Stan Lee's How to Write Comics: From the Legendary Co-Creator of Spider-Man, the Incredible Hulk, Fantastic Four, X-Men, and Iron Man
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Comics icon Stan Lee, creator of the Mighty Marvel Universe, has set about to teach everything he knows about writing and creating comic book characters. In these pages, aspiring comics writers will learn everything they need to know about how to write their own comic book stories, complete with easy to understand instruction, tips of the trade, and invaluable advice even for more advanced writers. From the secrets to creating concepts, plots, to writing the script, the man with no peer — Stan Lee—is your guide to the world of writing and creating comics.
who really knew what they were doing, and a lot of them later became writers themselves. But nowadays it’s a shortcut and has bred a lot of laziness in less-talented writers. They throw down a bunch of ideas with no clue how much should be on each given page or where things should be. They’re not actually doing the page-by-page working out; they’re coming up with an idea for a story and guffing out a lot of nonsense onto the page. You end up having almost to be an editor, a writer, and an artist,
characters. WHERE TO BEGIN When Martin Goodman told me to create a superhero team in the early 1960’s, I actually had to give it a long, hard think. After all, I hadn’t written a superhero story in nearly a decade, and I was feeling pretty tired with comics overall. As I told you earlier, my lovely wife encouraged me to go for broke. I’ve written about this before, but it bears repeating. I wanted to write stories that valued the reader, treated the reader as an intelligent figure, and I
you can call for, such as a splash or a spread. Panels can be close-ups, medium shots, or long shots. Let the lessons begin! Harvey Kurtzman, a dean of storytelling, once told his fellow pioneer Will Eisner, “The story starts with a paragraph that tries to determine theme and the punch ending. Hollywood would call this a ‘treatment.’ From there I go on to my thumbnail sketches. My first breakdown of the story is in terms of pictures, not in finished words. Once I have my pictures, then I know
the art form. Editors are also the gatekeepers. They determine who gets in and who does not, evaluating new talent and raiding other companies for stars—and with that comes the requisite risks and rewards. As Roy Thomas put it to me, “Of course, the first trick is to get in, and that will often be a combination of hard work and more than a little bit of luck. After that, well, I don’t think you can do much better than quote what guys like Julie Schwartz and Otto Binder (a couple of true pros)
storytelling element. COLLECTED EDITION A book comprising reprinted stories. Paperback houses began reformatting comic book stories in this way in the 1960s. Today, story arcs from monthly comics are gathered into collected editions to be read as a whole. In Europe, these books are called albums. While the Zorro storyline concluded with issue #20, a cliffhanger offers fans intrigue for future story possibilities. This Red Sonja #1 cover by Alex Ross has an amazing variety of colors!