is important. Good artwork doesn't make up for a poor script or vice-versa.
.
I would say, at least from my perspective, that writing isn't as easy as many people seem to believe. It's not just a case of stringing words together and 'churning them out.' For every script I submit to Zarjaz, for example, there are half a dozen ideas I find don't work and never get beyond a few notes and two or three that don't work even after I've written them. The scripts I do submit are simply the tip of the iceberg - in my case, an iceberg of shit. And even these scripts aren't bound to be accepted.
.
All I claim is that there is more to writing than just tossing off the odd script when there's nothing on the telly - just as there's more to the artwork. Us writers (and again, I only speak for my own processes) also produce character sketches, page layouts and what have you before the script is finished. Using words instead of pictures may be quicker but is no less intensive or creative.
Title: Re: The Writers' Block
Post by: Steven Denton on 13 April, 2015, 08:20:36 AM
I doubt the majority of people in comics, even at the very fringes, think writing is easy.

I can see why writers get frustrated. If you cut away all of the crap (points like 'sure people are taught to write in school but not comics, can be entirely mirrored by the vast difference between teaching some one to draw a picture of a still life bowl of fruit and drawing a comic. narrative art is a specialised field. Artists can make a profit or break even at shows just by sketching Deadpool?! Sketches are not a licence to print money, if your not a name then your sketches had better be both good and cheep and even then you may well not sell any.) And what you are left with is 'why should the writer pay' which can be answered with supply and demand, the disparity in the amount of time it takes to produce a script and the artwork, the fact that art equipment is in itself quite expensive and that the likely hood is the comic either isn't going to get published or won't make any money.

That doesn't mean I think that the writer should pay but as I have said before the writer often ends up as the publisher as well.

