When I wrote the 12 stories for 'The Neon Chicken and the Rubber Duck' I pre-determined the structure of the content and knew there would be much repetition in pace of the stories and the visual appearance. It was very simple to review and revise during the writing process. I think I came up with very strong stories to suit these two contrasting characters. However I wanted a new challenge. Along came 100 DATES.
For 100 DATES and the 2 new stories I am currently writing I have developed a more complex method of keeping track of all the characters and the multiple story arcs. 100 DATES runs for 12 issues and each issue is 24 pages long, 288 pages in total. I had to make sure that the pace and content of the story would grip the reader and encourage them to 'find out what happens next'. I developed a cast list and the plot structure for the 12 separate issues.
For the Dramatis Personae (cast list) I used a table system and produced one for the main characters and one for supporting characters. I was quite happy to let incidental characters write themselves e.g. in Issue 11 the Station Announcer at Moorgate Tube Station.
My table has 5 headed columns
5. Plot Impact
These 5 columns allowed me to build quite sophisticated human beings and actually helped to suggest what should happen in the story and how the dialogue might sound.
For plot structure I again used a table system and produced a table for each individual issue. I gave each issue a title e.g. issue 8 'AUGUST 2010 (Moon River)'. These plots allowed me to range across the story in a relaxed manner and ensured that all the action that had to happen was paced appropriately and that all the characters were utilised in the way I intended. Put simply I was able to keep a grip on the project.
The table has 3 headed columns
1. Page Number
These 3 columns allowed me to include complicated story arcs, more red herrings than a fish market and to allow the characters to act in a naturalistic way.
I have found this period very rewarding and handed the completed scripts over to my collaborator Caroline Thomson to design the look of the characters and scene setting artworks.
After Caroline's initial feedback and our discussions about the look and feel of the graphic content we decided that the script should look more like a screenplay. This will help me to communicate my ideas more clearly. I have started using the software Final Draft 8 to help me with this. I have also been reading books on techniques for writing novels and Screenwriting for film.
100 DATES is now being re-written the focus of the content is on the love story that inspired its creation in first place. There will still be shocks and human truths but the serial killer and child abusers have been excised.
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