Comic Talk, Tips and Tricks

Do you use a carefully edited script or just go with the flow?
Bohemian at 8:15AM, Sept. 23, 2007
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The creative process is interesting in and of itself, I believe. I combine rough sketches with dialog as ideas occur to me, and about seventy percent of the time I go directly to the computer, put some clean character sketches on my panels, and then edit on the fly as I add the dialog, very nearly unchanged from its original form.

I'm under no illusion, though, that this produces the tightest, cleanest, most logical examples of character dialog. On the other hand, the results are usually adequate enough to lead the readers to the punchline without losing them along the way.

But by opening up a word processor and fiddling with the dialog until it fairly sparkles with witticisms and mind-boggling insights I . . . well, I pretty much get about the same results in the end. Go figure.

So, what's your dialogging methodology, and do you ever change your work habit?
last edited on July 14, 2011 11:32AM
Megawacky_Max at 9:13AM, Sept. 23, 2007
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Well, I have two main comics, and for each I've used a different method.

One of them has no real plot, other than several main points that I DO know. On the way of linking one main point in the story with the next one, I just draw whatever comes to my mind first. Mind you, this one is a HUMOR comic, and so it's really fun to go around with no proper script written down.

Which doesn't mean I do not know where I want to lead the story to.


The second comic, more of the adventure type, has a proper script written. Still, I move slow between pages (I have a weakness for long introductions), but I'm slowly learning to increase the speed of the actual action.


So there you have it. You don't need to be strict, you just have to understand what fits best to your comic. :-)

There's more to do in the Net of Nets!
(Megawacky Max)
Other comics by me: Nagaly | Pixie Pals | NOOBS | Metal Skeleton
last edited on July 14, 2011 1:59PM
Bohemian at 10:16AM, Sept. 23, 2007
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I know where you are coming from with the long introductions. I tried my hand at continuous storylines in the past and spent so much time crafting page after page of set up that I got bored and tossed the whole thing in the trash each time. A gag-a-strip construct – where there is no continuation – seems to work best for me.

Megawacky_Max
The second comic, more of the adventure type, has a proper script written. Still, I move slow between pages (I have a weakness for long introductions), but I'm slowly learning to increase the speed of the actual action.

I also find interesting,
Megawacky_Max
One of them has no real plot, other than several main points that I DO know. On the way of linking one main point in the story with the next one, I just draw whatever comes to my mind first.
because as often as not that's how I arrive at my dialog in the first place. That is, I have a general - or only a very vague - idea of where I want to go, but until I actually rough sketch one of my characters I can't seem to make the dialog take shape. I seem to need the visual aid of a character before I can craft something for him or her to say.
last edited on July 14, 2011 11:32AM
mlai at 10:36AM, Sept. 23, 2007
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I write stories, no strips.

I usually have a brainstorm period where I outline most of the script, some parts rough other parts more detailed.

Then I get about to drawing. Since that takes a long time, over time I'll have other smaller bouts of inspiration where I go back to the script and edit/polish/add/alter/etc.

This means the later parts are shinier than the beginning. But that's ok because the beginning chapters are always simpler so it's not like they needed that much repeated polish anyways.

My co-artist would attest to the fact that we're prolly up to script edition #200 by now, and #200 is virtually unrecognizable from #1.

FIGHT current chapter: Filling In The Gaps
FIGHT_2 current chapter: Light Years of Gold
last edited on July 14, 2011 2:05PM
Bohemian at 10:41AM, Sept. 23, 2007
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mlai, I'm thinking that the,
mlai
over time I'll have other smaller bouts of inspiration where I go back to the script and edit/polish/add/alter/etc.
approach is probably pretty standard for extended story-line workers. It seems about the only way to make everything come together, although it does make me wonder if anyone just gets that sort of thing perfect the first time or just wings it as they produce the artwork.
last edited on July 14, 2011 11:32AM
kyupol at 12:44PM, Sept. 23, 2007
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I write a script. Then I keep revising and revising it at least 10x before it goes to a comic form.

NOW UPDATING!!!
last edited on July 14, 2011 1:25PM
spacehamster at 1:13PM, Sept. 23, 2007
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I go through several versions. First I just write a summary of the story. Then I break it down into a page-by-page plot outline. Since I've deliberately chosen to write in 22 page units, this is necessary, but I also find that it can help to have some constraints rather than total freedom.

