Stan Lee's How To Write Comics - Excerpt

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Library of Congress Cataloging-in-Publication Data Printed in China

Lee, Stan, 1922–
Stan Lee’s how to write comics / by Stan Lee.— 1st ed. 10 9 8 7 6 5 4 3 2 1
p. cm.
Includes bibliographical references and index. First Edition
1. Comic books, strips, etc. Authorship. I. Title. II. Title: How to
write comics
PN6710.L44 2010
808’.066741—dc22
2010045663
Paperback Edition: 978-0-8230-0084-5

Hardcover Edition: 978-0-8230-0709-7
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PREFACE
Hi, Comic Book Writers! in your grateful hands, all of that has
Interviewers often ask me to changed.
describe those exciting days at Marvel What follows are the rules, the
in the early ’60s when we were creat- hints, and the tips as I have come to
ing a brand-new universe of super- know them. But teamwork is as impor-
heroes. It’s hard to put into words tant in comics as it is in sports and
the fun and excitement of bringing life itself. To make certain that there’s
j
new types of characters and stories nothing I’ve neglected, to ensure that
onto the printed page. And it’s almost I’ve covered all the literary bases, I’ve
impossible to give enough credit to the been lucky enough to be able to recruit
enormously talented artists I worked Bob Greenberger and the hip horde of
with, artists who took our stories heroes at Dynamite Entertainment to
and depicted them so thrillingly, so help me put together a lifetime’s worth
dramatically that every tale was like of comic book–writing experience into
watching a fantastic movie on the this valiant volume of indispensable
pages of each amazing comic book. info.
But every strip begins with one Obviously, styles and methods
thing—the story! And that’s what we’re have changed over the years just as
gonna be talking about on the pande- typewriters have given way to comput-
monious pages that follow! ers. So, what you’re about to read is an
Ever since Marvel’s superheroes amalgamation of the current collective
conquered the world, or at least it feels wisdom on how to write comics today.
that way, people have wanted to learn But what has not changed, nor will
the magic; much as Stephen Strange it ever, is the desire to tell a story and
sought the Ancient One to learn how tell it well. In each case, you want to
to cast spells and help mankind, men write something new, something that’s
and women of all ages have sought to never been written before. You want
learn how to string the words together to explore situations no one has read
to tell stories in comic book form. before—and you have that in common
Of course, creatively, comic books with your readers. Every day, as fans
are a literary world of their own. walk into their comic shops or book-
Unlike movies, television, or video stores seeking the latest comic books,
games, they’re unique in the way they they have one thing in mind. They
blend words and art on the printed want to be transported into adventures
page to tell titanic tales designed to and situations they’ve never encoun-
open new vistas of imagination and tered before. They want to be enter-
excitement for the lucky reader. tained, thrilled, and surprised.
Writers who come from other And that’s our job—to show you
disciplines soon discover just how how to do it!
challenging comics can be. In the Excelsior!
past, some have asked me for tips,
but there’s no way I could ever tell
them all they had to know in a brief
conversation. However, thanks to this
book, which you’re so happily holding
8 Stan LEe’s How to write Comics
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STAN LEE’S TOP TEN TIPS FOR WRITERS

