Next week, I’m off to a wedding. I’m very excited, but I’ll be away from my computer for 4-5 days. Over that time, I’d like to run some articles written by our guests here. If you have any writing advice you’d like to share, please write up a sample post up to 500 words and send it to me at superheronation-at-gmail-dot-com. Thanks for your help.
After the first issue, comic books often include a page-long recap so that new readers can figure out what’s going on and who’s who. Here are a few tips.
1. Make your recap stylish and inviting. It needs to convince a prospective reader that this series is worth his time. Ideally, it will interest him so much that he goes back to look for the old issues he missed. The most effective recaps tend to be funny. Failing that, at least make it easy to follow and exciting. If it feels like the backstory is hard to follow, readers are probably going to put the book down.
2. You can make the recap feel fresher by doing something that fits into your story. For example, most of the characters in Superhero Nation work for the Human Resources department of a top-secret agency. So we do our recaps as personnel files and mission debriefings written by the head of Human Resources, who is a bit crazy.
For example, the main character’s “file” might contain blurbs like these.
Superpowers? None known. We’ve ruled out intelligence and usefulness.
Main contributions to team? Could be used as a battering ram.
That’ll help remind readers that he’s the guy without superpowers and that his co-workers regard him as useless. Just as importantly, we want to show to prospective readers that this series is witty and comical.
3. Make us feel the appropriate emotions. If your series is a horror, the blurb should feel eerie and chilling. If your writing is supposed to be remotely funny, make us laugh. If it’s a romance, focus on why we should care about the characters and their relationships. Etc.
Joel Schumacher is a director best-known for his vicious crimes against Batman, including putting nipples on the batsuit. Earlier today, I was browsing through TV Tropes and found that one of the Batman cartoons had a hilarious scene mocking Schumacher. (The idiot in the scene is named Joel and is standing in front of a sign that says Shoemaker).
Prisoners was highly entertaining and I think the writers did a good particularly good job portraying the families going through the kidnapping of their daughters. However, basically everything the police did in the movie was exceptionally Hollywood, so much so that it nearly turned the movie into an idiot plot. If you’re the sort of […]
The rivalries between superheroes and supervillains represents the battle between good and evil as a whole. It could be said that, without villains, there would be no heroes. Supervillains provide the opportunity for comic book characters with superpowers to become superheroes, as opposed to just regular everyday super people. But would supervillains even […]
Tony Stark has a drinking problem. And a broken heart. Peter Parker is a nerd. Superman has daddy issues. And Bruce Wayne? Where do you start? These are our heroes. And we learn about their addictions and predilections, their agendas and vendettas over the course of hundreds of issues, creating a tableau of identity […]
Sidekicked is a superhero novel about a sidekick who’s got just enough superpowers to get everybody killed and the various forces trying to screw him (e.g. a possibly nefarious superhero/spymaster, a squad of supervillains hell-bent on revenge, and whoever named him “The Sensationalist”). Here’s what writers can learn from it and how it could improve your [. […]
New writers have a tendency to focus so much on their character development that they forget that the right setting can be just as important. Setting provides a picture for a reader, without which your characters are flying through nothingness. Action and drama mean very little without interaction between the characters and their environment so, […]