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That is the plan.SineSwiper wrote:That's okay. He can be a doctor of journalism and start raving about bats and stuff.
RentCavalier wrote:That is the plan.SineSwiper wrote:That's okay. He can be a doctor of journalism and start raving about bats and stuff.
As for comics, I've been trying to get through the Sandman and Preacher serieses, as stupid Alan Moore is being all slow and shit about getting the third League volume done. Or, it's done, but not for sale. I can't ever blood tell, because there's, like, some extra Black Dossier book or something.
Besides that, I've been trying to get into more super-hero comics. I got two volumes of Ultimate Spiderman, I loved the Garth Ennis Ghostrider, and Constantine is an excellent series (that, unfortunately, bears more than a few unintentional similarities to my lynchpin series of books, teh Black Reports.)
Mostly, though, I've been trying to get more literary, so I"ve been reading a lot more books. I finally got through the first volume of Songs of Fire and Ice and I fucking LOVED it. I read the first Dark Tower and was unimpressed, but there's the Dresden Files that I've been investigating and that's pretty good too.
King wrote the first gunslinger looong before he decided to make it into a series. In fact, i think he said he was in college? So, the early follow ups are much much better since he had matured as a writer. I agree that the series hit its stride in the books that you mentioned, i cant get enough backstory on Roland... The ones after W&G and his long hiatus have their own style, that again, is different than the rest of the series. But, i liked the ending though, so it was worth getting through them.Kupek wrote:The Gunslinger reads better once you know where King is going to go with that character the themes. The Drawing of the Three, The Wastelands and Wizard and Glass are all excellent. In fact, I think Wizard and Glass is King's best book.
The books after... they're not bad, but I don't think they're as nearly as good.
Short version: don't give up The Dark Tower books yet.
I can definitely point you in the right direction for good books. and would be glad to. but also if you ever feel like learning a bit....script something and send it my way and I'll look over it for you and give you some pointers and hopefully help you become a better comic writer as it is a whole different animal. so yeah if you ever feel like you are serious about that I'd be glad to help you out in developing your skill to the point that an editor might look at you seriously....I also have the connections to get you in touch once you do hit that level of ok...this is somethingI would let see print.....help you get into the creative flow of the comic medium which not a lot of people get that well nowdays.....Fuck you Judd Winnick...RentCavalier wrote: As for comics, I've been trying to get through the Sandman and Preacher serieses, as stupid Alan Moore is being all slow and shit about getting the third League volume done. Or, it's done, but not for sale. I can't ever blood tell, because there's, like, some extra Black Dossier book or something.
Besides that, I've been trying to get into more super-hero comics. I got two volumes of Ultimate Spiderman, I loved the Garth Ennis Ghostrider, and Constantine is an excellent series (that, unfortunately, bears more than a few unintentional similarities to my lynchpin series of books, teh Black Reports.)
emeraldtowers@gmail.com buddy....RentCavalier wrote:Chris:
Do you have an email address? I've been working on a few scripts, and it'd be easier to send them via email.
what? Have ou ever read an alan Moore script? THe guy is more detailed than....welll....he's fucking nuts....I own a couple of his scripts from V FOr Vendetta (Complete with coffee stains.....typrwriters were awesome) he writes a narrative describing every panel...seriously....check out dave gibbons' notes from watchmen where he literally has to read a page and a half of description for individual panels in some cases. it's insane...RentCavalier wrote:You might get something tonight, I've been meaning to try and convert a scene from my book into a comic script.
It's likely going to be terrible, I've never really done scripts before, and I'm only vaguely aware of how they work, based off examples I've seen.
