By Christy Marx
Writing for Animation, Comics, and video games explains the sensible facets of constructing scripts for animation, comics, photo novels, and machine video games. It info how one can create scripts which are within the correct structure, and persist with the predicted principles so you might positioned your most sensible foot ahead that can assist you break-in to the exchange. This publication explains ways to writing for external storytelling (animation, games); interior/exterior storytelling (comics and photograph novels), in addition to concerns for non-linear machine video games within the shortest, pithiest, and reasonably priced approach. the writer bargains insider's recommendation on how one can current paintings as expert, easy methods to meet points in time, how visible writing differs from prose, and the artwork of collaboration. * occupation ideas of-the-road for comics, machine video games, and animation...from an insider's point of view* Written for newcomers and pros alike* Authored via a individual author, whose credit contain X-Men Evolution, Teenage Mutant Ninja Turtles, and Lord of the jewelry
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Additional info for Writing for Animation, Comics, and Games Writing & Journalism
ECU, EXTREME CLOSE-UP Just what it sounds like. Going very, very close on someone or something in a shot. It can be used in a slugline or used in a shot. ECU ON JANE’S EYES which brim with tears. ON JACK’S EYES Go to ECU to show that Jack is also at the point of tears. ENTERS FRAME, EXITS FRAME A command used in the action paragraph when you want to have one or more characters enter or leave the shot after you’ve established it. INT. BUNGALOW – JACK AND DICK look over the stolen documents. Jane ENTERS FRAME to join them.
The length of an outline will vary. An outline for a half-hour episode normally runs around five to eight pages, depending on how detailed you get. I’ve done outlines as short as two to three pages (single-spaced), and up to eighteen (when they wanted it double-spaced). If you’re working on a series, the story editor should give you some guidelines for the length of the outline. If not, ask the editor what length he or she would like to see, or get some already-completed outlines to look at. A good outline should cover everything that will be in the script in quick descriptive passages, minus actual dialogue.
NOTE: each individual “chunk” of dialogue is considered to be a “line” of dialogue. In the sample 12 Animation shown below, this would count as two lines of dialogue for Jack, one line of dialogue for Dick, one line of dialogue for Jane (even though all she has for a “line” is a burst of laughter), and one line for Jack’s Dog—for a total of five lines. Jane’s “line” and the Dog’s whine still have to be recorded, and still take up time in the audio track, hence being counted as dialogue. JACK (annoyed – to Jane) Give me one good reason why I shouldn’t drop-kick you from here to tomorrow?
Writing for Animation, Comics, and Games Writing & Journalism by Christy Marx