First things first - this is not a guide about how to write a good story.
If you already have a story, this is a guide about how to translate it into the medium of comic (or, for those of you who sport a monocle while sipping wine - medium of graphic novel). How to weave it out of comic's unique language, and establish a clear communication between the artist and the reader.
As examples we'll be using a couple of first pages from "the Fourwall Tales: Collector" - a comicbook I'm currently working on, which you can see right - HERE -.
Let's start with the most basic and most important rule. You can say it is somewhat of a motto of this guide, which we'll adhere to often:
QUESTION EVERYTHING YOU DO
Why this character is facing left in this panel? Why this panel is shaped like that? Why this speech bubble is placed here, and not there? Why characters run in that panel from left to right? What would it change if they would run from right to left? What is the purpose of this frame? What is the purpose of this scene? Why am I even telling this story? Why do I get up in the morning? What is the meaning of life? Why this guy started asking metaphorical questions?
As we continue to create, we often base our decisions on instinct, even without thinking about it. But when we start asking those questions, and seek the answers to them, then - and only then - we'll truly start to understand our medium.
If you're a beginner, don't worry if you don't know the answers to most of those questions right away. As you keep on drawing and questioning everything you do, you'll start figuring stuff out. The goal is so every single line you'll draw will have a purpose, and to catch all the answers to all the questions.
Like pokemon!
And who knows, maybe I'll anwser some of those questions for you right here.
the Big Picture
So ok, you have the main portion of your idea developed, or even the first draft of your script finished. This is the time to ask yourself: why do I even want to tell this story?
For "the Fourwall Tales: Collector" I have more than one answer:
1. I want to fill in the hole in Polish mainstream comics (which currently are very few of).
2. I want an introduction to the world of Fourwall - "Collector" is written with the thought that it'll be the first contact with Fourwall for majority of the readers.
3. I love drawing fantasy.
4. And I love drawing knights clad in armor made out of kitchen stuff.
Remember that there's not a bad answer, as long as it satisfies you. Not every comic can (and should) be drawn to change lifes and become a staple of modern culture. If you just want to draw a big monster rampaging through a city accompanied by a philharmony of explosions - and that's good enough for you - then, well, that's good enough!
Whatever you'll do, however underground or weird it is, if you love doing it and hone your skills, you'll find your audience sooner or later. Just look at all the horrible Sonic the Hedhehog fanarts. If those have their audience - you will too.
the Purpose of the scene
So we have the story. And we (ideally) know why we're telling it. What now?
Every comic is a compilations of scenes. Scenes are unveiled on pages, which are constructed from panels.
Easy!
For now, let's focus on the scenes.
Each scene should have its purpose by adding something to the overall story, which normally is at least one of those three:
1. To further the plot.
2. To develop the characters.
3. To set the mood of the narrative.
"Collector's" first scene, which's fragment we will examine closer shortly, does all of those three above. It's a classic begining of a fantasy tale - our characters arrive at an iffy place, we don't yet know who they are and why they are here. They meet a suspicious guy and follow him in a hope of finding some answers - as well for them, as for the audience.
In "Collector's" first scene, we'll further the plot by establishing the setting, by introducing the characters and giving them their first agenda (follow the guy to get some answers).
We'll develop the characters, even if ever so slightly - mainly by their gestures and how they react to the situation at hand, but we'll also learn why they came to this village.
And we'll lay some thick, juicy mood.
Kurt Vonnegut once wrote that you should start telling the story as close to it's ending as possible. I don't agree with that statement in all cases, but it comes true with this particular comic.
For example, at page 3 we'll learn that our characters came to this village, because they were directed here by a messenger sent from this small community, seeking help. But showing the scene of our heroes meeting that messenger is pointless. Entering the village is a great point to start spinning our tale, that gives us an opportunity to set the setting and the mood right from the get go.
It's as close to the ending as possible without making things confusing.
the Purpose of EVERYTHING
Everything indeed.
Not only scenes, but also each frame, speech bubble and even character's gesture should have its purpose. So let's throw around some why?s.
PAGE 1
For me, this is a perfect first page for a fantasy comic, especially with the previously stated purpose of it being a reader's first contact with the world of Fourwall. In only a single page we get to establish the setting and the characters.
Why the first frame is so big? - To pull the reader into the rich world and invite him/her to get a closer look and study it for a while before moving forward. We see some kind of a village - it seems medieval - but the presence of the kitchen utensils and furniture in the architecture signals that it's not your typical fantasy setting.
As a cherry on top, the establishing text is stylised as an old papyrus, a staple of every fantasy story.
I don't know how about you, but I draw fantasy only so I can draw some papyrus. Make its edges torn, let it twirl on both ends, slap some text on that baby! Wooo!
I love it.
On the second frame we get to see our main duo, which we'll accompany throughout the whole story.
Why the close-up? - To get a good look at our characters. And if the reader only caught a glimpse of the first frame, without studying it and noticing the kitchen stuff - now it's presence is unmissable - the armor made out of a large fork and pots, a kettle serving as a helmet. Now the reader surely knows what's he/she's in for.
Why no background? - So all the focus can go directly to characters, without any distractions.
PAGE 2
We got at least somewhat of an idea of the setting. Now let's lay down some mood.
Characters enter the village.
Why this is seen from afar? - To emphasize the emptiness of the village. Seeing the environment from bird's perspective invites the reader to focus on the space and the scene as a whole - not the characters. Now I think I could take the "camera" even farther, to empower the feeling of emptiness even more.
Why Van (the knight) looks up? - Even the smallest gestures can develop the characters. As you'll see later, Van is energetic and childlike. He looks around curiously, and his body language suggests impatience. While Mhirvel (the umbrella girl) is calm and collected, with lots of experience under her belt. She doesn't look around much and has a deadpan look on her face, as to say that creepy villages doesn't affect her too much.
Now we get to see the village through our character's eyes. We still don't know why they're here, but now we get the feeling that something's off. A crudely bared window. A broken flowerpot. An abanoned cart. Snails everywhere, everything overgrown with mushrooms. A weird, lonely statue (that also serves nicely as a transitions for the next frame).
Those three frames also greatly lower the pace of the story. Nothing is happening. And that's what we want. A slow and atmospheric beginning.
No dialogue up until know emphasizes the grim mood.
And if we talk grim, nothing beats rain!
Van - hands on hips, still looking around.
Mhirvel - Contemplating the statue with a calm look on her face, arms crossed.
Those are another lil' tips for a careful reader about our characters.
- - - - -
So this is it for today! Pretty basic stuff. But next time we'll have something more advanced. Throughout this guide we will talk about the flow and in-panel composition, about page layout, dialogues and who knows? Maybe even more.
