Tagged: House

Writers are people who have to write. They write every day. They don’t talk about it, they do it. People who don’t write every day are not serious writers. All right. Five days a week, minimum. This is about writing comic books, but it applies to all fiction.

You must know your craft, the rules of grammar, how to conjugate a verb. Don’t get nervous. Most of you already know this without the fancy labels. I see, you see, he sees. It is part of your instinctive grasp of English. Everyone needs a little book of rules. For the writer, it is Elements of Style by Strunk and White. This slim volume has been in continuous publication since 1935. It takes an hour to read and is quite droll. Buy a used copy. Do not get the illustrated version. It has been bowdlerized in the name of pc.

All good fiction, whether comics or otherwise, is built around character. We humans are mostly interested in our own kind. The more interesting your protagonist, the better your story. Stories start with people. The TV show House on Fox is a perfect example. Hugh Laurie’s character is so thorny and unpredictable people tune in week after week out of fascination with his personality. Same thing with Batman, since Denny O’Neil straightened him out. Prior to O’Neil, Batman wandered from mood to mood, often “humorous,” seldom entertaining. Denny made Batman a self-righteous obsessive-compulsive. Obsession is always interesting.

While it’s possible to grow a great story out of pure plot, sooner or later it will hinge on the characters of your protagonists. “Character is destiny” holds true in fiction as well as life. Know who your characters are before you start writing. Some writers construct elaborate histories for each character before they begin. It is not a bad idea. Start with people then add the plot. Get a bulletin board. Write each character’s name and salient characteristics on a 3 x 5 card and tack it to the bulletin board. You can do the same with plot points. You can move characters and plot points around to alter your chronology.

What is plot? It’s a dynamic narrative with a beginning, middle, and end. It’s like a good pop song. It has to have a hook. Sometimes that hook is simply the narrator’s voice. Huckleberry Finn succeeds mostly on the strength of Huck’s voice, by which I mean the way he presents words. In other words, it’s not the meat, it’s the motion. It’s not what you say, it’s the way that you say it. Huck comes alive through his words, which are fresh and immediate. We feel we know Huck. Same thing with Raymond Chandler’s Philip Marlowe. It’s that world-weary, cynical with a heart-of-gold voice whispering in your ear. “He looked about as inconspicuous as a tarantula on a slice of angel food.” Chandler also said, “A good story cannot be devised, it has to be distilled.” In other words, start with character and let character find the plot.

Comic writers think visually. No matter how bad our chops, we can pretty much describe what we see in words. Some of us can even draw a little bit. I used to write comica by drawing every page out by hand – everything – all the tiny details, facial expressions, warped anatomy, half-assed perspective, all word balloons and captions. Editors and artists loved it. Why? Because they had everything they needed on one page instead of spread across three pages of single-spaced type. Some of the most successful writers in the industry write very densely. Each script is a phone book.

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