I write scripts in storyboard fashion using stick figures, and thought balloons and word balloons and captions. Then I'll write descriptions of what scenes should look like and turn it over to the artist.
I write scripts in storyboard fashion using stick figures, and thought balloons and word balloons and captions. Then I'll write descriptions of what scenes should look like and turn it over to the artist
I was influenced by autobiographical writers like Henry Miller, and I had actually done some autobiographical prose. But I just thought that comics were like virgin territory. There was so much to be done. It excited me. I couldn't draw very well. I could write scripts and storyboard style using stick figures and balloons and captions.
All my life, I have loved balloons - all balloons - the heavy English sort, immense and round, that have to be pushed about, and the gay, light, gas-filled French ones that soar into the air the moment you let go of them.
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.
You know, you should start to be in plays and things like that. Write some scripts. If you're an artist and you truly don't believe what you're spittin' then you need to really seriously be an actor then.
I absolutely get thrills from taking on these big guys and recognizing how, behind all their power, they are so empty. I just keep going at it. Each of these balloons does deflate. I?ve seen a lot of balloons get deflated in my life.
I don't write a play from beginning to end. I don't write an outline. I write scenes and moments as they occur to me. And I still write on a typewriter. It's not all in ether. It's on pages. I sequence them in a way that tends to make sense. Then I write what's missing, and that's my first draft.
The standard way to record a meeting is to list people's names, the topics, and action items. The visual way is to doodle a rectangle (the table) populated by figures (the participants) sitting around the table with their comments as cartoon word balloons.
When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.
You get used to the exact amount of space between lines. You write a word and then you write an alternate word over it. You want enough room so you can read it, so the lines can't be too close.
I don't think that type should be expressive at all. I can write the word 'dog' with any typeface and it doesn't have to look like a dog. But there are people that [think that] when they write 'dog' it should bark.
But the true voyagers are only those who leave Just to be leaving; hearts light, like balloons, They never turn aside from their fatality And without knowing why they always say: "Let's go!
You should see my baby pictures. My cheeks hung off my face like water balloons. You can imagine how often I was teased.
I wanted to write you a story about magic. I wanted rabbits appearing from hats. I wanted balloons lifting you into the sky. It turned out to be nothing but sadness, war, heartbreak. You never saw it, but there’s a garden inside me.
If you gather a lot of stuff, then you write it, write in scenes with dialogue. Somewhere in the middle, rising from all this research like strong metal towers, is your opinions.