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