Alan moore writing advice from stephen

Biography[ edit ] Moore has long been linked to Alan Moore, who has known him "since he [Alan] was fourteen" referring to him as "a friend

Alan moore writing advice from stephen

Alan Moore — writing comics What comics is and what it is not. If compared to literature, it can fall short of scope, depth and purpose.

alan moore writing advice from stephen

Rather than focus on the short fallings of comics compared to motion picture and books, comics strengths are in presenting information that can be more complex and non-linearly presented. Easier to read than a book and more brainy than a movie.


Conversation tend to happen too fast in a film and cannot hold too much information or will lose the audience. In a comic, conversation can be read at comfortable pace. Comics gives more immediate attention than words can do. Ideas can be simple or complex but it MUST be there. While your job is not to offend, you are also wrong to pitch your work to the lowest common denominator as most mainstream media tries to do.

It helps that your raw material is human thoughts and human feelings and ideas. Anybody who intends to mess around in the mass consciousness for a living ought to be aware of the material he is working with and how it behaves in certain circumstances.

The common denominator that you are pursuing is therefore not the lowest common denominator of public acceptability but rather the denominator of basic humanity. No matter how special or unique we all think we are, there are certain basic human mechanisms that we share. If you can identify and use these mechanisms to your own satisfaction then you will have a much better basis for producing worthwhile art.

Transition is a least understood storytelling devices The link between one scene and another is the most tricky. You must move from scene to scene without drawing attention to the fact that you have moved or this would disturb the readers delicate state of involvement in the story.

Transitions can be weak points that wake the readers up from hypnosis. You fascinate with your first sentence, draw them in with your second and have them in mild trance by the third.

Then be careful not to wake them, you carry them away up the back alleys of your narrative and when they are hopelessly loss within the story, having surrender themselves to it, you do them terrible violence with a softball bat and then lead them whimpering to the exit on the last page.

A thoughtful and pensive scene would probably work best with quite a slow pace. A fast action scene, would work better if moved fast, with minimal dialogue to slow down the action.

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Learn the comic beat — transition between one panel and another and its intended effect. It should be born in mind that a narrative device are only there for conveying your story or some part of it. First you must consider your story environment and research the details.

A logically constructed world for your story to be set in will go a long way to suspending the disbelief of your reader and dragging them into a hypnosis previously mentioned. The voice of the character is often underplayed.

alan moore writing advice from stephen

How we speak depend on how our mouth is shaped and we each have a different, recognizable lisp and accent. So that not everyone is a moving puppet with the voice of the puppet master. One conclusion I have come to is that almost everyone has a practically infinite number of facets to their personality but chooses to focus upon no more than a handful for most of the time.

We all have areas within ourselves that are cruel, mean-spirited, cowardly, lecherous, violent and greedy. Conversely, all of us have sides that are noble, heroic, unselfish or loving, whether we care to admit them or not. You will be forced to consider people who are either politically and morally offensive to you and try to understand them.

It is something that is there more to enhance the central idea of the story and the characters who will be involved in it than to dominate them and to force them to fit its restrictions.

There are plenty of tried and tested formula to fall back on. Cause and reaction is the most overused. So how do you come up with a plot if you need one? A plot is the combination of characters and environment with the single element of time added to it.

If the environment and the character can be called — the situation — then the plot is a situation as seen in four dimensions — character, environment, situation and time. Each panel in a comic must be like a fine painting — a frozen moment purposefully chosen that allows us to move around within it, mentally, enjoying the subtle shifts in perspective and meaning.

Plot then is the fourth dimension — also known as passing of time. But it must be a continuum with a past, a present and a future otherwise its a meaningless series of causal and effect events. For example, you can have a plot that often takes place over a couple of weeks but contains the history of 45 years within and the hope of the future all coming together in the present.

That is the true function of the plot — a narrative thread to tie down the story. The Plot is NOT the story.Writer’s Digest would like to congratulate the winners of the 85th Annual Writer’s Digest Writing Competition!For full coverage of the awards, please check out the November/December issue of Writer’s Digest..

Grand Prize. Melodie Edwards, “Heroine Addiction” (Stage . All the latest news, reviews, pictures and video on culture, the arts and entertainment. Freddie Highmore tried to protect his character while writing the first episode. Sep 13,  · Alan Moore – writing comics.

What comics is and what it is not. Comics is a motion picture that has NEITHER movement nor soundtrack. If compared to literature, it can fall short of scope, depth and purpose.

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