I doubt Ed Brubaker has to pony up any money in advance for his creator owned projects.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 13 April, 2015, 09:07:56 AM
Money ruins everything. I'd gladly write for nothing in an ideal world - or if I won the lottery.
.
I suppose writers could try to earn a bit of money at conventions through the equivalent of sketching, which would probably be jotting down poems or limericks but, as you say, who's going to want to pay unless your name's John Wagner?
.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 14 April, 2015, 08:31:06 AM
Please shut up: Why self promotion as an author doesn't work. (http://www.whimsydark.com/blog/2015/4/13/please-shut-up-why-self-promotion-as-an-author-doesnt-work)
Title: Re: The Writers' Block
Post by: Steven Denton on 14 April, 2015, 06:16:30 PM
Hard to disagree. self promotion won't make you a best seller but if you don't have an online presence no one is going to find your work. Avoid any one trying to sell the secret of success because their just isn't one... except for them, their secret is getting people to listen to their bullshit, but that's not really a secret... se also psychics 
Title: Re: The Writers' Block
Post by: The Legendary Shark on 14 April, 2015, 08:01:25 PM
Amen.
.
Did I tell you all I have some really rather brilliant short stories available online for free...?
.
Ahem...
Title: Re: The Writers' Block
Post by: The Legendary Shark on 19 May, 2015, 09:07:54 PM
One or two weeks ago, I listened to an interesting piece on Radio 4 about the work of the people who record the audio descriptions on DVDs. Today's the first chance I've had since then to try a little experiment.
.
I put the audio description sound track on for the first new Star Trek film, then lay back with my eyes closed and listened to it all the way through. Contrary to what you may think, it's not just somebody reading from the film script and is often incomplete (the "narrator" has to shut up when the actors speak), and the experience is a cross between an audio book and a radio play.
.
As an aspiring comic script writer, however, I found this to be a rather interesting and useful exercise in scene description and brevity. Give it a try - you might be surprised.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 21 May, 2015, 03:21:56 PM
Take a Free Course on Film Noir; Then Watch Oodles of Free Noir Films Online (http://www.openculture.com/2015/05/take-a-free-course-on-film-noir.html)
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 July, 2015, 04:43:48 PM
At risk of disappearing up my own arse, I thought I'd post the drafts of my latest forum short story competition entry. Echidna won it this month - well done! - so this doesn't look quite as self-aggrandising as it might have otherwise done. Possibly.  My idea is to start a discussion about editing. What do you keep? What do you throw away? What do you alter?
.
So, here's the first draft as it fell out of my head and into my BlackBerry. I'd been mulling the idea for a couple of days beforehand and held a rough plan in my head, though no physical notes. At this stage I ignored the 500 word limit and just let the story flow out almost on its own.
.
***
1 - First Draft.
.
'Flash from Psi-Div; Judge Anderson overdue on routine radio con. Investigation required, Blavatsky Box-Apts.'
.
'Dredd to control, I'll take it.'
.
'Logged. Routing file to your on-board.'
.
***
.
Anderson stands in the middle of the Spartan room, her uniform glistening under the bare, dull-gold lights. Even with her Lawgiver still in its holster, even with her hands hanging relaxed by her thighs, her posture owns the room. She is a judge of Mega City One and this is her domain. Her box-apt. Her room. Her perp.
.
Adam Uno sits cross-legged on his bed, the only piece of furniture in the room, and his smile cannot mask the sadness in his eyes. 'It's Dredd,' he says, his voice a soft desert breeze.
.
'Dredd's fair,' Anderson says. She pauses. Thoughts steal her eyes and knit her brow for a moment. 'He'll listen... He'll listen, definitely.'
.
'You doubt that. As do I. As does he.'
.
Anderson's eyes flash green as they dart to Uno. 'You can read his mind as well? How? Dredd's double-zero rated, even I can't...'
.
'I told you, I can't read thoughts. Though his mind is my mind, his thoughts are his own. It's difficult to explain. Why don't you just look?'
.
Anderson shakes her head, the movement is slight but emphatic. 'No way am I going into that Hall of Mirrors you call a mind, Buster. No way in Hell.'
.
Uno sighs and shrugs his shoulders. 'As you wish. I understand.' He pauses, thinking. 'Mirrors... Mirrors can be quite odd. When the Is look at myselves in a mirror, the effect of seeing all those faces, looking back at me, can be quite... Quite odd.'
.
'I still don't buy it.' Anderson's voice is firm. She turns her head to listen as a distant siren grows closer.
.
'So you need someone else to decide. You don't trust me and you don't trust yourself.' Uno uncrosses his legs and places his feet on the bare floor. A wave of tension, graceful as a zephyr, coils through Anderson. Uno ignores it and wiggles his toes then rotates his ankles. 'Never understood how all those Is could sit like this and meditate. It sends this me's feet to sleep.' He takes pleasure in the simple relief.
.
The siren reaches a crescendo then stops. A brief silence. Anderson gives her top lip a single long chew, rehearsing. A distant muffled crash, then another, then another, growing louder each time.
.
Uno chuckles. 'Though your thoughts are your own, my mind is your mind - and if I had your mind, I think I'd be wishing this was any other judge.'
.
Anderson holds up her hands, one towards Uno, the other towards the door. 'Whatever happens, just sit still, be quiet and let me do the talking, okay?'
.
Uno nods. "Okay."
.
A final crash and the door splits and tumbles. A Lawgiver with a legend on the end looms into the room. 'Freeze!'
.
Anderson glances at Uno and takes a breath. 'Joe, long time, no...'
.
'Stow it, Anderson! Report!'
.
Uno sits still, smiling at Anderson's boots.
.
'I want your opinion on something.'
.
Dredd snarls. 'Opinion? Why didn't you check in? This creep got you in some kinda mind-lock or something?'
.
Anderson moves closer to Dredd. 'No. At least, I don't think so. I'm in full control of my body, my thoughts, my senses...'
.
'Then what's the problem? Just stick the creep in a cube 'til you figure it out. Come on, Anderson, this is first-year Academy stuff - an' I got work to do.'
.
Anderson holds up her hand, resists patting Dredd on the chest. 'Just... Listen.' She turns to Uno. 'What's the Chief Judge doing now?'
.
Uno's head rises. 'Reading reports on food shortages in the western sectors. They're bad, worse than last month. She's got a synthi-caff and it tastes better than usual. One of her aides added real coffee. I hate her, you see. Not this I,' Uno touches his chest. 'The I that is the aide, Cadet Jannit, and the I that is Chief Judge Hershey.'
.
'Telepathy? Anderson, I know Psi Division goes nuts for these creeps but I ain't seein' your point here.'
.
Anderson laughs, which irritates Dredd.
.
'I can see your point, Judge Dredd,' says Adam Uno, his head raised but to one side - half a bow. 'And I see Anderson's point. And the Chief Judge's point. And Cadet Jannit's point. And this point.' He touches an index finger to his forehead. 'I see everyone's point, all at once.'
.
'Joe - he says there's only one human soul, split into billions of fragments, that we're really all one.'
.
'All one with him in charge,' Dredd jerks a thumb at Uno, who shakes his head with an unconcerned ease.
.
'No, no that's not it.' Anderson pauses, choosing her words carefully. 'There's only one soul, and that soul is as much you as it is me. That place, right at the heart of everything you are, the part you call "I" - there's only one of those and we all share it, or grow from it, like individual nerve endings.'
.
'Anderson - I'm on the verge of booking you both for wastin' my time...'
.
'Joe... What if it's true? What if all the wars and the murders and the... stomm, all happen because we, you... I am in pain from being split into a billion splinters? If I go into his mind and see for sure - if only half of what he says is true I could get lost forever in there. If the other half's true I could open the floodgates - transfer my psi-powers to every living human. If both halves are true it won't matter because every human mind will be united as a single "I" experiencing every life simultaneously and in total harmony - universal peace, Joe, the ultimate order. Or he could be a psirasite - a telepathic pitcher plant. There is a power in him, though, or near him, or running through him. I can sense that much. I can sense he thinks it's the truth.'
.
'It ain't the truth, Anderson - and, frankly, I'm disappointed you'd be taken in by such a cockamaymie story...'
.
'The Chief Judge of Megadishu is in talks with the Deputy SJS Judge of East Meg Three, Murkov, about ways of limiting Mega City One's influence,' says Uno. 'Three juves in Seb Coe Block are planning a revenge Boinging¤ on Weetabix Beckham in ten minutes. Josh Brewster has just murdered his wife's lover, Fenton Moose-Blusterbund is dying, Judge Gil Gilverey is on the verge of deserting and I have your attention.'
.
Dredd says nothing.
.
'You see?' Anderson asks after a moment. 'He's too tempting. I have to go in there, before Psi Division goes blundering about. As I said, I think I'm in complete control - but I have to be sure he isn't influencing me.'
.
Dredd raises his Lawgiver and fires two shots. Uno slumps back on the bed, his brains splattered onto the bare wall. 'Well, he ain't influencin' you now, Anderson.'
.
'What the... Hell?'
.
'Clear and present danger. Unknowable,  uncontrollable capabilities. Always best to nip these things in the bud, I find, and you know the law, Judge Anderson.'
.
She looks at the corpse. 'Yeah, I guess. Pity, though. Universal unity sounded pretty cool. Just one soul, the I in me the exact same as the I in you, but all linked and not isolated any more. How can you not believe that, deep down, we're all exactly the same? How could you know, if you'd been born as Uno, with his brain and his history and his perspective, you'd feel any different? How do you know we're not all the same?'
.
Dredd's had enough of this. He's called it in and logged it out and now he's off. This is one report he's not looking forward to writing - these Psi-Div cases always defied his usual terse style and demanded a level of creativity Dredd found irksome. 'How do I know?' He pauses, the shadow of a sneer tugging at his lip, and when he speaks his voice is as cold and certain as a glacier grinding against a mountain.
.
'Rico.'
.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 July, 2015, 04:44:46 PM
Okay, so the first draft is way too long - over 1500 words - but I often compare writing to topiary, and what I have here is an overgrown, shaggy hedge in roughly the correct shape. On this pass I'll look for repeated or redundant ideas; things not helping the narrative or there purely for decoration. Did I get any of it right? I don't know.
.
***
.
1 - Second Draft.
.
Anderson stands in the Spartan room, uniform glistening under bare, dull lights. Even with her Lawgiver in its holster and hands hanging relaxed by her thighs, she owns the room. She is a judge of Mega City One and this is her domain.
.
Adam Uno sits cross-legged on his bed, his only furniture. 'It's Dredd,' he says, his voice a desert breeze.
.
'Dredd's fair,' Anderson says. Thoughts steal her eyes and knit her brow. 'He'll listen... He'll listen, definitely.'
.
'You doubt that. As do I. As will he.'
.
Anderson's eyes dart to Uno. 'You can read his mind as well? How? Dredd's double-zero rated, even I can't...'
.
'I told you, I can't read thoughts. Though his mind is my mind, his thoughts are his own. It's difficult to explain. Why don't you just look?'
.
Anderson shakes her head, the movement is slight but emphatic. 'No way am I going into that Hall of Mirrors you call a mind alone, Buster.'
.
Uno sighs and shrugs.
.
'I still don't buy it.' Anderson's voice is firm. She turns her head to listen as a distant siren draws closer.
.
'So you need someone else to decide. You don't trust me or yourself.' Uno uncrosses his legs and places his feet on the bare floor. 'Never understood how all those Is could sit like this and meditate. It sends this me's feet to sleep.'
.
The siren reaches a crescendo then stops. A brief silence. A distant muffled crash, then another, then another, growing louder each time.
.
Uno chuckles. 'Though your thoughts are your own, my mind is your mind - and if I had your mind, I'd be wishing this was any other judge.'
.
'Whatever happens, just sit still, be quiet and let me do the talking, okay?'
.
Uno nods.
.
A final crash and the door splits and tumbles. A Lawgiver with a legend on the end looms into the room. 'Freeze!'
.
'Joe, long time, no...'
.
'Stow it, Anderson! Report!'
.
Uno sits still, smiling at Anderson's boots.
.
'I want your opinion on something.'
.
Dredd snarls. 'Why didn't you check in? This creep got you in some kinda mind-lock or something?'
.
Anderson moves closer to Dredd. 'No. At least, I don't think so. I'm in full control of my body, my thoughts, my senses...'
.
'Then what's the problem? Just stick the creep in a cube 'til you figure it out. Come on, Anderson, this is first-year Academy stuff - an' I got work to do.'
.
'Just... Listen.' She turns to Uno. 'What's the Chief Judge doing now?'
.
Uno's head rises. 'Reading reports on food shortages in the western sectors. They're bad, worse than last month.'
.
'Telepathy? Anderson, I know Psi Division goes nuts for these creeps but I ain't seein' your point here.'
.
Anderson laughs, which irritates Dredd.
.
'I can see your point, Judge Dredd,' says Adam Uno, his head raised but to one side. 'And I see Anderson's point. And the Chief Judge's point. And this point.' He touches an index finger to his forehead. 'I see everyone's point, all at once.'
.
'Joe - he says there's only one human soul, split into billions of fragments, that we're really all one.'
.
'All one with him in charge,' Dredd jerks a thumb at Uno.
.
'No, no that's not it.' Anderson chooses her words carefully. 'There's only one soul, and that soul is as much you as it is me. That place at the heart of everything you are, the part you call "I" - there's only one of those and we all share it, like individual nerve endings.'
.
'Anderson - I'm on the verge of booking you both for wastin' my time...'
.
'Joe... What if it's true? What if all the wars and the murders and the... stomm, all happen because we, you... I am in pain from being a billion splinters? If I go into his mind and see for sure - if only half of what he says is true I could get lost forever in there. If the other half's true I could open the floodgates - transfer my psi-powers to every living human. If both halves are true it won't matter because every human mind will be united as a single "I" experiencing every life simultaneously and in total harmony - universal peace, Joe, the ultimate order. Or he could be a psirasite - a telepathic pitcher plant. But if it's true...'
.
'It ain't true, Anderson - and I'm disappointed you're  taken in by this cockamaymie story...'
.
'Three juves in Seb Coe Block are planning a revenge Boinging¤ on Weetabix Beckham in ten minutes,' says Uno. 'Josh Brewster has just murdered his wife's lover; Fenton Moose-Blusterbund is dying; Judge Gil Gilverey is on the verge of deserting; the Chief Judge of Megadishu is in talks with the Deputy SJS Judge of East Meg Three, Murkov, about ways of limiting Mega City One's influence, and I have your attention.'
.
Dredd says nothing.
.
'You see? He's too tempting. I have to go in there, before Psi Division goes blundering about. As I said, I think I'm in complete control - but I have to be sure he isn't influencing me.'
.
Dredd raises his Lawgiver and fires two shots. Uno slumps back, his brains splattered onto the bare wall. 'Well, he ain't influencin' you now.'
.
'What the... Hell?'
.
'Clear and present psi-danger. Best to nip these things in the bud, I find; and you know the law, Judge Anderson.'
.
She looks at the corpse. 'Yeah, I guess. Pity, though. Universal unity sounded pretty cool. Just one soul, the I in me the same as the I in you. How do you know we're not all the same?'
.
When he speaks, his voice is as cold and certain as a glacier grinding against a mountain.
.
'Rico.'
.
Number of words: 1001
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 July, 2015, 04:45:28 PM
Still over 1000 words, so now the fine-trimming begins. I'm still looking for the same things to cut as I was in my last pass but, this time, I'm paying more attention to individual words and word repetitions or redundancies. For example, replacing someting like "huge great big thing" with "big thing" and such. Trying to drill down to the core meaning of each sentence and make sure I've used precise wording.
.
I put the initial radio conversation between Dredd and Control back in because I liked it (still do).
.
***
.
1 - Third Draft.
.
'Flash - Psi-Div Judge missed r.r.c.'
.
'Dredd - I'll take it.'
.
'Logged.'
.
***
.
Even with her Lawgiver in its holster and hands relaxed, she owns the room.
.
Adam Uno sits cross-legged on his bed. 'It's Dredd,'
.
'Dredd's fair,' Anderson says. Thoughts steal her eyes and knit her brow. 'He'll listen... He'll listen, definitely.'
.
'You doubt that. As will he.'
.
Anderson's eyes dart to Uno. 'You can read his mind as well? How? Dredd's double-zero rated, even I can't...'
.
'I can't read thoughts. Though his mind is my mind, his thoughts are his own. It's difficult to explain. Why don't you just look?'
.
Anderson shakes her head, the movement is slight but emphatic.
.
Uno shrugs.
.
'I still don't buy it.' She turns as a distant siren draws closer.
.
'So you need someone else to decide. You don't trust me or yourself.'
.
The siren reaches a crescendo then stops. A brief silence. A muffled crash, another, then another, louder.
.
Uno chuckles. 'Your thoughts are yours, but my mind is your mind - and in your mind, I'd be wishing this was any other judge.'
.
'Sit still, be quiet and let me do the talking.'
.
Uno nods.
.
A final crash and the door splits and tumbles. A Lawgiver with a legend on the end looms into the room. 'Freeze!'
.
Uno sits still, smiling at Anderson's boots.
.
'I want your opinion on something.'
.
Dredd snarls. 'You didn't check in. This creep got you in a mind-lock or something?'
.
Anderson moves closer to Dredd. 'I don't think so. I'm in full control...'
.
'Then what's the problem? Stick the creep in a cube 'til you figure it out - I got work to do.'
.
'Just... Listen.' She turns to Uno. 'What's the Chief Judge doing now?'
.
'Reading reports on food shortages in the western sectors. They're bad, worse than last month.'
.
'Telepathy? Anderson, I know Psi Division goes nuts for these creeps but I ain't seein' your point.'
.
Anderson laughs, which irritates Dredd.
.
'I see your point, Judge - I see Anderson's point, the Chief Judge's point and this point.' He points to his forehead. 'I see everyone's point, all at once.'
.
'Joe - he says there's only one human soul, split into billions of fragments, that we're really all one.'
.
'All one with him in charge,' Dredd jerks a thumb at Uno.
.
'No,' Anderson chooses her words carefully. 'There's only one soul, and  it's as much you as me. The heart of everything you are, the part you call "I" - there's only one of those and we all share it.'
.
'Anderson - I'm on the verge of bookin' you both...'
.
'Joe... What if it's true? If the wars and the murders and the... stomm, happen because we, you... I am in pain from being a billion splinters? If I go into his mind and see for sure - if half of what he says is true I could get lost forever. If the other half's true I could transfer my psi-powers to every living human. If both halves are true every human mind will unite as a single "I" experiencing life  in harmony - universal peace, Joe, the ultimate order...'
.
'Uh-huh...'
.
'Three juves in Seb Coe Block are revenge Boinging¤ Weetabix Beckham,' says Uno. 'Josh Brewster is murdering his lover; Fenton Moose-Blusterbund is dying; Judge Gil Gilverey wants to desert; the Chief Judge of Megadishu is in talks with Deputy SJS Deputy Head Murkol of East Meg Three about limiting Mega City One and I have your attention.'
.
Dredd says nothing.
.
'You see? He's too tempting. I have to go in, before Psi Division goes blundering about but I have to be sure he isn't influencing me.'
.
Dredd raises his Lawgiver and fires two shots. Uno slumps back. 'Well, he ain't influencin' you now.'
.
'What the... Hell?'
.
'Clear and present psi-danger. Best to nip it in the bud.'
.
'I guess. Pity, Universal unity sounded pretty cool. Just one soul, the I in me the same as the I in you. How do you know we're not all the same?'
.
Dredd growls. 'Rico.'
.
Number of words: 718
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 July, 2015, 04:46:07 PM
This is the final draft. This draft was mainly down to the numbers - over 200 words left to cut out. Here I took out most of those lines I'd been resisting killing simply because I loved them or thought they were clever. The comparison of Dredd's voice to a glacier in the penultimate paragraph was the first one I thought of for this story; it came all tangled up with the core idea and I loved it. Dredd's terse advice to stick the perp in a cube until she can figure it out was also a favourite line. But in the end it's just decoration so it's gone. It's a hard thing to do, this "killing your darlings," but was it worth the murders? I'll let you decide.
.
***
.
1 - Fourth and Final Draft.
.
'He'll listen, definitely.'
.
'You doubt that. As will he.'
.
Anderson's gaze darts to Adam Uno. 'You can read his mind? How? Dredd's double-zero rated, even I can't...'
.
'His thoughts are his own. It's difficult to explain. Why not just look?'
.
She turns to a distant siren.
.
The siren crescendos then stops. A brief silence. A muffled crash then another, louder.
.
Uno chuckles. 'Your thoughts are yours, but your mind is my mind - in your mind, I'd be wishing  for another judge.'
.
'Sit still and let me do the talking.'
.
The door splinters. A Lawgiver with a legend on the end looms into the room. 'Freeze!'
.
Uno sits still, smiling.
.
Dredd snarls. 'You didn't check in. This creep got you in a mind-lock?'
.
Anderson folds her arms. 'No. I'm in control.'
.
'Then what's the problem?'
.
'Just... Listen.' She turns to Uno. 'What's the Chief Judge doing now?'
.
'Reading reports. Food shortages, western sectors. Bad, worse than last month.'
.
'Telepathy? Anderson, I know Psi Division goes nuts for these creeps but I ain't seein' your point.'
.
'I see your point, Judge - I see Anderson's point, the Chief Judge's point and this point.'  Uno touches his forehead. 'I see everyone's point, simultaneously.'
.
'He says there's only one human soul, split into billions of fragments, that we're all one.'
.
'All one under him?' Dredd jerks a thumb.
.
'No,' Anderson frowns. 'That one soul is as much you as me, or him. Your centre, the part called "I" - there's only one of those and we all share it.'
.
'Anderson - I'm on the verge of bookin' you both...'
.
'Joe... What if it's true? If the wars, the murders and the rapes happen because we, you... I am in pain from being in a billion insular splinters?'
.
'Uh-huh...'
.
'Three juves in Seb Coe Block are revenge Boinging¤ Weetabix Beckham,' says Uno. 'Josh Brewster is murdering his lover; Judge Gil Gilverey wants to desert; the Chief Judge of Megadishu is in talks with East Meg Three about limiting Mega City One.'
.
Dredd says nothing.
.
'You see? He's too tempting. If half of what he says is true I could get lost forever in there. If the other half's true I could transfer my psi-powers to everybody through him. If both halves are true every mind will unite as a single "I" experiencing life in harmony - universal peace, Joe, the ultimate order. I have to go in, before Psi Division goes blundering about, and I have to be sure he isn't influencing me.'
.
Dredd raises his Lawgiver and fires. Uno slumps back. 'Well, he ain't influencin' you now.'
.
'What the... Hell?'
.
'Clear and present psi-danger. Best nipped in the bud, trust me.'
.
'I guess. Pity, universal unity sounded cool. How can you know we're not all the same?'
.
'Rico.'
.
Number of words: 497
Title: Re: The Writers' Block
Post by: blackmocco on 07 July, 2015, 05:34:53 PM
Yeah, editing it down to meet a word count's challenging but I do like the process. Feels a bit like sculpting.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 July, 2015, 05:57:00 PM
Yes, I think you're spot on there. That first draft's like the lump of stone a sculptor finds that's roughly the correct shape and material and the writing of it's like lugging it home, I suppose.
Title: Re: The Writers' Block
Post by: blackmocco on 07 July, 2015, 06:32:55 PM
Also, it's so easy to overwrite. I do it all the time. Been wrestling with a short story that I've submitted to a bunch of places - and been rejected, naturally - and stripped it right down to the bone but now, I feel it's too bare. Been reading a lot of Ray Bradbury lately. Have a whole bunch of his short story collections and I'm loving them and it made me want to go back and flesh the text out a bit. Nothing verbose, nothing too dense, but want it to be a bit more than just cold descriptions and dialog, like a script.

