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34th out of 36 books
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Writing for Comics
Alan Moore, Hugo-Award winning author of WATCHMEN and the acknowledged master of comic book writing, shares his thoughts on how to deliver a top-notch script! An essay originally written in 1985 to appear in an obscure British fanzine (right at the time that Moore was reshaping the landscape of modern comics), WRITING FOR COMICS was lost to time until its collection in the...more
Paperback, 48 pages
Published
June 24th 2003
by Avatar Press
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This is a reprint of an essay Alan Moore wrote years ago for serial publication in a small press magazine (or was it a fanzine? I'll check). In it he discusses writing for comics and gives his unique perspective -- the kind of perspective that created The Watchmen, revamped Miracleman, rejuvenated The Swamp Thing and led to Promethea, Top Ten and other ABC comics.
An afterward, written by the Alan Moore of today discusses how he writes today and how radically different it is from the ...more
An afterward, written by the Alan Moore of today discusses how he writes today and how radically different it is from the ...more
Patrick
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I got this out of the library thinking (based on the title) it would be a collection of Alan Moore's scripts for comics. Nope, it was an essay he wrote in the 80's about what a writer should think about when writing comics. I don't know how insightful it was, but I always find "how-to-write" books to be inspiring.
He gets bonus points for writing about specific comic books I was familiar with, but what this book was sourly lacking were pertinent illustrated examples from the c...more
He gets bonus points for writing about specific comic books I was familiar with, but what this book was sourly lacking were pertinent illustrated examples from the c...more
In 1985, an up and coming comics guy wrote a series of essays on writing comics. Over time, that man became whatever the hell Alan Moore is today; this man whose work has preyed on me, made me cry, turned me on, turned me off, and even, from time to time, completely failed to hold my attention. (I started to list examples of which did which, then decided I’m not quite ready to commit those facts to eternity). Years later, the essays were compiled into a pamphlet and Moore graciously added a ...more
Like most real writers writing about their craft, Alan Moore doesn't beat around the bush. It's certainly impossible to teach someone how to write. Ask any creative writing professor. Alan Moore simply gave us the tools to make decisions about our writing, not attempting to teach us how to write like him, or like the next Stan Lee. He doesn't give us the conventional wisdom of comic books that have padded out childhood, but to learn how to grow within our own realm.
Writing for Comic...more
Writing for Comic...more
I found this little gem when I was browsing the graphic novel section at a local book store. I've always been amazed by Alan Moore, and he is one of the soul reasons why I'm still into comic books, so when finding this book I just had to buy it, and boy was it well worth it! It's such a thin book, yet it is full of information anyone can use, even if you aren't into comic books. It is truly an amazing book and as given me so insight on the industry, but as also taught me neat ideas how to better...more
Alan Moore's Writing for Comics is a great read when wading through the numerous text about writing that is out there. Most of the text is actually about how to think about the craft of writing stories within given limits... and how to ignore (or at least push) those limits, rather than just writing comic books. The fact that it is written more like a train of thoughts most of the time, actually give it more credibility. The fact that the author in the afterwords - written 18 year after the main...more
A slightly-larger-than-comic-book sided trade paperback published by Avatar Press, Alan Moore's Writing for Comics is a collection of essays originally written by Moore (who is very much the Rasputin of Comics) in 1985. It contains the advice on plotting, building a story and generally approaching the medium of comics as its own dynamic storytelling format, rather than (as is so often the case) approaching it as a "like cinema, only it doesn't move" or "like a novel, only with pic...more
Fabulous. Moore gives some solid bullet points on writing (and thinking about writing) but what's more helpful are the details between the bullets; digressions and quotes and examples which will provide food for lengthy thought long after the basic, explicit messages have been understood.
It's good, but it's no McCloud. He certainly gives you some solid advice and angles to think about, but this book is really meant for the person looking to start their very own comic/graphic novel. Not really for the casual reader/appreciator of comics.
Disappointingly short, though pleasantly cheap. It's more about writing in general than about the comics-specific stuff I had hoped for. But Moore's prose, though sometimes a bit run-on, is always spirited, entertaining and charged with intelligence.
Moore provides comforting commentary and several of his works and the process involved in their creation for aspiring writers of comics or literature in general. There's a lot in here that reminds me of Stephen King's no bs take on the writing process and a lot that's completely different. Moore presents a structure and a process to begin before actually putting pen to paper (a process he urges the reader to ignore in his afterword, written 15 years later). I think though, for people just beg...more
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Small essay but it has very strong theories and ideas. Totally changed the way I think of comics!!
Finally a handbook of creative writing that is useful and worth reading.
Very good book/essay regarding how comics are written. Valuable for any writer of any medium in my opinion.
Well, obviously, quite unspeakably charming and insightful.
Great book. Worst book design I've ever actually seen.
Dry but effective.
A deep analysis of his craft by a master. The afterword is also illuminating, written twenty or so years after the main body of text.
Nothing fantastic. It was interesting to read, but I don't think I really gleaned anything profound from it.
A poorly edited book with typos and other editorial errors but the content is well worth reading. Moore's advice on craft carries well beyond the comic world. For more:
http://satia.blogspot.com/2010/07/alan-m...
http://satia.blogspot.com/2010/07/alan-m...
Good enough for what it is, and Moore, as the best comics writer ever, has some interesting things to say, but honestly, it's a bit bold to call this thing a book...it's really more of a pamphlet.
Excellent little book. A great starting point for those of us who think we might someday be capable of learning to write...
if you read comicthis is essential reading
read it ages ago
forgotten it, now on to it again
read it ages ago
forgotten it, now on to it again
Moore talks about his technique. Advice from a master, but it's a pretty dry read.
Why should anyone bother with this guide to writing comics over all the others? The first reason is its length. This collection of essays from the mid-eighties with an afterword written by the author in 2003 is less than fifty pages. Sure other well known comic scripters have their own writing guides up to and in excess of 200 pages. But, what could they possibly have to say that takes up that much space?
The second reason is the writer himself. Alan Moore has proven himself a very vers...more
The second reason is the writer himself. Alan Moore has proven himself a very vers...more
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Alan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance ...more
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Alan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance ...more
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“As I see it, a successful story of any kind should be almost like hypnosis: You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alley of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bag and then lead them whimpering to the exit on the last page. Believe me, they'll thank you for it.”
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