From that plot outline I go to a full script with panel descriptions, then thumbnail sketches, then the final art. Of course everything is always subject to reworking at any point in the process - three-page sequences expand into four and something else gets shortened, dialogue gets rewritten because I find it sounds silly with hindsight or it has to be shortened because it takes up too much space, etc.

Writing dialogue is a strangely fluid process for me. My starting point is usually either that I want the characters involved to be at a certain point when the exchange ends or that certain information needs to be communicated to the reader, and then I just kind of let it flow. My characters are a bit like voices in my head sometimes, and they just dictate their dialogue to me, really.
last edited on July 14, 2011 3:50PM
Darwin at 2:20PM, Sept. 24, 2007
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I'm lucky in that all of my comics have actual written versions behind them. I do have to tailor the written word, and do so pretty much on the fly…what sounds good for that scene.

I do research the scene and create a page layout from them, editing out anything I think just won't work for the page. Often times I change dialogue and narration to better fit the art being shown. And Oddly enough I find that some of the newer material/dialogue/narration is better than what is in the written version and reverse engineer it into the story.

I have found it a laudible challenge to tell a story graphically, and it shows in the improvements it brings to their predecessors - the books off which the comics are based.

So a hybrid of the two I guess would be my answer!!
last edited on July 14, 2011 12:08PM
Bohemian at 7:25PM, Sept. 24, 2007
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These replies are very interesting. I have been re-analyzing my own methodology and now realize that aside from my stuff being self-contained gags, without any continuity from strip to strip, I actually do manage to get the bulk of my final scripting work done while in the first flush of creativity.

This is because in order for a self-contained gag to work at all it has to have an introductory hook - which I find easy to write - then it needs the primary exposition material that sets up enough of the ‘who, what, where, when, how, and why’ stuff to form the meat of the material itself. It's incredibly easy to get way off track in this second part. At least it is for me. Too much information and the entire gag dies. Too little and the darn thing doesn't make sense.

The third part is the punchline . Ideally it should be short, to the point, and take the entire gag into an unexpected direction. I usually do well on this section.

Anyway, by the time I have crafted something that more or less fits into these vital segments, the gag itself is pretty much in its final form. All I need to do then is a bit of grinding and polishing of words in order to make it sparkle, or at least to make certain that the pig's lipstick is looking as good as can be expected.

Sure, sometimes I find myself doing major reworking in the form of a second draft, but this usually turns out to be because I hadn't really gotten a good handle on the central idea, or premise, of the gag in the first place.
last edited on July 14, 2011 11:32AM
dark link at 12:21PM, Sept. 25, 2007
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Most of the time, I just go with the flow with a vague plot outline, making it up as I go along.

For my big major stories, I write down a detailed plot.
I once tried to smoke lettuce. It rocked!!

Which Final Fantasy Character Are You?
Final Fantasy 7
last edited on July 14, 2011 12:07PM
cartoonprofessor at 8:34PM, Sept. 25, 2007
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Personally my script is pretty much made up as I go along.

I do have a strong idea of the entire story, including many scenes in fair detail.

I have found working with script outline first and positioning text so the readers' eyes are drawn through the action, then positioning panels to suit works best for me.

In this way you can constantly refine both images and text so as to keep the ‘flow’ happening.

Also this way I find I remain more open to moments of inspiration… I can insert more easily new ideas without disturbing the all-important flow.

I believe it works well.

Feel free to have a look at my comic and let me kn ow : )
last edited on July 14, 2011 11:36AM
marine at 10:23PM, Sept. 25, 2007
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Some pages I'll antagonize over for days. Others come together within an hour or two. Its always a complicated thought process. Sometimes I can come up with a good gag that works within the art templates I got and the other material, and other times, I craft stories that take me longer to do than other stuff and I often end up cutting things out entirely . A big goal of mine is that I want is to have more than one laugh in every page. Sometimes I want more than one BIG laugh from each page. I've had pages that were such brilliant satires that they're unappreciated as an art piece or a literary work. Then I have pages with a cat guy being pooped or a wizard who has an ass on his face sneezing poop on a transvestite.