...which is the exact opposite of what we're discussing, I guess. Haha!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 July, 2015, 06:38:25 PM
Yes, I tend to overwrite and it is frustrating. You come up with a really good or clever sentence and are loath to cut it, even though you know it's just decorative. Then, on the other hand, you need to put some good or clever sentences in to make the work your own - you can't win!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 30 October, 2015, 06:47:29 PM
One of the challenges of writing, I think, is to find one's own voice. To this end, I sometimes do a little exercise. I read or hear a tired old cliché and challenge myself to come up with at least 25 alternatives. Most of the replacements I think up are pure rubbish but I sometimes get one or two showing promise.
.
For example, on Radio 4 Extra tonight I heard a character say, 'you smell like a tart's handbag.' I came up with:
...an Avon lady's back seat.
...Anne Summers' stock room.
...the skip behind Boots.
...the Queen's toilet.
...Dale Winton's bathroom.
...Bill Clinton's comb.
...a Persil factory.
...Aphrodite's cloud.
...a slapper's best blouse.
...a Turkish laundrette.
...a vandalised chemist's.
...Madonna's tights.
...the Pope's hairdresser's sponge bag.
...the Fonz's bike seat.
...Donald Trump's vest.
...Victoria Beckham's bath mat.
...Bernard Manning's secret valise.
...James Bond's rug.
...Queen Victoria's dressing gown.
...a collapsed Bodyshop.
...a crashed Lynx truck.
...Julian Clary's dog.
...Hyacinth Bucket's dustbin.
...Mary Quant's knicker drawer.
...the Channel factory fork-lift.
...a high school disco.
...Tony Blair's socks.
...the Old Spice laboratory's drains.
...Moira Stewart's flannel.
.
I'm sure you all could come up with much better but there's a couple in there I'm fond of. Does anyone else do similar exercises?
Title: Re: The Writers' Block
Post by: M.I.K. on 30 October, 2015, 08:26:19 PM
No.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 October, 2015, 12:09:24 AM
Why not?
.
I've noticed that of all the creatives, writers seem to practice the least. Artists sketch and musicians free-form but writers seem to expect proficiency from the off - just diving in to a novel or whatever with practically zero preparation or practice. I wonder why that is?
Title: Re: The Writers' Block
Post by: maryanddavid on 31 October, 2015, 01:08:17 AM
Some gems there Shark :D
Title: Re: The Writers' Block
Post by: TordelBack on 31 October, 2015, 05:44:10 AM
'...skip behind Boots' totally works for me, excellent. Never thought about writers 'sketching', interesting.
Title: Re: The Writers' Block
Post by: Echidna on 31 October, 2015, 08:10:59 AM
Ursula Le Guin's Steering the Craft suggests a few exercises, such as writing a page without any adjectives or adverbs, or in sentences of less than eight words, or which is all one sentence.

