Gary Phillips is a crime and mystery author. But that would limit to bring the diversity of its efforts and expressed his interest. In this article from the books of the Soul Newsletter discusses Gary writing for comic books and graphic novels.

Right off let me say that writing for comics harder than it looks. It is rather like writing a prose short story or novella. A lot of people figure it's just these crazy panels with word balloons and captions in the way ofcool art, right? To such an extent that is true. Because I am not kidding I am, comics are a visual medium, but a good script is from a mediocre or inappropriate arts suffer. However, it is the art that the script was so alive, unless you are in the ranks of the few who are talented to write and draw their own stuff like Frank Miller or Jim Starling, then you are better writers than they are firmly on marks the page for the artist to work on something, have something to enthusiastic.

The gamebetween writers and artists is the key. Take, for example, RM Guéra dark, moody art on the crime comic series Scalped created and written by Jason Aaron. Can you imagine that cat drawing, a Flash or Batman story? Okay, well, you can imagine him on a certain type of Batman story, but you see where I'm going with this. Conversely, it is not at the present time seems, because all of them and mama blogging and sites like newsarama.com and others in which comics are critical, you canwith a juicy script and cool art. The fans are too demanding and too headstrong to go the okey-doke.

In a standard comic script, the writer describes, economically and clearly what is taking place in this body. You do not have to describe on-set and it comes with too much, and also taking into account your job storytelling, nursing flow and pace and drawing in the reader as Paris Hilton, a camera. For example, panel fairly large, medium shot as Matt Murdock walksIn the courtroom, in a sharp three-piece suit, remove his dark glasses and sees with his blind eyes of the jury - a mixture of different races and clothing. Behind him at the defense table Foggy Nelson wipes his forehead with its customers, which tied up and subdued Mr. Hyde, who was sitting next to him. In the vicinity of Foggy, the windows exploded inwards, the glass waving everywhere. Matt's dialogue be cut off because there is a boom of the exploding window.

The rewrite would be, given the axiomthat a panel has frozen action rather large panel, medium shot as Matt Murdock, a sharp tightening in three, stands before the jury is seated, his dark glasses in his hand as he stared at the jury - a mixture of different body types and races, blind with his eyes. Foggy is behind him at the defense table, wiped his sweating forehead, near the place a handcuffed and subdued Mr. Hyde. Matt began his final arguments.

Second panel, moved into Foggy, still with a handkerchief as the forehead, now looksagainst the window near him that the explosion towards the inside, the glass everywhere. Mr. Hyde holds up his arms to protect themselves from the flying glass. Matt's dialogue be cut off because there is a boom of the exploding window.

The overall idea, here's the comic script about sequencing, what follows what, and when I need to better isolate an event and when it will go better for the story to cut us directly to the front is?

For more information about this I recommend WillEisner's Comics and Sequential Art and Graphic Storytelling and Visual Narrative, The DC Comics Guide to Writing Comics by Dennis O'Neil and the print version of the game, Charles Fuller, A Soldier's Story, and David Mamet's House of Games and Glengarry Glen Ross -- - What can I say? I'm big on dialogue. And while you're not crazy with the dialogue in a comic book, will you tell your characters, just the right words at the right time. While you're at it, read a couple, WalterMosley's books reveal Ross Macdonald's Lew Archer, and books for their elegance of the use of dialogue and not to disclose any character.

Gary Crime and Mystery Writers Gary Phillips' short stories appeared recently in Los Angeles Noir (Akashic) and Full House "(GP Putnam's Sons). He is a member of PEN and past national board member of Mystery Writers of America. Phillips previously wrote the comic book series from Vertigo, and for Angeltown Shot Callerz and Midnight Moverfor Oni Press, but he is best known for a series of detective novels featuring private eye Ivan Monk. He is also currently writing Citizen Kang, a weekly political thriller prose hosted on the Nation's Web site. High Rollers, a new four-issue comic book series details the creation of a Los Angeles gangster, debut in June 2008 from the boom studios. Visit his website, www.gdphillips.com, browse to your heart more of his work.

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