how im­por­tant is struc­ture (For ex­am­ple, plot arcs) in your writ­ing?

Comic Heroes - - Feature -

QWhere we con­cen­trate on a writ­ing tip… you know, the im­por­tant stuff… Here, it’s the fact that your story shouldn’t be a rambling train of thought, no mat­ter how bril­liant you be­lieve it to be. A story needs solid struc­tural foun­da­tions. Al Ewing: I’m pretty ter­ri­ble at the three­act struc­ture, but I have cer­tain iron rules. I try very hard not to have a scene change in the mid­dle of a page, and I do my best to end pages on a high note and give the reader a rea­son to keep read­ing. Oc­ca­sion­ally I’ll play games with the for­mat and that needs a cer­tain struc­tural aware­ness. And if there’s a gun in act one, it has to be fired by act three. Or rather, if you’re go­ing to have a gun fire in act three, make sure it’s set up in act one or you’ve got a deus ex machina. Tony Lee: It’s the deal-breaker. With a novel you can just start ham­mer­ing out words and even­tu­ally you’re done, but with a comic you don’t have that lux­ury. You need to en­sure that your right-hand page-turns pop, that your scenes change at a log­i­cal point, that your cliffhang­ers are per­fectly timed to hit ev­ery 22 pages or so, and that you know how the story ends be­fore you start script­ing it. I start a story and I write a syn­op­sis. I then bul­let-point the main parts and block that into the amount of is­sues. I then take each is­sue and block it out into 22 pages, each with a line of de­scrip­tion. Only then do I start script­ing. When you’re a writer, the script part of the story should be the quick­est and eas­i­est, be­cause all of the leg-work has been done.

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