I'm just dipping my toes into creative writing at the moment and haven't tried any exercises as such. The 500-word limit in the short story comp is challenging enough - it forces you to cut out the guff and find more efficient ways of conveying information.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 October, 2015, 09:55:54 AM
I think it was Mark Twain who said, 'if you catch an adverb, kill it."
.
'...the skip behind Boots' was my favourite, too :)
Title: Re: The Writers' Block
Post by: Echidna on 31 October, 2015, 10:13:17 AM
I think "Julian Clary's dog" has the edge, myself :)
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 October, 2015, 10:58:24 AM
Another good thing I find in this exercise is the way it can help with writing a character subtly. For example, 'you smell like the skip behind Boots' suggests to me a younger, inexperienced person from a poorer background off out on the pull on a Saturday night. '...Julian Clary's dog suggests a more mature and more refined character, perhaps someone with class pretentions or ambitions.
.
On top of that, such a replaced cliché can be the springboard for a narrative convention around a certain character. Let's say we have a middle-aged baroness on the hunt for a suitable husband. After having first heard her described as 'smelling like Julian Clary's dog,' we might keep up the animal motif for her; she might laugh like a chimpanzee, move like a panther, listen like a wolf, dance like a spider and so on (but using better language, of course, and not overdone).
.
The skip behind Boots can be used in exactly the same way. A skip is an iron box, usually with flaking paint and big rusty dings in it. From this a character convention can be grown, always including references to boxes (if the character's claustrophobic, for example), metal or being battered and tatty.
.
I like this exercise because not only does it help identify and eliminate clichés but also turns them into a positive asset.
Title: Re: The Writers' Block
Post by: I, Cosh on 31 October, 2015, 12:40:05 PM
So, almost everything you thought of was either homophobic or misogynistic?

To be fair, "Bill Clinton's comb" is oddly amusing and I've never heard the original phrase.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 October, 2015, 01:10:08 PM
To be fair, the cliché I was basing this on is fairly misogynistic to start with, that's part of its flavour and bound to come across to some degree. As I said, most of the ideas are utter rubbish and I deliberately posted every one I came up with (the good, the bad and the ugly) instead of just cherry-picking to demonstrate this.
.
I think you make a fair point, however. I grew up laughing at Les Dawson, Benny Hill and The Comedians and the impression they left runs deep. I don't think I'm a misogynist or a homophobe and try not to base my impressions of actual people on their sex or orientation. But all that Frankie Howerd and Carry On in me comes out sometimes, I suppose.
.
I can only apologise if I have caused any offence, that was most certainly not my intent. My intent was to bore everyone rigid with yet more of my pompous bullshine :D
.
Title: Re: The Writers' Block
Post by: Definitely Not Mister Pops on 31 October, 2015, 01:43:04 PM
I don't think any apologies are necessary Shark. If anyone was genuinely offended by those examples, I can only suggest they go hide under their duvet and never come out, for the world is just too scary and mean.
Title: Re: The Writers' Block
Post by: Conceptulist on 18 December, 2015, 02:50:45 PM
I'm interested. when you guys plan your story, do you write anything down or do you just obsess about the story and construct it in your mind? Because I've been doing the second option, and so far I've found it to be amazingly interesting and dynamic, but I've always wondered if writing down a plan helps (of course, I mean the entire plan, not, like for example, the outline of the panels or character backstory/personality attributes).
Title: Re: The Writers' Block
Post by: The Legendary Shark on 18 December, 2015, 07:56:45 PM
It's a mixture with me. Thoughts and ideas then I make notes to pin the ideas down. My notes are generally quite rough with lots of crossings out and structural arrows and whatnot. There are more ideas in the notes than make it into the scripts but that's one of the strengths of planning: it's better to discard the surplus before you start otherwise you can waste a lot of time either trying to shoehorn too much in or wrestling with ideas and threads that go nowhere.
.
I'm sure other writers have their own ways but this is what works for me. Robert McKee's Hollywood scriptwriting courses are excellent for learning how to plan and construct movie scripts and easily adaptable to comic scripting.
Title: Re: The Writers' Block
Post by: Conceptulist on 18 December, 2015, 10:36:23 PM
I do a similar thing with the actual comic panels. I build up an image from planning the structure and their possible meanings or purposes (e.g. to build tension or to show that an individual is doing a hopeless task), then I try to fit it all into four pages by using one or two words to keep the image fresh in my mind. It's still a shame some of the surplus has to go sometimes through. One of my recent scripts featured a black hole, and I wanted to include the concept of time dilation and some basic scientific equations, but I had to cut them out due to space consummation.

So is this course a physical course or an electronic course? Because I would love to learn more about script construction.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 19 December, 2015, 10:01:14 AM
I downloaded the audio cd "Robert McKee, Story" from somewhere (*ahem*) and listen to it from time to time. Lots of insights in there.
.
The thing about cutting stuff out for me is that it doesn't have to be wasted. All those ideas are like clay and can be re-used in one way or another.
Title: Re: The Writers' Block
Post by: Conceptulist on 19 December, 2015, 06:28:00 PM
I shall have to search for it some time.

I see. so, do you apply this concept in a similar situation or do you merely use the concept and apply it in a different circumstance?
Title: Re: The Writers' Block
Post by: The Legendary Shark on 20 December, 2015, 04:38:30 AM
I tend to use it most of the time. Only rarely does a story enter my head fully formed.
Title: Re: The Writers' Block
Post by: Conceptulist on 20 December, 2015, 11:19:11 PM
really? most of the time ideas just pop into my head randomly, some bad and some with potential. I've got to say through, writing the script and finalising an idea feels amazing. This week alone I've created two separate scripts, which are both just at the end of being drafted into an acceptable piece (I'll properly go back and edit them from time to time, however).

Whilst I've got a pro's attention, could I ask a few questions?
Title: Re: The Writers' Block
Post by: The Legendary Shark on 21 December, 2015, 04:42:25 AM
Er, I'm not a pro - far from it - many apologies if I gave that impression. I'm just a run-of-the-mill amateur who gets lucky in the small press from time to time. There are some talented pros about, though, such as GRennie, who may be better placed to answer your questions.
.
Still, ask away - you never know who's reading this!
Title: Re: The Writers' Block
Post by: Conceptulist on 22 December, 2015, 02:24:27 AM
What's the extent of 2000AD's explicit content? (mostly concerning gore)
Do you know of any small press publishers that allow a script to be sent, instead of a full blown drawn comic? (so far I've only found 2000AD and timebomb, but timebomb's submission email seems to dislike being emailed)
Do you have any advice on creating realistic and personal dialogue?
Should I include the literary devices used In the script?
Sorry about the overwhelming amount of questions, it's just I'm extremely curious. 
Title: Re: The Writers' Block
Post by: GordonR on 22 December, 2015, 03:07:03 AM
QuoteWhat's the extent of 2000AD's explicit content? (mostly concerning gore)

Okay, this kind of suggests to me that you don't actually read the comic, which isn't a good way to start out wanting to write for it.  Read a bunch of recent stories and judge for yourself where the gore line lies.

QuoteDo you know of any small press publishers that allow a script to be sent, instead of a full blown drawn comic? (so far I've only found 2000AD and timebomb, but timebomb's submission email seems to dislike being emailed)/
Quote

I've never heard of Timebomb, but 2000AD most definitely isn't small press.  Small press means essentially produced by amateurs for non-profit, neither of which applies to 2000AD.  Again, I'm wondering if you know enough about the market you want to sell work to.

QuoteShould I include the literary devices used In the script?

Dear god, NO. On absolutely no account do that. The quality of your script should be apparent in itself, not in an appended list of all the clever devices you think you've used in it.  There are plenty of various people's scripts available online. Have a look at them and see how it's done.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 22 December, 2015, 09:15:00 AM
Mr R. speaks the truth.
.
In my view, the secret of a good script is brevity - and brevity takes time. You have to take out every superfluous word. Look for some of John Wagner's scripts. A panel description can be as short as "Dredd riding his Lawmaster," or even shorter. You have to trust the artist to know what that looks like.
.
A tip for writing good dialogue is to speak it out loud yourself to see if it sounds "real." The advice show don't tell also applies. For example, if you want to get across that Hank has been Marvyn's friend since school and is a scruffy git don't write something like, "hi, Marvyn, we've been pals now for twenty years, since we first met at Bog-End Secondary School in 1995, are you ever gonna' buy a new shirt because you look very scruffy." Instead, write something like, "Jeez, Marvyn, are you ever gonna' smarten yourself up? I swear you wore that same old shirt back in high school." Or something. In other words, don't have characters telling each other things they already know. Rather, take what they know and use it to fuel dialogue instead. Turn exposition into ammunition, as it were.
Title: Re: The Writers' Block
Post by: hippynumber1 on 22 December, 2015, 08:59:03 PM
Shark, I hope you don't mind if I put this here? Please ask mods to delete if you feel it's out of place.