When I turned 85, several publications celebrated the event and made me blush for the entire year. Danny
Fingeroth desperately wanted something from me for his fine and not-forgotten magazine Write Now!, so I
prepared this collection of tips, and they still hold up.
1. Write about things you know. If you don’t know, 6. Stop writing if you find yourself getting tired or bored.
Google the stuff and start learning. Or else be so Take a nap or a short walk to wake yourself up. You
vague that no one can pin you down—like when I can only do your best writing when you’re mentally
dreamed up Bruce Banner becoming the Hulk due to alert and interested in what you’re doing.
a gamma bomb. I don’t know any more about gamma 7. When you’ve finished with your script, proofread it
bombs than I do about brain surgery, but I didn’t try carefully. Don’t read it as if it’s your baby and you
to explain how it worked. I just said that he became love every word of it. Pretend you’re the world’s
the Hulk because of gamma radiation. Hey, who can toughest editor, looking for every fault you can find in
find fault with that? At least it sounds scientific. So, story structure, dialogue, characterization, and moti-
to summarize—be totally factual, or else be so vague vation. Be as tough on yourself as humanly possible,
that you can get away with knowing nothing about because that’s how your editor will be. And keep
your subject. But whatever you do, don’t try to fake it. rewriting until your script is as good as you can
2. When you’re reading a comic book or watching a possibly make it.
movie or TV show, don’t just get caught up in the 8. In writing dialogue, try to give every character a dif-
story and sit there like a couch potato. Try to analyze ferent way of speaking. In any script, it’s boring to
everything that’s on the page or screen. Why did the have the characters all speaking the same way. Think
writer add that bit of dialogue? Was it more dramatic of people you know—how they speak, their verbal
for the hero to say nothing in that particular scene? idiosyncrasies and mannerisms. Remember, nobody
Why didn’t the writer introduce that important story speaks exactly the same as anyone else. When listen-
element until fifteen minutes into the film, or until five ing to people conversing, train yourself to pick up all
pages into the story? Why did (or didn’t) the writer the subtle nuances of dialogue and use those varied
have such an enigmatic ending? Why, in that movie, nuances in your writing.
was act three so much shorter than act two? Why, in 9. Make your characters interesting. Sounds obvious,
the comic book, did the writer use so many captions doesn’t it? Well, failing to do that is one of the main
on pages 3 and 4 and no captions at all on the next reasons so many scripts are rejected. Reading a script
six pages? Why so many long shots or close-ups? is like visiting people—the people in the story. You
Would it have been more interesting the other way wouldn’t want to visit dull, colorless people, would
around? You should be able to learn something new you? You wouldn’t want to spend time with bores. The
about writing every time you read a comic or watch a characters you write about must be interesting, color-
film—if you remember to analyze everything you see. ful, and unique in some special way. They must have
3. Keep writing. I figure writing is like any other activ- problems we’ll care about—and solutions to those
ity—like swimming or jogging or sex. The more you problems that we can’t wait to see.
do, the more you enjoy it, the easier it becomes, and 10. Don’t Get Discouraged! Lots of really good, successful
the more you improve. If you find yourself getting writers didn’t make their first sale until long after they
bored writing, or tired of it, there’s only one answer: started writing. Of course, if you’ve been unable to
Find another career. sell anything for years and years and are now starv-
4. Write about things that interest you. If you write ing and homeless, you might start thinking of another
about subjects that bore you, thinking they’re what vocation. But short of that, stay with it—tomorrow
the market wants, you’ll just end up writing boring may be your lucky day!
pages. The more interested you are in your subject,
the better chance you have of making your subject Okay, that’s it. If, after reading the wondrous words
more interesting, too. above, you suddenly become a fantastically success-
5. Try to write at the same time every day. Writing can ful and wealthy writer, don’t forget my commission!
be a habit, like anything else. If you stick to a sched- Excelsior!
ule, it makes it easier to turn pages out like a pro.
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It starts with an idea

