When folks hire me to write a script, I don’t like to take shortcuts.
Genuine story is freakin’ complex. I get a solid page rate, and you can bet I’m going to leverage my experience and expertise at every single opportunity, and bring my client maximum value for the money they spend with me.
For this reason, I’m not partial to loose scripting.
Ok fine, simple can be hard. In fact, at the highest level, I’ll admit, you could have some genius level loose script that expresses story brilliantly. Leonardo da Vinci probably could have pulled it off, if he was into comics.
But let’s call a spade a spade, fact of the matter is, most writers go loose when the material covers content of lower narrative drive… another way of saying; material that’s less important (or less interesting to them), so it doesn’t matter how their artist conveys it.
This alone should be a red flag to the conscious writer.
Material that isn’t too important, should almost ALWAYS be cut, leaving more room for the material that is important.
No matter how you justify it, loose scripting passes a lot of the narrative work to the artist. Writing for the last 20+ years I reckon I’ve developed a pretty good eye for story. I personally, tend to run a tight ship and like to keep closer tabs on my narratives.
Don’t get me wrong, comics are absolutely a collaborative medium…
but the writer’s initial take on a script, is the stage 1 rocket fuel. The more you put in, the greater the chance to break orbit when you launch.
All that said, you may find yourself wanting or needing to write loose on a particular script.
Ultimately, writing loose means you outline instead of script. Listing core beats, instead of unpacking them with detail.
The easy and quintessential example, is the fight scene.
Thing One and Thing Two fight. Thing Two wins.
That’s about as “Marvel Method” as it gets.
Since I’ve already discussed fight scenes extensively here on Story to Script, let’s breakdown a different example.
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