I'm currently at the point where my first novel is almost ready to go to agents, publishers and, probably, the self-publishing kindle platform on Amazon (while I try to generate a 'buzz' around it). I've had some positive feedback from my editor, proof-readers and test audience. I've also had some incredibly positive feedback and advice from a published author who has been known to write for our beloved prog from time to time but I now need to start promoting and creating an 'on-line presence' if I stand a chance of getting this thing in print.

To that end I have a dedicated FB page here: https://www.facebook.com/mark.spencerwriter?ref=ts&fref=ts and a Twitter account under @MSpencer_writer. Come and join me in my struggle towards publication, everyone is welcome, or just come along to laugh and point, I need the publicity!

Cheers.

Mark
Title: Re: The Writers' Block
Post by: Conceptulist on 22 December, 2015, 10:59:52 PM
Quote from: GordonR on 22 December, 2015, 03:07:03 AM
QuoteWhat's the extent of 2000AD's explicit content? (mostly concerning gore)

Okay, this kind of suggests to me that you don't actually read the comic, which isn't a good way to start out wanting to write for it.  Read a bunch of recent stories and judge for yourself where the gore line lies.

I've never heard of Timebomb, but 2000AD most definitely isn't small press.  Small press means essentially produced by amateurs for non-profit, neither of which applies to 2000AD.  Again, I'm wondering if you know enough about the market you want to sell work to.

It's true, I haven't read any modern future shockers (due to the fact I'm trying to understand the dredd universe through the omnibuses/collections before reading any modern story arcs), however I have read multiple older future shockers (Through, yet again, graphic novels), but I understand this doesn't excuse me for not reading any modern future shocks. Of course, if you think the older story arcs don't affect the modern dredd universe as much as I've inferred, I'll dive head first with an unquenchable thirst. Or even if there's a list of monumental stories that affect the dredd universe, I'll happily devour the issues.

This is also why I question the extent of explicit content because I find some of my scripts can usually get quite horrific (however, I mostly aim these at other publishers), and I wanted a clear line of what I should omit, craftily hint or avoid. Pretty much, I'm trying to find a set of arbitrary rules I can enforce upon myself.

I would also like to mention I only included 2000AD in the list because it was much simpler then displacing them into their own list.

I would like to apologise if this came across as rude or if anything was misspelled, as I am incredible tired and also didn't mean to offend those with a greater experience. I would also like to thank you for your input.

Title: Re: The Writers' Block
Post by: Conceptulist on 22 December, 2015, 11:24:10 PM
Quote from: The Legendary Shark on 22 December, 2015, 09:15:00 AM
Mr R. speaks the truth.
.
In my view, the secret of a good script is brevity - and brevity takes time. You have to take out every superfluous word. Look for some of John Wagner's scripts. A panel description can be as short as "Dredd riding his Lawmaster," or even shorter. You have to trust the artist to know what that looks like.
.
A tip for writing good dialogue is to speak it out loud yourself to see if it sounds "real." The advice show don't tell also applies. For example, if you want to get across that Hank has been Marvyn's friend since school and is a scruffy git don't write something like, "hi, Marvyn, we've been pals now for twenty years, since we first met at Bog-End Secondary School in 1995, are you ever gonna' buy a new shirt because you look very scruffy." Instead, write something like, "Jeez, Marvyn, are you ever gonna' smarten yourself up? I swear you wore that same old shirt back in high school." Or something. In other words, don't have characters telling each other things they already know. Rather, take what they know and use it to fuel dialogue instead. Turn exposition into ammunition, as it were.

I see, so I should always keep it simple, and stop making descriptions in a novelised style, and instead I should simplify my work. I've got to tell you, I've always felt like my descriptions were inferior and lacking detail, hence I used to either recreate the scene in my mind with painstaking detail or I would conclude that I was an idiot who couldn't effectively inspire interesting and abstract imagery. But this does seem logical, as each sample script has quite simplified language.

I usually try to speak out dialogue (usually with embarrassing attempts at the character's voice) to find a reason why it doesn't seem to feel realistic, but then again I've always been a stickler for realistic dialogue.
So if, for example, I was to hint the protagonist's motivation(s) and goal(s) through 'ammunition' dialogue, should i trust the reader to infer the true meaning (as I usually try to do) or should I make it more simpler, so that the reader isn't confused, through secondary 'ammunition' dialogue from a different character?

Also, thank you for the further information on the script construction.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 23 December, 2015, 06:34:21 PM
That's absolutely fine, Hipps - this is one of the things I wanted this thread to be for. I've also sent you a friend request on Facebox so I can share your ads.

Conceptulist, I'd say you have to have to strike a balance. If you're too cryptic your readers won't get it and if you're too obvious they'll get bored. Not very helpful, I know, but I don't think there's a formula for this.
Title: Re: The Writers' Block
Post by: hippynumber1 on 23 December, 2015, 08:38:34 PM
Cheers Sharky! Just added you on The Facebook; welcome aboard.

As far as Conceptualist's question goes, I'd tend to go even more minimalist. If two male characters have known each other for twenty years and you want to convey that, have them hug on meeting. Few men hug who don't know each other well.
Title: Re: The Writers' Block
Post by: Conceptulist on 24 December, 2015, 01:28:30 AM
Quote from: hippynumber1 on 23 December, 2015, 08:38:34 PM
Cheers Sharky! Just added you on The Facebook; welcome aboard.

As far as Conceptualist's question goes, I'd tend to go even more minimalist. If two male characters have known each other for twenty years and you want to convey that, have them hug on meeting. Few men hug who don't know each other well.
That's a brilliant idea. Displaying unknown information through action could lead to ambiguity and hence, a deeper subplot if used in a specific manner.
Title: Re: The Writers' Block
Post by: Conceptulist on 30 December, 2015, 12:54:39 AM
This is my last question: Do you know of any way to create unique symbols that could be used as text? I only ask because I'm planning to write a story containing an alien that speaks in an unknown language, and I wanted to create unique symbols to make the language feel more alien.
Title: Re: The Writers' Block
Post by: Jim_Campbell on 30 December, 2015, 08:33:32 AM
Quote from: Conceptulist on 30 December, 2015, 12:54:39 AM
This is my last question: Do you know of any way to create unique symbols that could be used as text? I only ask because I'm planning to write a story containing an alien that speaks in an unknown language, and I wanted to create unique symbols to make the language feel more alien.

Comic script or prose? If it's a comic script, just put 'Alien Symbols' as the dialogue instruction and your letterer will deploy one of several alien symbol dialogue fonts available to them.

If you're writing prose, using a different font will likely just look gimmicky — just phoneticise your alien language and write it as normal dialogue.

Cheers

Jim
Title: Re: The Writers' Block
Post by: Conceptulist on 30 December, 2015, 10:39:13 PM
Thank you. I was concerned that leaving the alien letters to the letterer might peeve the mighty Tharg (try saying that 10 times over).
Title: Re: The Writers' Block
Post by: hippynumber1 on 31 January, 2016, 01:51:14 PM
Turns out that writing the 'blurb' is a damn sight harder than writing the novel! How to tell the reader enough to hook them in without giving anything away. Nightmare!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 January, 2016, 02:50:19 PM
https://www.writersandartists.co.uk/writers/advice/140/self-publishing/marketing-and-publicity/how-to-write-a-book-blurb

http://www.digitalbookworld.com/2013/4-easy-steps-to-an-irresistable-book-blurb/

http://www.blurb.co.uk/blog/writing-blurbs-for-novels/
Title: Re: The Writers' Block
Post by: hippynumber1 on 31 January, 2016, 03:26:39 PM
Quote from: The Legendary Shark on 31 January, 2016, 02:50:19 PM
https://www.writersandartists.co.uk/writers/advice/140/self-publishing/marketing-and-publicity/how-to-write-a-book-blurb

http://www.digitalbookworld.com/2013/4-easy-steps-to-an-irresistable-book-blurb/

http://www.blurb.co.uk/blog/writing-blurbs-for-novels/

Thank you, sir. Very helpful.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 January, 2016, 03:34:52 PM
You're welcome. Good luck!
Title: Re: The Writers' Block
Post by: hippynumber1 on 31 January, 2016, 04:57:15 PM
That second one pretty much wrote the blurb for me! Nice one!  ;)
Title: Re: The Writers' Block
Post by: Hawkmumbler on 01 March, 2016, 06:11:21 PM
Can I just say Sharky, working on my first fan fic this thread has been a godsend. Sure a lot of the links might not have been used but for a first attempt I feel reading them after I wrote the first draft was a big help.
Title: Re: The Writers' Block
Post by: The Enigmatic Dr X on 01 March, 2016, 06:45:22 PM

Lit or Lighted?

Pled or Pleaded?
Title: Re: The Writers' Block
Post by: Dandontdare on 01 March, 2016, 06:57:12 PM
Lit and pleaded
Title: Re: The Writers' Block
Post by: The Legendary Shark on 01 March, 2016, 08:46:44 PM
Quote from: Hawkmonger on 01 March, 2016, 06:11:21 PM
Can I just say Sharky, working on my first fan fic this thread has been a godsend. Sure a lot of the links might not have been used but for a first attempt I feel reading them after I wrote the first draft was a big help.