When I was sitting down to figure out a script, I’d just start writing. There was something appealing
about being free to make up a story, and honestly, I had to work fast back then since I had many art-
ists waiting for work and lots of pages to fill each and every month. So I’d sit there and an idea would
occur to me for an opening image. I’d begin writing the script, surprising myself to see where I could
take a story before the final panel. I had to keep the readers’ interest from the first. The very first few
panels should show the reader that something of interest is happening or is about to happen.
If I had a nickel for every time America, and, being the star-spangled to say. Then I turn to a yellow Nixon
someone asked me where I get my avenger, his stories were reflecting writing tablet and I start writing dia-
ideas, I could have retired long ago! more about the turbulent times Amer- logue, with constant reference to the
I’m still getting that question, and the ica was enduring in the early 1970s. little thumbnail storyboards. At that
answer is right before you. As I once He lent himself to the stories, but point, I try to get all the words down.”
wrote in “Stan’s Soapbox,” “The point some of the readers were complain- But let’s examine the story at its
is, ideas are no problem. Here in the ing that the stories and even the letter beginning. What is about? A charac-
Bullpen, we can’t talk to each other for columns were getting too political. In ter? A situation? What are you trying
five minutes without coming up with a subsequent column, I explained my to tell the reader?
a zillion new thoughts and angles. thinking: When I asked Brian Bendis, he
The big hang-up is getting the time to “Even though the plots may be fan- laughed and replied, “Just yesterday,
develop the ideas . . . to polish them, tasy-filled and seemingly outrageous, I began teaching a college course on
and refine them until we feel they’ll we wanted to relate to the real-life writing the graphic novel, so I spent
have maximum impact—until we problems that crop up—problems that the last couple of months redoing all
know they’ll be an integral part of the may even parallel your own.” my thoughts on this. I’ve been reread-
ubiquitous Marvel Universe! Every- Let’s examine the component parts ing all the books, reformulating the
one has ideas—you, I, the gang in of actual storytelling. After all, there’s concepts and giving this a great deal
the mailroom—even our competitors, more than just knowing you need the of consideration.
bless ’em. What really counts is what beginning, middle, and end of the story. “In Robert McKee’s book Story,
you do with them. We believe that We have to address the setting, tran- he speaks of the concept of a central
almost any idea can be worthwhile, sitioning from scene to scene, which idea. In comics, the central idea has
if it’s presented with integrity, taste, affects the pacing, action. A writer been established (usually by you), and
and imagination. For, an idea is like a needs to know how to create tension it makes writers who venture out on
guitar—it doesn’t mean a thing unless through words, sounds, and silence. their own work discover that they don’t
you know how to use it!” Then there are different kinds of pages know how to create a central idea for
Good words and ones I still you can call for, such as a splash or a story. What’s important for a writer
believe in. a spread. Panels can be close-ups, is not to create a central idea by jam-
medium shots, or long shots. ming it into the work you’re doing. You
YOUR CHARACTERS Let the lessons begin! need to write your work and examine
The trick sometimes is to think about Harvey Kurtzman, a dean of story- your work and decide what you’re
your character and see what you telling, once told his fellow pioneer really writing about.
haven’t done with him or her yet. What Will Eisner, “The story starts with a “It’s when you have to become
new predicament you can place them paragraph that tries to determine your own worst enemy. Write forty
in to see how they will react—and theme and the punch ending. Hol- pages, step back, put the pages away
hopefully survive. lywood would call this a ‘treatment.’ for a couple of days, then reread and
Each character should spur unique From there I go on to my thumbnail rewrite. I’m fortunate that I don’t recall
ideas so that the stories are tailored to sketches. My first breakdown of the what I wrote two days before. You
their particular setting. For example, story is in terms of pictures, not in fin- can examine it not as your work but
around the time I wrote that “Soap- ished words. Once I have my pictures, as something that you’re interested
box” entry, I was writing Captain then I know what the characters have in. You can examine what the ideas
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are. I have many friends who are writ-

ing about themselves and don’t even
know it. They lose the central idea.
“For example, in my series Powers,
the central idea is: We don’t live in a
world that would allow a hero. We go
backwards and open as we let one of
our heroes die. There’s a murder. From
that murder investigation, we peel
apart a segment of the Powers society
that would allow that to happen. I’ve
spent the last ten years examining
that.
“I’ll tell you a story. Years ago, my
wife had an allergic reaction to some-
thing and her brain tissue swelled.
She slipped into a coma, but I want to
stress, she’s fine now. But at the time,
the doctor came out with the news that
she was in coma and could be brain
dead. There I am, holding a six-month-
old baby, not knowing what to do.
Looking back, I wrote something like
one hundred coma scenes in Marvel
comics, some I had no recollection I’d
written until I saw them drawn and
lettered. These were moments like the
Kingpin’s wife in a coma, and Luke
Cage. Thank God, I had an outlet for
these thoughts.
“Another thing I want to stress, and
we do it now in event comics because
of their strong structure, is having the
inciting incident. How the story starts,
when that happens is very important.
A character’s design like
You could spend the whole first comic Captain America lends
book setting up that inciting incident. himself to story ideas.
Setting up the incident and plotting
the elements that let you know what
your story is about is very important.
When is enough information given to
the reader to have maximum effect?
You have to make certain you’re not
boring people. Do this too quickly,
it doesn’t mean anything. The right
place, à la Civil War, you have your-
self a homerun.”
StoryteLling 113
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The ThrEe-Act Structure