Since we're on the topic, how much direction does the writer usually give the illustrator? Alan Moore tends to let his artists do their own thing, but I know others are more controlling...
do what you want man....everyone scripts differently....the important part is having your panels flow.....there are a few ways......Marvel used to have a house style that an issue was plotted and then the issue was drawn and then the dialogue was written....this was fr lack of a better word.....fucking retarded.....not everyone is Steve Ditko or John Romita. this is a lot of what killed the quality of Marvel comics in the 90's as they actually made it their house style and made poeple conform to it for a while...artists loved it but artists arent' writers for a good reson...the storytelling pacing and flow blew ass on a lot of books...but other than that you need to mae sure that every page flows....before you start a story you need to distinguish how many pages each story beat gets. so lets say oyu have the set-up....ok say that's 4 pages.....ok then you have the primary stry which is going to have 13 pages. then you have a seconday set-up story that gets 2 pages and then a conclusion that gets 3 pages.....RentCavalier wrote:Well, I'll add those to my shopping list for next month. That's reassuring though--I was afraid I wouldn't be able to be too detailed in a comic script. In that case, I can tweak my stuff and send you something soonish.
I'm an ass hole because I care....answer my question in the PA rainslick thread too......dickRentCavalier wrote:Hell, that's fine. I need somebody too--I can't find anybody who has the time to read any of my books, and I can't be totally responsible for self-policing myself until I get some feedback. Plus, I know very little about proper comic-writing, so it's good I get some real lessons.
Sentence fragment, though, it's really a writer's prerogative. Keep it. It looks good. Also, it's "Jamaican".RentCavalier wrote:White was…strange. Well, not strange so much as puzzling. He spoke with a pretty obvious Jamacain accent, despite the fact that Jamaica didn’t technically exist anymore. Not after the incident, about fifty years ago, where it was forcibly sunk.
Comma. In fact, remove the comma between sheer and rocky, and put it between us and I. Technically, you're supposed to put commas after multiple adjectives, but it's out-of-fashion, and I personally don't agree with it.RentCavalier wrote:Down the sheer, rocky drop in front of us I could see buildings.
Personally, I would use a colon between buildings and slow. But, that's just me.RentCavalier wrote:People walked between buildings, slow, laborious steps, as if they bore the weight of the world on their shoulders.
Match things with things and people with people. Despair goes in the People sentence, and Tanks goes in the Smoke sentence. Actually, you could tie despair to smoke:RentCavalier wrote:Smoke rose from primitive chimneys, rising into the air in narrow, black plumes. People walked between buildings, slow, laborious steps, as if they bore the weight of the world on their shoulders. There was what looked like a disused tank that lay in the rubble of one building, and there was a palpable sense of despair in the air.
Nice. If you were speaking in the third-person, I would probably recommend:RentCavalier wrote:Beyond the village I could see the hole…crater…stretched out very far indeed.
Overly frequent use of the phrase. Try to tone it down.RentCavalier wrote:I could
Try:RentCavalier wrote:I could only barely see the other end, a brown line dotting the horizon, and inside the hole, maybe ten, twenty miles apart, were other villages, in the same or worse condition as the first.
In the center of the hole, there was a military base of some sort. Around it was a wire fence, and a bunch of squat square buildings, all of them seeming to be built as barriers for some very large central block of metal or stone—it was too far away to tell. I saw trucks leaving the city, driving along a dusty road towards one of the nearby villages.RentCavalier wrote:In the center of the hole, more or less, there was a military base of some sort. I could see a wire fence around it, and a bunch of squat, square buildings, all of them seeming to be built as barriers for some very large central block of metal or stone—it was too far away to tell. I saw trucks leaving the city, driving along a dusty road towards one of the nearby villages.
Remove the double-slash. It's a new sentence. Too big for anything else. Also, cars and trucks are two different things. Call them "trucks".RentCavalier wrote:My attention was caught by the cars. There were three of them, and though the distance was great, they were clearly military vans—I could see rather large turrets poking out of their roofs, and if they were big enough to be seen from the that distance, I could only imagine what they looked like up close.
This is true, Requiem for a Dream solid example.Don Wang wrote:One of my friend in college who is an eloquent writer said if you're good enough, you get to ignore rules of grammar. I was reading some of his stuff that had like 6 commas in one line and it's painful to read, but since he writes well it apparently all works out at the end.
It's not about being "good enough". It's about breaking the rules when the rules don't make sense. Sometimes, they are outdated.Don Wang wrote:One of my friend in college who is an eloquent writer said if you're good enough, you get to ignore rules of grammar. I was reading some of his stuff that had like 6 commas in one line and it's painful to read, but since he writes well it apparently all works out at the end.