Glad it helped, Hawkie. There are few things as satisfying as writing your own stories. Welcome to the club - you're one of us, now, one of uuuuuuusssss... :)
Title: Re: The Writers' Block
Post by: The Legendary Shark on 01 March, 2016, 08:56:12 PM
Quote from: The Enigmatic Dr X on 01 March, 2016, 06:45:22 PM

Lit or Lighted?

Pled or Pleaded?

Whichever gives the most pleasing rhythm.
Title: Re: The Writers' Block
Post by: hippynumber1 on 07 March, 2016, 08:10:29 PM
The blurb, which was by far the hardest thing I have ever written, for my debut novel is now finished and available for viewing and feedback here: https://www.facebook.com/mark.spencerwriter
Title: Re: The Writers' Block
Post by: The Legendary Shark on 10 March, 2016, 09:05:27 PM
How do you get a writer off your doorstep? Pay him for the pizza.
.
What do you call a writer who splits up with his girlfriend? Homeless.
.
How many writers does it take to change a lightbulb? Five: one to change the bulb and four to talk about how Ernest Hemingway would have done it better.
.
What does a writer use as contraception? His personality.
.
What does the average writer get on an i.q. test? Drool.
.
What do you call a beautiful woman on a writer's arm? A tattoo.
.
What has four legs and an arse hole? A writing desk.
.
What's the difference between a large pizza and a writer? The pizza can feed a family of four.
.
Which phrase is most used by writers? "You want chips with that, sir?"
.
Title: Re: The Writers' Block
Post by: hippynumber1 on 11 March, 2016, 06:09:32 PM
That's mean!  :lol:
Title: Re: The Writers' Block
Post by: Conceptulist on 11 March, 2016, 08:59:36 PM
Quote from: The Legendary Shark on 10 March, 2016, 09:05:27 PM
How many writers does it take to change a lightbulb? Five: one to change the bulb and four to talk about how Ernest Hemingway would have done it better.
.
What has four legs and an arse hole? A writing desk.
:lol: :lol: :lol: :lol: Hahahahahah! That's bloody hilarious!
Title: Re: The Writers' Block
Post by: hippynumber1 on 24 March, 2016, 08:19:30 AM
The proof copy of my debut novel, 'Sex & Violets', is in the post! Exciting times, in an absolutely terrifying kind of way... :o
Title: Re: The Writers' Block
Post by: The Legendary Shark on 24 March, 2016, 08:34:03 AM
That's great news, Hipps! The closest I come is comp copies of small press comics I've contributed to but it always feels great to receive them. I guess what you're getting feels much better, though - and that's no disrespect to the organs to which I contribute.
Title: Re: The Writers' Block
Post by: hippynumber1 on 31 March, 2016, 05:13:27 PM
Holding the proof-copy of 'Sex & Violets in my hand right now and not feeling even slightly stressed. Not one jot. Not even slightly. No siree, not at all. Or terrified. I'm not even bothered...
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 March, 2016, 07:02:16 PM
You cool dude, you...
Title: Re: The Writers' Block
Post by: hippynumber1 on 03 April, 2016, 02:30:21 PM
Release date now set for April 14th.  :o
Title: Re: The Writers' Block
Post by: hippynumber1 on 14 April, 2016, 07:40:50 PM
My novel was released today and is available in paperback here:

https://www.createspace.com/6129047

and kindle here:

http://www.amazon.co.uk/Sex-Violets-M-Spencer-ebook/dp/B01E84J9DC/ref=sr_1_3?ie=UTF8&qid=1460614083&sr=8-3&keywords=Sex+and+violets

The paperback will also be available from all of the Amazon website's in a day or two and I shall post the link then. It's not sci-fi in any way, shape or form but I would appreciate it if you would 'encourage' your lovers, partners, colleagues, pets etc to buy a copy. In the meantime, please enjoy the beautiful cover that Mark 'Blam' Blamire (designer of the iconic 'Trainspotting' poster) designed for me.

(http://i.imgur.com/GShwlKO.jpg)
Title: Re: The Writers' Block
Post by: Hawkmumbler on 14 April, 2016, 08:46:58 PM
Oh you brilliant man Hippy, I shall be reading this very soon!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 14 April, 2016, 09:01:32 PM
Fantastic news, Hipps! Well done!
Title: Re: The Writers' Block
Post by: hippynumber1 on 14 April, 2016, 09:02:19 PM
Cheers, HM! Remember, good review everywhere, even if you hate it.  ;)
Title: Re: The Writers' Block
Post by: Hawkmumbler on 14 April, 2016, 09:09:08 PM
Quote from: hippynumber1 on 14 April, 2016, 09:02:19 PM
Cheers, HM! Remember, good review everywhere, even if you hate it.  ;)
Writers code, never bask another writers work!

Even if it is garbage 'cough'FrankMillerisoverrated'cough'.  :lol:
Title: Re: The Writers' Block
Post by: hippynumber1 on 22 April, 2016, 07:43:57 PM
Paperback of my novel now available from Amazon UK. Other Amazons are available. Please encourage friends etc to buy. Only £1.99 on Kindle and you can read it free of charge if you subscribe to KindleUnlimited.

https://www.amazon.co.uk/Sex-Violets-M-Spencer/dp/1530626331/ref=pd_rhf_gw_p_img_1?ie=UTF8&refRID=TNXA66NVW05412J5H97Q
Title: Re: The Writers' Block
Post by: hippynumber1 on 01 June, 2016, 04:13:09 PM
I'm reformatting this over the next day or two; if you're interested in owning a first edition then get your order in before the weekend.  ;)
Title: Re: The Writers' Block
Post by: Hawkmumbler on 18 June, 2016, 10:33:48 AM
Bollocks, just hit the point of reading back over some dialogue for a azne submission and it's painful work, dialogue is not my strong point.

'End of venting'
Title: Re: The Writers' Block
Post by: hippynumber1 on 19 June, 2016, 10:09:35 AM
I'm with you on this. I hate writing dialogue, it always feels forced, mainly because it is.
Title: Re: The Writers' Block
Post by: GordyM on 28 June, 2016, 03:22:18 PM
I hate going back over an old script and reading a line so bad it makes me cringe and almost curl up like a Quaver.

One of my narrative crimes: "You make me think I need more time for second thoughts so give me a second, will ya?"

*shudder*
Title: Re: The Writers' Block
Post by: hippynumber1 on 03 July, 2016, 09:35:46 PM
I have a few copies of my novel (9 to be exact) available to buy directly from me. £9.99 inc p&p and I will sign and write a personalised message on request, if you like. Drop me a PM if you're interested. It's the perfect gift for birthdays, anniversaries, bar mitzvahs, christenings, Easter, Christmas, just buy the damn book, already!
Title: Re: The Writers' Block
Post by: Hawkmumbler on 08 July, 2016, 05:35:14 PM
Does anyone know any short story themed writing groups or comps I could stick my name into? Find it hard to come up with ideas some days so having a set target oike our own monthly short story comp is a big help whilst practicing!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 10 July, 2016, 06:36:48 AM
Not a writing group but this (https://kathrineroid.wordpress.com/2011/09/25/100-themes-challenge-writing-prompts/) should help you get some ideas.
Title: Re: The Writers' Block
Post by: Hawkmumbler on 10 July, 2016, 10:17:09 AM
Oooh, mucho appreciated Sharky-san! I've got an afternoon off, lets see what I can knock out...
Title: Re: The Writers' Block
Post by: hippynumber1 on 05 October, 2016, 07:57:03 PM
I'm currently running a giveaway of my novel, 'Sex & Violets', on Goodreads; simply enter for a chance to win one of ten signed copies. https://www.goodreads.com/giveaway/show/204404-sex-violets
Title: Re: The Writers' Block
Post by: The Legendary Shark on 06 April, 2018, 04:57:55 PM
A Vending Machine Now Distributes Free Short
Stories at Francis Ford Coppola's Café Zoetrope. (https://short-edition.com/en/dispensers)


Title: Re: The Writers' Block
Post by: IAMTHESYSTEM on 07 April, 2018, 09:41:59 AM
Quote from: The Legendary Shark on 06 April, 2018, 04:57:55 PM
A Vending Machine Now Distributes Free Short
Stories at Francis Ford Coppola's Café Zoetrope. (https://short-edition.com/en/dispensers)

What a Novel idea! ;)
Title: Re: The Writers' Block
Post by: The Legendary Shark on 07 April, 2018, 03:00:18 PM


B'dum-tish!


Title: Re: The Writers' Block
Post by: The Legendary Shark on 14 November, 2018, 02:45:55 PM

7 Tips From Ernest Hemingway on How to Write Fiction. (http://www.openculture.com/2018/11/7-tips-ernest-hemingway-write-fiction.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+OpenCulture+%28Open+Culture%29)

Title: Re: The Writers' Block
Post by: The Legendary Shark on 15 November, 2018, 06:37:27 PM

Pat Mills on writing... (https://www.millsverse.com/creativejamming/)

Title: Re: The Writers' Block
Post by: Funt Solo on 15 November, 2018, 07:05:13 PM
That Mills chap says some interesting things: but in a blog post about writing, he could have used some paragraphs, shurely?
Title: Re: The Writers' Block
Post by: The Legendary Shark on 15 November, 2018, 07:17:25 PM

Paragraphs are for wimps.