I'm always thinking of stuff to use, and a lot of my notes end up going into the final product. I'm always trying to do my stuff different from how others would do theirs and still be great. On one hand its just dick and fart jokes, but on the other its a satire and parody of modern American culture. Pretty much nothing is too far out there for my jokes, but I make an honest attempt to keep the material at least leaning in the direction of PG-13 style. So yeah, uh, I'm going to say the average penis page takes about two hours. Thats from me brainstorming ideas on paper, writing it out and blocking how to set it up, then proof reading it, then I post it. Sometimes its as easy as mixing up the art work, saying “Halo 3 sucks. It needs boxing.” and other times it takes more complicated set ups where I have to draw new stuff or change things so minuscule no one even realizes that there was a change.
last edited on July 14, 2011 1:52PM
Kristen Gudsnuk at 12:45AM, Sept. 26, 2007
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I have a comic-book type of comic, so nothing to say about the “strip” issue, which obviously takes a different writing process.
I really can't draw my comic with a happy heart if I don't have at least ten to fifteen future pages of comic written. I think that the whole “writing spur of the moment” thing is ok if you're not really taking your comic too seriously, but you should have a substantial amount of script written if you really want your comic to be good. Pacing is very important, and if you write everything out beforehand, you can analyze your script and find which parts drag, or don't add to the point you're trying to convey… right now I have about ten pages of script typed out (it should last me about 40 pages…) and I often read through it, tweak awkward lines, shorten parts… you know, obsessively proof-read it and all. Also, UsedBooks read through my next part, looking for inconsistencies and bad dialogue and other troubles. ^_^ so nice!
last edited on July 14, 2011 1:22PM
Bohemian at 4:41AM, Sept. 26, 2007
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I know that this is the wrong forum for specific cartoon critiques, but I have to point out that the cartoonprofessor's art work is some of the most stunningly, topflight, professional cartooning that I have ever seen. I would offer a full critique, but again, this isn't the correct forum for that.

Marine, I believe that the attention to detail is why you were a finalist in the recent DrunkDuck awards ceremony. I'm guessing that you simply have such a strong sense of artistic pacing that you know instinctively when something needs careful revision and when it's ready to fly away, hot off the keyboard, so to speak. Although not in your category as a cartoonist, my stuff is treated somewhat similar because, as the cartoonprofessor and you noted, , “It's got to flow or it's just no go!”

Kristen Gudsnuk, we aren't far from agreement, in that I have struggled with a comic-book style work before and I, too, had at least a rough script and a firm plot and storyline for an extensive way into the future. But it probably depends on the type of storyline and the nature of the artist as to whether or not there is a need for a detailed ‘map’ or a more lose and freestyle idea of an ideal general direction. Regardless of our end result we all think a little differently about these things. My instincts insist that a tight and detailed approach is best but my intellect dryly informs me that a more lose approach leaves room for ‘happy accidents’ and artistic fun. But then again, I found that I couldn't pull off comic-book/extended storyline stuff anyway, and so it's all still a bit of a mystery to me anyway.

Great input people!
last edited on July 14, 2011 11:32AM
mlai at 8:43AM, Sept. 26, 2007
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'Accidents' are more often sad than not. You can't depend on ‘happy accidents’… you can depend on your own skills.

FIGHT current chapter: Filling In The Gaps
FIGHT_2 current chapter: Light Years of Gold
last edited on July 14, 2011 2:05PM
JustNoPoint at 12:09PM, Sept. 26, 2007
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I have to write long stories out. If I mess up and tweak the slightest thing the wrong way then my entire story line could change.

I write in many brief outlined manners. Breaking my story into chunks.

I have the volume over view which tells me what needs to happen on a grand scale overall in every volume.

I have a chapter over view that tells me what happens in the major story arcs. Many of these stories will be divided into smaller chapters I call “seasons” later on that will become the official chapters.

The Seasons are the entire break down of a small section of a chapter that will advance the story to the next piece of the arc. These are done only 1 season ahead at a time.

For example, my current season is still going, so my next season has been outlined already. Once I start my next season I will need to have the season after it finished.

Then I break the story down into issues. I make a brief outline of all the things I need to accomplish and/or focus on in a particular issue and then I begin sketching it out on paper and let the characters and events write the comic for me because generally I already see the whole issue in my head with vague spots here and there. So I draft out the scripted sketches very quickly.

I come back and refine things periodically as well. That is why I love being so far ahead in script. It makes it much easier to tie all the story together in case I realize I forgot something.
last edited on July 14, 2011 1:12PM
marine at 1:00PM, Sept. 26, 2007
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Well I've been doing penis since June or July 28th 2004. I just revamped the art templates in April and started a new numbering scheme. Still more or less the same content that its always had. I been doing web comics since around 2001, back when Gabe & Tycho weren't too good to drop by web comic forums. I've developed what I got into what it is. I got all these goofy characters in my head, so I might as well use them. I just want to make it clear that penis is never as easy as it looks. Actually assembling the comics doesn't take long, but I can antagonize over the scripts or layouts for hours. I've a pretty good size buffer of emergancy stuff that I don't think is so great, but if I get into a place where I got nothing, I got back ups.

