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HOW TO MAKE A PLOT FOR A COMIC AND WRITING A SCENARIO

Why do I need a script

In time immemorial, a man picked up a notebook, drew the first page on 12 cells and began to draw a comic book. The main good character in this comic was himself, the main reptile is a bad guy from a neighboring yard. The bad was the head of the mafia, the cannibal and the hired alien, the good was a karate master, knew how to fly, rise from the dead, and generally saved everyone.

The plot of the comic book developed spontaneously, developing dynamically in places, sometimes falling into boring five pages. It can be said with sufficient confidence that in the beginning everything went as it should, in the second half it’s boring, the finale was crumpled and at best took two pages, more often – in the last frame someone shot from a big gun, and all the bastards, along with minor characters died in the big bang.

Looking at his own work, a person came to the conclusion that one could do better. The big bang as the end of history is still bearable, but fundamentally not satisfied with boredom in the middle. How to get rid of it? The best way is to break the process of creating a comic into two parts: writing a script and translating a script into a drawing.
How is the script different from the book?

The man sat down to write the script, but after the first two pages he quit this lesson.
– Am I drawing a comic book or writing a book? he says to himself. “Isn’t it because I draw comics that drawings save me from having to describe the details?” How to be
Find a middle ground. Literature, cinema, comics are forms in essence of the same kind of art – drama, if I am not mistaken. Movie scripts rarely see the light, but many scenarios for theatrical production have been published – these are plays. Bulgakov, Chekhov, Shakespeare have written many plays, they can be taken and studied, what is written in them and what is not.

In particular, a small introductory phrase is enough to describe the scene. Next come the dialogs, optionally supplemented by comments:

Ivanov (grinning): You, Petrov, are a real workaholic!
Petrov (taking out a gun): Always ready to work for the good of society!

Without these comments, it would perhaps be difficult to imagine this scene. On the other hand, if from the phrases uttered it is approximately clear what is happening there, you can not write them: leave the artist room for creativity.
Advantages and disadvantages of the script

Most obviously, the script allows you to completely redesign the plot and dialogs at any time, without redrawing anything. Less – that the human brain in its structure is more similar to the human body as a whole, than to some other individual organ. And when you think in images, one part of it works, when you come up with dialogues, the other. It is quite difficult to physically strain several parts of the body at once: it is as if someone undertook to endure the weights and at the same time began to do arms and squats. The brain allows you to do such tricks, but it quickly gets tired. Using the script, due to the lower load on the brain, allows not only to come up with better plot and dialogs, but also to portray all this more effectively later.

The finished script can be shown to the publisher to get money for creating a comic book. Typically, the publisher also asks for a few finished pages. And it is absolutely certain that the finished script will help you well in these negotiations.

Finally, the finished script can be sold.

The disadvantage of the scenario is that it does not allow to reliably estimate how many bands the comic book will take in the end. Sometimes this can be important. This can be circumvented by adding frame-by-frame and page-by-page separation to the script. That is, a little squatting.

When is a script not needed? The script will most likely not be needed if you draw short strips that are not interconnected by the plot. However, some of the tips below may help you come up with them.

So, we compose a plot.

Step 1. Scene

The most important part in the comic is the atmosphere. It is important everywhere, even in advertising. Because it allows you to affect not only the emotions of the reader, but also his feelings. Without it, you can make the reader laugh, but you won’t be able to make you cry for sure, and you can give a 100% guarantee that the comics without atmosphere will be forgotten the next day.

The atmosphere consists of the scene, the nature of the narrative and vision of the world by the author. The latter is the author’s view of the world through the prism of inner experience; therefore, it is useless to come up with this. You are the author, your creation is your vision, your view of the world. The nature of the story is determined, again, in many respects by your style of presentation, the development of the plot, the mood of the comic book. If it makes sense to bother a lot, I’m not sure. The easiest way is to take something as a role model: I like, for example, the character of the Lord of the Rings, I want to draw something like that. Or Star Wars, or the Matrix, or the Roller Coaster. All these works are very different in the nature of the narrative.

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