Title: Re: The Writers' Block
Post by: Greg M. on 15 November, 2018, 07:20:58 PM
Paragraphs are a tool wielded by the upper-classes to enforce artificial divisions on the text of society!

(Sorry, I've been reading Charley's War...)
Title: Re: The Writers' Block
Post by: IAMTHESYSTEM on 16 November, 2018, 08:50:28 AM
I signed up to the E-Mail so there'll be plenty to chew over soon.
Title: Re: The Writers' Block
Post by: Frank on 28 November, 2018, 12:52:06 PM

Lettering god Todd Klein (https://kleinletters.com/Blog/preparing-comics-scripts-for-lettering/?fbclid=IwAR2eZF8021RPLTAH6Mkz8OPZ9OBxk0f5ff5Px0YqXxsHolqh_0rP_PLPUXE)'s advice to writers. I would never have thought of something as simple as using a format that allows the letterer to grab text directly from the script.

I've only ever typed something in script format for parody purposes, but I'm pretty sure I committed Klein's cardinal sin of writing dialogue in UPPER CASE, because, you know, that's what it looks like on the page. I'm sure others make the same annoying goofs:


Thanks to Nikki Foxrobot, Ian Sharman, Hde Ponsonby-Jones, Bill Williams, Nic Wilkinson, Lucas Gattoni, Zen Hcmp, Annie Parkhouse, Lois Buhalis and Michael Stock for advice and suggestions

1. Prepare your script in a word processing program that the letterer can access easily. Microsoft Word is the usual standard but RTF format from any word processor works well too. PDF format from Adobe Acrobat should NEVER be used. It prevents the letterer from copying and pasting from the script, the most common method of getting words onto the comics page.

2. Captions, dialogue and anything that needs to be lettered should be in sentence case, like this document, not all caps. Do not use a double space after a period. Do not use tabs. Each section to be lettered should be separated from the rest of the script so it's easy to copy and paste. Such as:

1) BRAINIAC (SPECIAL STYLE):
I am the only solution to Earth's problems.

2) SUPERMAN:
That's what you think!

3) SOUND EFFECT:
WHAM!

3. The writer should decide which words to emphasize and indicate that consistently in the script. Bold italic is the best method, do not use all caps. Do not try to simulate special styles with different fonts in the script! Make suggestions for fonts if you like.

4. Internal dialogue captions (what used to be thought balloons) do not need quotes. Use quotes only when someone is off-panel and doing narration in captions, or when actually quoting what someone else said. Such spoken narration needs a beginning quote in each caption, but an end quote only on the last one in a series of continuous narration captions. Double/single quote rules apply to comics as well.

5. If someone is in the room but off-panel, let the letterer know which direction the balloon tail should go. Whenever possible, the character on the left should speak FIRST, the next one to the right should speak SECOND, and so on. Train your artists to do this and everyone will be happier!

6. Foreign phrases, movie titles, book titles, ship names and any other item needing special attention should be italic. Translated foreign languages should be inside lesser and greater symbols such as <this> with an asterisked footnote such as: *Translated from French.

7.Make sure any notes for the letterer are pulled out and separate from panel descriptions so they aren't missed.

8. If you are working plot-first, look carefully at the art when you are writing dialogue to make sure all the characters you asked for are present. Try to write to fit the space available for lettering. Large panels with open spaces are best for large or many balloons, small panels with little space should have little lettering.

9. Lettering placements are welcomed by some letterers (like me) as a time saver, are not wanted by others. Check with your letterer. The letterer should be given the freedom to make actual placement choices that differ from provided placements if they see a better way to do it. Placements can be done with markers on a printout of the art that is then scanned, or digitally. If you are providing placements, it's recommended that you number each item to be lettered in your script, as above, and use the corresponding numbers in your placements.

10. Remember that the letterer is part of your team, don't keep secrets from him. That mysterious character who turns out to be a returning villain? Let the letterer know when he first appears. It may be a secret surprise for the reader, but the letterer needs to know when you do in case it affects the lettering style. If your story has narration captions by a character who won't appear until the last page, the letterer still needs to know who is narrating. Every narration caption should be labeled by speaker just as word balloons are. Or if it's omniscient author narration, say that.

11. Perhaps most important of all, MAKE SURE THE SCRIPT IS A CLOSE TO FINAL AS POSSIBLE BEFORE SENDING TO THE LETTERER. It has become a common practice among newer writers to treat the lettering draft as a first draft, and then do major rewrites after the first round of lettering, or sometimes several rounds of rewrites. This is unfair to the letterer, taking up time they need for other jobs, and usually they are not paid for that extra work. Script and art editing and proofreading should be done BEFORE lettering, not after.



Title: Re: The Writers' Block
Post by: Bolt-01 on 28 November, 2018, 01:40:53 PM
Amen, testify...
Title: Re: The Writers' Block
Post by: The Legendary Shark on 28 November, 2018, 03:07:30 PM

Quote from: Bolt-01 on 28 November, 2018, 01:40:53 PM
Amen, testify...

Wait... So all these years I've been typing dialogue in upper case, I've been wrong?

SHARKY (JAG):   NOOOOOOO!

Title: Re: The Writers' Block
Post by: Bolt-01 on 28 November, 2018, 03:24:42 PM
Ah, Sharkster- following on advice from m'learned colleague JimCampbell I have a handy dandy macro in my copy of word that does a lot of std transformations that format the text for me. It covers a lot of simple sins that writers commit, and believe me when I say that your script formatting is a loong way from the most awkward.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 28 November, 2018, 04:21:50 PM

Phew! But please let me know if there's any way I can make it easier - I have a couple of ideas brewing but am still in the planning (sitting around scratching myself) phase...

Title: Re: The Writers' Block
Post by: Jim_Campbell on 28 November, 2018, 04:23:33 PM
Quote from: Bolt-01 on 28 November, 2018, 03:24:42 PM
believe me when I say that your script formatting is a loong way from the most awkward.

I can second this.
Title: Re: The Writers' Block
Post by: Proudhuff on 28 November, 2018, 04:28:50 PM
Look, I'm right here...
Title: Re: The Writers' Block
Post by: The Legendary Shark on 28 November, 2018, 04:39:07 PM
Quote from: Jim_Campbell on 28 November, 2018, 04:23:33 PM
Quote from: Bolt-01 on 28 November, 2018, 03:24:42 PM
believe me when I say that your script formatting is a loong way from the most awkward.

I can second this.

Thanks, Jim - that's good to know. But, as I said, if there's any way I can make it better, please tell me. (Can't help with the content, though - I'm afraid you're stuck with that: :D )



Title: Re: The Writers' Block
Post by: Lobo Baggins on 28 November, 2018, 05:11:03 PM
How odd - I've never seen that before, but it seems to produce a script that looks like one of mine!  I'd been concerned that my scripts don't look remotely like any other comic script I can find on-line... but then again, no two scripts I've found look remotely similar anyway.

Right... no more double spaces after a full stop, then - that's going to take a lot of un-learning...
Title: Re: The Writers' Block
Post by: Jim_Campbell on 28 November, 2018, 05:24:00 PM
Quote from: Lobo Baggins on 28 November, 2018, 05:11:03 PM
Right... no more double spaces after a full stop, then - that's going to take a lot of un-learning...

I wouldn't lose too much sleep over that — my script formatting macro strips out the double-spaces along with most of the unwanted capital 'I's and swaps out three periods ... for an ellipsis ...

I imagine most letterers are the same. At least, they should be, because I explain the process of script prep in tedious detail on my blog.

Avoiding tabs and typing all caps are both decent bits of advice, but I wouldn't worry too much about any one niggly bit of formatting.

The big one for me is PDF scripts, which I still see at least once a month. I just send them straight back — there are usually only two reasons for a writer sending a PDF script. One is that they're using CeltX to write their scripts, in which case they just need to stop because CeltX's 'comic script' format is garbage and it only produces PDFs. The other is that the writer is using Final Draft, in which case they can just change the export format to RTF.

The other reason, and this baffles me, is because the writer doesn't want their script messing with and if a writer's relationship with their editor is that poor then everyone else involved in the project should run a mile...
Title: Re: The Writers' Block
Post by: The Legendary Shark on 28 November, 2018, 06:32:03 PM
Quote from: Jim_Campbell on 28 November, 2018, 05:24:00 PM

...because the writer doesn't want their script messing with...


People do that? I always thought that scripts should be easily editable in case anyone else in the collaborative process wants to add notes, highlights, rearrangements or whatever. As far as I'm concerned, scripts are mostly just suggestions - maybe firm suggestions but suggestions nonetheless.

Title: Re: The Writers' Block
Post by: Hawkmumbler on 28 November, 2018, 08:47:39 PM
Worse writers than you Sharky have had long and fruitful careers. Keep at it champ!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 28 November, 2018, 10:08:53 PM

Thanks, Hawkie... I think.

Title: Re: The Writers' Block
Post by: Bolt-01 on 29 November, 2018, 09:47:02 AM
I'll second Jim in saying that PDF's are about the worst to letter with. If we do get one, and it does happen- then a polite mail requesting a more letterer friendly version is asked for as well.
Title: Re: The Writers' Block
Post by: Hawkmumbler on 09 August, 2019, 11:24:47 AM
I've knocked up a fair few short stories this year, more than 2017 and 2018 combined, and though i'm content with several of them (and despise a few more but hey-ho) i'm still struggling to get over my anxiety of putting my work out there.