The best thing I can tell people to do is to just think about what you're doing. I think on my stuff all the time. I'm always trying to get the most out of a page, I could get through volumes of material with just a few pages of penis, and on the flipside, I can space a one-note joke out so that when it finally hits and isn't funny, the joke becomes getting to that joke. A lot of logical fallacy is at work over in penis and often I try to employ some comprehension skills that I learned, ya know stuff like foreshadowing or plot structure (rising action/middle conflicts/falling action/resolution). If all else fails, this is the internet, go for the joke that ts not funny and hope it works. I did a page last Saturday that was the most 11th hour comic I've done in months. see here for what I'm talking about. I had half a Rape Man page started but I've done his joke which you can find examples of by reading penis too often. I gotta keep it fresh and moving, can't do the same stuff over and over again. So I wanted them to team up. I had an idea “well what if I have him mention a superhero newsletter and then just play it like it was those real superheroes you found on myspace” and that idea made it into the final product. Then I went for the “whats the internet?” joke. When a character is so out of the loop that they don't know what the internet or any of the current buzzwords like Blog are. Considering this guy wears a gumby green attack dog suit and cals himself Faggot Man, its safe to assume the guy doesn't know whats going on. So I drew up a goofy constipated face for the last panel and hoped it worked. Worked out fine.

To get into the idea of pacing, its more difficult that in sounds. In todays page for example over here content warning contains minimal blood and a fat blue girl for comedic purposes, I mixed it up pretty good in this one. The jokes worked pretty well with the dialouge, stuff like “well as I lay here with you in this poorly drawn bed” and the “Oh I guess you're asleep with your eyes open… again..” goes perfect with the art templates. I had to re-do the fat blue lady up somewhat to make it look like she had rolled over, but really it wasn't that bad. One thing when blocking stuff out that I carry from my acting classes, never show your back to the audience. Its not as interesting seeing the backs of a characters head. I keep thinking “well maybe I should” but then that acting stuff comes into my head and kills that argument. On rare occasions that happens where I show the back of a characters head, but I'd say nudity is more prevalant in penis than the backs of a characters head, and I'd say theres maybe four or five real nude scenes in penis. Its all for comedic purposes though, and some of it I had to take out because I was slapped with the A rating and people had to register to read penis. People don't want to be hassled to click a link on their tabs bar to take 10 seconds out of their day to read penis, let alone take a full minute to sign into some website.

But that has nothing to do with the price of tea in china.
last edited on July 14, 2011 1:52PM
Bohemian at 7:09PM, Sept. 27, 2007
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JustNoPoint, that's some excellent information. Or at least it works for someone that thinks like I think about this stuff. Thanks!

marine, that's also some great information that is specific to working out difficulties. It would probably make a great new top post. Thanks for the input!
last edited on July 14, 2011 11:32AM
unhappystar at 9:58PM, Sept. 27, 2007
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I generally have a chapter planned out with a very VERY basic outline. Something along the lines of:


-MC shoots rockets out of feet
-Shopping center filled with chaos and confetti
-Angels fly from sky to save panicked crowds, forget what they were doing
-Do French homework, pg. 38
-Do a guy vomiting, that'll be awesome

Then I draw a 3x4 grid and take the ideas and form it into a single page. Since 12 panels is too much for me to fit on a page, I have to do some editing at this stage. Right now the dialogue consists of the most basic idea or generalization or intent of the speech. This is bad, because if people walk up to you and see you drawing these messy squares with speech like “WHAT IS? DO.” then they think you're retarded. And that's never comfortable.

During the more detailed parts like planning and drawing panels and content, the dialogue gets modified, improved, or changed a great deal. I detailed the process of drawing the page because my dialogue is so tightly-knit with the drawing that I don't think it would be possible to seperate the two processes and still have something resembling the finished product.

