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Story to Script Posts

Conversation Vs. Dialogue

In Writing Natural Dialogue, I discuss a number of focal points to do just that. In this article we’re gonna discuss an important common problem and dive into a more advanced approach of structuring dialogue.

Understanding the difference between conversation and dialogue is key to good writing (especially in comics).

I see a lot of scripts these days where writers try to be uber-stylish and inject their scripts with natural sounding conversation. I call this the Tarantino effect. And it doesn’t work in comics.

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Outline Development – (*updated*)

If you’re not running your writing with an outline, you’re either a genius talent or a lazy bastard… either way, I don’t like you.

You probably didn’t even bother to read my article Outline Basics. Shame, shame, shame, I know your name.

For the rest of us hard-working mortals, outlining is a critical step in the creative process. As I discuss in the above article (and Storycraft for Comics) outlines arrive first, in the simplified Skeletal form (basically a beat sheet) and second, in a more Comprehensive long form.

Since Skeletal outlines are fundamentally shorthand notes, there’s not too much to go over there as far as how you put down your details (the structural points themselves are the important part—different conversation)… but when you move into Comprehensive outlining… it’s crucial to work efficiently.

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Character Personality

I’m working on a new character breakdown, trying to capture his personality in ink, so I have a strong foundation when I start scripting him. What do you think of what I have so far?

Heres Johnny!

  • Johnny is not just smart, he’s SUPER smart.
  • Since his near death experience, Johnny’s held a deep appreciation for life and values every moment.
  • Johnny struggles to get out his dad’s (a world-famous NASA astronaut) shadow.
  • He’s often overwhelmed by strong personalities.
  • And is tight lipped about his shady past.

Is Johnny’s personality coming through?

Does this sound like someone YOU could capture in dialogue?

Many folks would say sure, but if you’re a regular reader of my site, you know the kung fu we practice here is an ancient and powerful art. And rarely do we accept things as they first appear.

The fundamental building block of story is characters. If your characters aren’t engaging, if nobody empathizes with them, your story is DOA (Dead On Arrival—good movie—the original 1950 one).

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