TimH wrote:But, seriously, Chessak, on the script revising, you just have to ask yourself tough questions and prune out what absolutely doesn't need to be there. If there's a lot of cross talk, pick the best cross talk, the talk that moves the story or reveals a crucial character trait, and chop the rest. Editing is the hardest task for a writer. You have to be merciless with yourself. A lot of stuff is more redundant than you realize. Especially back story. 90% of backstory--the sort the provides interesting trivia not otherwise told--is the hardest for the writer to detect, but the most superfluous.
I teach technical writing, so I know all about
revising, and particularly pruning. The story that went 4 pages over? That's after I completely cut TWO scenes and pruned down two more.
But see, it's my own electronic comic, and it costs me nothing whatsoever to have a longer issue. I tried to do what I thought worked in the scene to reveal character
Part of the problem with the first issue was just my lack of sense of how many words can fit into the word balloons in particular panels. I hadn't really done this before (all my previous writing was in plain prose). So it is a learning experience.
If you aren't planning to be the artist, don't waste time modeling the panels with 3D modeling software--unless you can do it really fast.
I'm the artist, but I can't draw, especially the human figure, so that is why I use 3D modeling programs.
Even better, teach yourself to draw and do the whole thing yourself. It'll take forever, but you'll get better. I mean, 3D modeling software--that takes time, right? Just dive in and quickly sketch a panel on a note card. Then scan the notecard onto your computer. You can then lay out the text around the stick figures, if that is your goal.
I will never be able to draw well enough to satisfy myself... at least not in a reasonable time frame. With the 3D software, I was able to produce usable renders (not perfect, by any means, especially in terms of lighting, but usable
). My profile picture of Supergirl is an example of what I can do at this point. Although far from perfect, to me this is good enough to tell the story I want to tell (for the most part).
I'm still learning, but I enjoy the control that comes from doing both the story and the art. And since there is no good reason to cleave to exactly 21 pages (just because "that's what DC and Marvel do" is really not), inflating the story a couple of pages to get it where I want it to go is fine with me.
Additionally at this point, I don't have a real sense from a plot exactly how many pages it will take to convey the story yet. That will come with time, I think. For instance, screenwriters know roughly how many pages of script = how many minutes of film. What's the conversion rate for pages of script to pages of comic? I dunno yet... and it will depend on my scripting style. So again, it's a learning experience.
My main point was, I can see how the script could have gotten away from Johns a little. How his plot might have called for some events he thought he could do in 21 pages, and it took 27. I can sympathize. It's the finale, so he doesn't want to short-change it. But I don't think that's true, because Johns is known for writing meaningless splash-page scenes that don't really even have anything particular to do with the story ("I won't stop until Batman is dead!" for example), but are just there for shock-and-awe. So I predict that the extra pages are just shock-and-awe double page spreads, not anything NEEDED in the comic.