About a third of the time, I'll just have a brilliant (read: stupid) idea and have to put it in, which changes a lot.
last edited on July 14, 2011 4:36PM
Bohemian at 2:56AM, Sept. 28, 2007
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Hah! Unhappystar, I've been wondering how you manage to come up with such funny stuff. It never occurred to me that you would start with a gag concept first and then make a continuing storyline fit the gag. I think that the normal procedure is to find some way to make the gag fit the storyline as a priority.
last edited on July 14, 2011 11:32AM
unhappystar at 5:10AM, Sept. 28, 2007
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Very rarely, I'll plan out a chapter based on a central idea that is linked to everything else, but it never stays like that and almost never resembles the original idea. I think part of it is my lack of an attention span and my inability to keep going with stories that don't make me laugh. So really, it's a very large writing weakness that I try and turn into a good thing.
last edited on July 14, 2011 4:36PM
Warspritecomic at 9:50AM, Sept. 28, 2007
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I've got a very detailed idea on the plot of mine (I once actually wrote a short story from an older comic I made) but in the end I just go with the flow. I think up jokes on the spot, I find inspiration on the toilet or in bed (true)and, well, that's just about it.
FIGHTSPLOSION 5!!! IT HAS 2 ALIENS, A PIRATE, A HORNY NINJA AND A HOMOCIDAL FIRE PRODUCING PENGUIN! AND A BIRD WOMAN AND A CAT WOMAN!

Also a mute that reminds me of Johnny Bravo and Samuel L Jackson at the same time!
last edited on July 14, 2011 4:48PM
cs3ink at 1:57PM, Sept. 28, 2007
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On the 3 projects I'm producing on DD I go with the flow, since I'm doing all the production.

When I work with an artist, I use a very tight script. The better I can get my idea across, the easier the artist's job will be.

Later,
Chip
Creator of Terran Sandz and Broken Things, and now Dead. Check 'em out.
last edited on July 14, 2011 11:55AM
cetriya at 5:32PM, Sept. 28, 2007
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I do a mix of both, more depending on the type of story Im working on
last edited on July 14, 2011 11:39AM
cartoonprofessor at 2:37PM, Oct. 7, 2007
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Wow, Thanks for your comment, Bohemian. Although I have drawn comic strips before, this is my first comic more than one page long.

To add more to what I said previously; Usually I will imagine an entire scene in sequence in my head, complete with ‘camera’ angles, script and action. I will then often go over and over the ‘sequence’ in my mind until I feel it could work.

My next step is to open up a photoshop file (A4, 300 dpi) and start positioning text blocks across and down the page, allowing spaces for the action. This is when I really begin to work out juxtapositioning so the action flows and the readers eyes are drawn nicely through the action.

Sometimes I will ‘rough out’ the action then, but more often than not I will start to position the elements and render the panels in a 3D program called Carrara (here the characters are simple ‘blobs’ with arms and legs ). I then import these panels into Photoshop and start to resize and position until I am happy with them. ( Lots of reworking of both scripts and panels happen now)

Then I add backgrounds, draw the characters and scenes, add tones and highlights, etc, do the speech bubbles, and a page is finished.

I always have two, three or four pages at varying stages at all times, allowing me to jump back and forth when needed. When going full time, I can usually do anywhere between four and seven pages a week.

I just wish I could spend whole days doing it, alas, we all need money to survive.

Anyway, hope this helped some more.
last edited on July 14, 2011 11:36AM
freefall_drift at 11:27AM, Oct. 8, 2007
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I'm doing a long story. i love the tight convoluted plots of Alan Moore, so I found I wanted to include that aspect in my stories.
I have the whole chapter written out, down to the words for each panel.
One sentence for each word balloon.
I can visualize the panel from the dialog.
if the panel has no words, I'll write down what should happen in each panel.
I try to work a chapter ahead.
I do find that when I'm doing the text and art on the page, that something will click. I'll change a word or phrase, and the whole panel will work so much better.

Here is the script for this page. In my outlining, I summarized the action of the panel. That was helpful for visualizing pacing, but I stopped after I get more comfortable making pages. You can see that when I made the page, I added text and combined word balloons. It just felt right. I allow last minute changes.
http://www.drunkduck.com/FreeFall_Drift/index.php?p=229281

Page: The wait
1) Waiting
Ruun just watching Dante.
This could be his future and he's not sure if he wants to do it.
shot of the room, full of 20th cent reproductions


2) Waiting
Ruun just watching Dante

3) Waiting
Ruun just watching Dante

4) starts to wake up
DANTE Uhhhhh
DANTE Where am I?
Starts to sit up.

5) You are safe
RUUN At my home.
The proctors d-don't know where you are.