Getting rejected for a few zines earlier this year didn't help my confidence none, and I only hope I don't sound like i'm taking criticism too harshly, I welcomed the feedback. It just makes me feel a tad like my stories aren't worth telling.
Title: Re: The Writers' Block
Post by: Tiplodocus on 20 November, 2019, 01:58:22 PM
Just posted off my first submission to the House of Tharg in more than 15 years.

(Sorry, I did the dialogue in CAPS).
Title: Re: The Writers' Block
Post by: Bolt-01 on 20 November, 2019, 02:19:55 PM
All the best Tips!
Title: Re: The Writers' Block
Post by: The Legendary Shark on 20 November, 2019, 03:01:34 PM

Fingers crossed for you, Tips!

Title: Re: The Writers' Block
Post by: Tiplodocus on 20 November, 2019, 06:40:04 PM
Can't believe it had been that long actually. I was thinking it was about 5 years.

And can't believe how shit and immature  previous submissions were.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 31 January, 2022, 08:57:27 PM

What Kind of Writer Accuses Libraries of Stealing? (https://popula.com/2022/01/22/what-kind-of-writer-accuses-libraries-of-stealing/)

Title: Re: The Writers' Block
Post by: IAMTHESYSTEM on 24 March, 2022, 10:55:31 AM
You can pre-order Alan Moore's writing course at the BBC. Not cheap at £80, but you'll probably be hard-pressed to find better writing advice.

https://www.bbcmaestro.com/courses/alan-moore/storytelling
Title: Re: The Writers' Block
Post by: The Legendary Shark on 04 January, 2024, 08:28:39 PM
Greetings, fellow creatives.

Open source comics.

Anybody interested? If so, I've had an idea...

Let me start with the most constructive criticism I ever got, from a wannabe corporate drone called Muscles* in the late 90's, "You never finish anything." Being young and unable to control my indignation, I began to bristle. But Mr. Muscles smiled and explained that this wasn't necessarily a bad thing. I was trying, at the time, to get a "factory newsletter" off the ground and we were close to printing Issue #1. Muscles said that this was the hardest part, generating momentum to get things going, and that I was good at that. The problem was that I'm not the type to keep things going because I'm always looking for the next thing to start. Other people are good at keeping things going but can't kick things off very well. Horses for courses.

Secondly, Bludd & Xandi. The recent publication of the collected story took me completely by surprise and made me feel rather good. Something I wrote that other people enjoy. There are few better feelings than that. But I don't plan on writing any more B&X, I started it but I doubt I'll finish it. The Celestial Agents belong to the world now, if their story continues it continues, if it doesn't, it doesn't. Either way, I'm proud of, if not entirely happy with, it. Pushing on, and back to the point...

I have three story ideas and two possibilities.

Firstly, I continue as-is, but maybe with a little help.

Or, secondly, I start something. Ideally, we could end up with something useful in some way. First, though, we have to start. Get over the inertia. I'll be "striprunner" (because why not?), so I'll write all the scripts. Anyone who wants to pitch in with suggestions or criticisms is welcome to do so - but all out in the open, so everyone has a voice. We'll start with a kind of "writers' room" deal, then see if we can pass it on the "artists' room" and then maybe even the "marketers' room." I'm out when the writers' room ends, so the marketing part especially is none of my concern. I'll take donations but that's it, I'm just in it for the story.

Anyway, the Open Source Comic Challenge is to produce the first episode of one of the following (or better) ideas:

The Harlem Heroines. Two or three decades after the Original Thrill, the only part of the once famous aeroball team remaining is the Harlem Heroines, which used to be the second-stream "women's team." Now, they're on the cusp of their first game in the International Aeroball Superleague after climbing out of the lower leagues under the leadership of the club's new owner, a local self-made billionaire (maybe with the shady help of a certain pinstripe freak...). A story about aspiration and loyalty, and the benefits and costs they entail. ("Welcome to Wrexham Harlem"?)

The Power. Aeons ago, an unimaginably advanced race of beings survived a catastrophe by designing "personal survival fields." These fields, generated by tiny sentient crystals embedded in the brain, allowed the beings to survive (and experience) the destruction of their entire solar system as a speeding black hole dragged it beyond the edge of the galaxy. Trapped in a billion year orbit of the galaxy, the beings eventually go mad and die and their remains drift away, atom by atom, until only the crystals remain. Finally, the crystals fall back into the galaxy and rain down on the Earth over the course of a day. The crystals seek out and bond with the first suitably sentient being they encounter, which is usually a human being, essentially giving them Superman-like powers. The story follows an 18 year old who suddenly finds himself with the powers of a god in a world where around 100,000 random people (mostly) worldwide have been empowered in exactly the same way. A story about the rights and responsibilities of power, and how the difference is rarely clear-cut.

Home. 65 million years ago, the planet Beitzah Rishonah was devastated in a vicious galactic war. The target of the strike was the lizard race known as the Tzif'oni, who supplied weapons to both sides. The Tzif'oni escaped as refugees on a generations long exodus through time and space, spurned and persecuted all the way, fragmented throughout the galaxy. Finally, following a particularly heinous incidence of persecution, the Orion Council recognises the plight of the Tzif'oni and their right to return home to Beitzah Rishonah. However, the planet is now called Earth and home to a Class IV evolving race and so the Council gives the refugees the entire solar system, except the Earth, and the technology to terraform any and all of them (except the giants). The Tzif'oni ignore humanity at first, making every moon and planet from Mercury to Mimas, into breathtaking gardens. But the Tzif'oni want to go home, to Beitzah Rishonah (the Primary Egg), and their long-term plan is to take the Earth. In the end, humanity's own enthusiasm for contact allowed an embassy, and then a compound, and then a secure spaceport or two, and then an island - which is when the Resistance began. Our story begins seven decades later, when the Tzif'oni have reclaimed most of Beitzah Rishonah, and follows a man born to this world who discovers the existence of the Orion Council and the possibility of pleading for their intervention. A story about home, its meaning, importance and value.

So that's it.

Basically, it's just for fun. I love coming up with this crap. The best case scenario for me is that we crowd source just one episode for the entertainment of the forum, tapping into its own creative instincts, maybe opening a window into the creative worlds and processes. If that's as far as it goes I'll be happy. At the very least, maybe you'd be kind enough to take the time to tell me which of the above you prefer, if any.

Well, are you in? Can we produce one episode of magic between us? I think we can. All you need is your reason to do it.




*Not his real name.
Title: Re: The Writers' Block
Post by: Daveycandlish on 11 January, 2024, 06:15:31 PM
Quote from: The Legendary Shark on 04 January, 2024, 08:28:39 PMSecondly, Bludd & Xandi. The recent publication of the collected story took me completely by surprise and made me feel rather good. Something I wrote that other people enjoy. There are few better feelings than that. But I don't plan on writing any more B&X, I started it but I doubt I'll finish it. The Celestial Agents belong to the world now, if their story continues it continues, if it doesn't, it doesn't. Either way, I'm proud of, if not entirely happy with, it. Pushing on, and back to the point...



It is bloody good. It would be remiss of me not to give it a plug - I still have a few copies left!
Get yerself one from the PARAGONcomic blogspot BUY IT FROM HERE!! (https://paragoncomic.blogspot.com/)
Title: Re: The Writers' Block
Post by: Fortnight on 11 January, 2024, 07:17:44 PM
Quote from: The Legendary Shark on 04 January, 2024, 08:28:39 PMBludd & Xandi
Hey, I bought that. I'd read it within 30 minutes of opening the envelope! That was a great concept that's definitely got legs. I was sad it ended so quickly. Definitely needs expanding.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 11 January, 2024, 09:48:13 PM

Thank you, that's very kind of you to say.

Title: Re: The Writers' Block
Post by: Fortnight on 12 January, 2024, 07:17:11 AM
Quote from: The Legendary Shark on 04 January, 2024, 08:28:39 PMThe Power
My vote would be for this, but the world really has enough superhero stories, so I'd make the recipients of the crystals more like victims ultimately, and have the "powers" more like bizarre side-effects. Not silly. Just odd. Like contact with water causes the individual to catch fire, along with anything around them, or another could have the "ability" to pass through solid objects, but only at times of great anger or arousal. These could leading to some unfortunate encounters at bars.

And after only a short time the crystals' 'energy' causes them to go mad like their original owners, not just mad from residual loneliness, but also schizophrenia due to the extant personality embedded in them. The only one who doesn't show any negative symptoms despite being equally effected can be an estate agent, for obvious reasons.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 13 January, 2024, 09:54:13 PM

Some cool ideas there, Fortnight, thank you.

Title: Re: The Writers' Block
Post by: Barrington Boots on 15 January, 2024, 09:20:51 AM
Seconding the love for Bludd & Xandi, it's a shame you're not writing anymore there Sharky.

Of the three ideas above, Home sounds the most interesting to me but I'd like to see something from any of them.
Title: Re: The Writers' Block
Post by: The Legendary Shark on 15 January, 2024, 02:52:13 PM

Thanks, BB, now all I need is the time to write them! (And an artist (or three) mad enough to collaborate.)