6) How do you feel
RUUN how do you f-feel?
DANTE obrigado,I feel like cascalho(gravel), but I'll live.
Freefall Drift - A sci fi space opera of a starship's mission of stopping the Endless Kings.
last edited on July 14, 2011 12:31PM
Dan at 3:18PM, Oct. 8, 2007
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For me, I create several major and crucial points throughout the storyline, insert notable events within those points, and fill in the blanks with whatever you see fit. So in a simple diagram, it would be like this:

-Major event
-
-Minor event
-
-Major event
-
-Minor event

And so on. Sure, it may not seem to be a best way for the artists who are serious about having a career in creating actual comics that you plan to publish, but I have no intenions of doing so far- for one, I'm only 15 and two, I still have lot to learn (Just realized the need to constantly maintain ink/ect supplies- I seem to have bought an excellent pen but one that apparenly gives away too much ink). But it's ideal for those who aren't serious (So far) about being a comic book artist as they give you freedom of doing what you want within those blanks- most of the times you would end up with unsatisfactory results but on some occasions you might “accidentally” come across some of the most brilliant ideas ever.

For the scripts, I usually fill them in after I finished the comic draft. I write them on a notebook so I try to make the least amount of changes possible within each page to prevent messy (And sometimes confusing) layout. I also plan to develop an in-depth plotline for every chapters in the future as I seem to constantly lag behind, mostly due to staring out the window, thinking of what should be next. But hey; at least I'm doing a lot better than the last one 4-5 years ago. I for one, have a tendency to constantly change the story and add that to my eagerness, I can probably considered one who takes risks.

So in short and simple, here's what I do.
1. Draw out the page (Tuesday-Friday)
2. Ink (Friday-Saturday)
3. Shade (Saturday-Sunday)
4. Scan, Photoshop, and have it ready for upload tomorrow (Monday)
For script… I do it when I'm certain that I've chosen the page layout.

Oh, and for First Fantasy, I completely go with the flow, pulling jokes out of thin air when necessary. It's just a comic I do when I'm bored and don't feel like doing anything else.
“I like shooting, but I sure as hell don't like being shot at.”
last edited on July 14, 2011 12:04PM
Rutger at 2:51AM, Oct. 11, 2007
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I just go with the flow. I've only just started my own comic five days ago, and I'm still getting the hang of it, but I always make sure I at least know where I want to go with the storyline.
Usually I sit at my computer and edit the comic, I add the dialogue as it comes to me and when it's ‘finished’ I stare at it for a while. The staring help, because the longer you stare, the more faults you will notice. So you stare, you edit, you stare again, untill you're happy with the final result.

Appart from knowing where the storyline is going, I haven't got a clue what I'm going to do in the next comic. I'll have a vague idea that I'll think out through the day, but usually I won't decide on the definitive version untill I'm at my PC actually creating the comic. For instance, today ends with an intro to a fighting scene, so I know that tomorrow will have fighting in it, but that's it. I'll decide who wins, who dies and who cheats death the moment I sit down and start working on the next update. This way I'll get where I want to go, without having to watch plottwists or future updates, because I'm pretty much just making it up as I go.

So in short, I just go with the flow. I'll know where I want to end up, kinda what the major events will be, but the process of getting there is not definitive untill the comic for that dat is actually finished.

K.A.L.A.-dan! rutGAR desu!
last edited on July 14, 2011 3:13PM
bongotezz at 10:33AM, Oct. 11, 2007
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posts: 451
joined: 2-13-2007
i script my story out far in advance. i'm probablly 12 months ahead of what's posted script wise. i do this because it's an on going story and i need room to rewrite parts that need some help or break continuity. when i make my comic most of the script is left unchanged unless it's too hard to panel or draw something or if i forgot something in the comic. i just finished comic 95 and i had to alter the second half of the script to account for something that i forgot about. i got feedback from my friend and will now edit the last 4 panels again but that amount of changes is rare.
last edited on July 14, 2011 11:32AM
Short_Circuiting at 6:11PM, Oct. 11, 2007
(offline)
posts: 1,020
joined: 1-8-2007
I always script. Well, for my formal comic pages anyway. If it's just a gag comic, I totally just go with it. But for me, scripting's half the fun! Plus it's necessary because I am so strict with my layout - 12panels per page, 3pages per chapter. It's limiting, I know. But it's good since I'm a beginner when it comes to comics.
last edited on July 14, 2011 3:34PM

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