These days, theater, movies, books, and, yes, comic books tend to rely on the three-act structure to
tell a story. Robert McKee is the prophet of the structure, having taught it for years, and has written a
book on the subject. In his course, he uses the film Casablanca as an example of the process.
ACT ONE
For an example of a three-act struc-
ture, we are going to look at the script
and corresponding interior art from
the Eva one-shot. Page three of Eva
(right) is an example of Act One of
the story.
The structure calls for a setup or,
as Brian Bendis put it, the inciting
incident. This introduces the reader
to the situation, the characters, and
other vital details, such as time of day
or location. The movie High Noon, for
example, had a simple setup: A small
Western town awaits the arrival of a
train, and then two gunfighters will
meet in the square and duel—at high
noon. In Brian’s Civil War, it was the
New Warriors fighting Nitro with the
villain setting off an explosion that
blew up a good-sized portion of Stam-

ford, Connecticut. This became an
examination of whether superheroes
need to be government regulated.
An aside before we go onward:
Brian’s story was topical, and that
was not always the case in comics.
All too rarely did our stories touch on
the news of the day, the issues that
preoccupied our peers. That changed
for the better in the 1960s, and some
people had difficulty adjusting to that
realism. Here’s what I wrote about it in
my introduction to Sons of Origins: “In
fact, although it was written quite a
few years ago, it points to a philosoph-
ical problem which seems to be facing
our own nation today, namely, the
problem of whether or not those who
have great strength should interfere
in the affairs of those who are weaker,
no matter what their motives may be.
Personally, I’ve always enjoyed stories
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that can be approached on two levels,

both as pure entertainment and as
challenging, thought-provoking appe-
tizers for intellectual nourishment.
To me, a story that doesn’t give you
something to think about, that doesn’t
stimulate you, or anger you, or make
you ask questions you might never
have thought of asking before—to me,
such a story is only half a story. And,
whenever possible, I like to give a
reader his money’s worth.
“Of course, in writing the typi-
cal Marvel type of tale, it’s almost
impossible not to become involved
in some extraneous philosophical or
moralistic side issue. After all, the
battle between a hero and a villain
(which is what virtually all our stories
get down to) is basically a conflict
between a good guy and a bad buy,
or between good and evil. Whenever
there’s a confrontation between two
elements, it’s almost impossible not to
explore the moral ramifications of the
actions that unfold. Give any writer a
chance to depict the struggle between
good and evil, or right and wrong, and
how can he help but state the case for
one against the other, no matter how
subtly or subliminally he may do so?”
Enough about me, let’s get back to
the lesson.
The inciting incident, in the case
of Civil War, led to the series’ theme,
but the incident can also be a tan-
gible object, which Alfred Hitchcock
dubbed the MacGuffin. Simply put, the
MacGuffin is the object that motivates
all the major action in a story. In the
director’s classic North by Northwest,
the MacGuffin is some microfilm pos-
sessed by a spy, but the villain, in
a case of mistaken identity, thinks The breakdown of pictures
helps in deﬁning charac-
an innocent man has the microfilm.
ters’ identities.
What’s on the film? Doesn’t matter.
The point is James Mason and Martin
Landau are doing everything they can
to obtain it from Cary Grant, and that
propels the story.
What’s the MacGuffin in your tale?
StoryteLling 115
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ACT TWO
Once the setup is established, you
introduce the confrontation. What is
the obstacle to complicate the setup?
The first act needs to lead seamlessly
to the second act, usually using a
turning point incident—meaning
the lives of the participants will be
forever altered by this event. The
train has arrived, and the anticipated
gunfighter steps off. That leads to
the confrontation, which will have
repercussions for everyone in that
town. Will law prevail, or will injustice
rule the day? Then you focus on your
protagonist and antagonist and see
how this confrontation will change
them. Simply put, one will live and
one will die, but will the lawman have
the nerve to pull the trigger? Will the
outlaw play by the rules?
The nature of the conflict actu-
ally drives the story more than the
characters inhabiting the titanic tale.
Whether it’s Spidey versus Doc Ock
or Superman versus Lex Luthor, the
hero has to have a conflict to over-
come. While seeing the hero confront

a popular villain is a surefire attention
grabber, you might be better off pit-
ting your hero against something he’s
never handled before.
Pick a hero. What are your favorite
stories involving the hero? What have
you never seen the hero confront?
Aha! Now you just might have a new
story to tell. Now, I’m not just saying
Spidey should fight the Silver Samurai
The page above represents an example
for variety. I’m saying, how does the of Act Two from the Eva one-shot.
Webslinger confront a natural disas-
ter? Or a lost, injured little girl who
needs medical attention but is deathly
afraid of Spider-Man after hearing all
the nasty things J. Jonah Jameson said the outlaw out of fighting or talk the
about him. The conflict in the latter lawman into doing his duty. Could the
is Spidey confronting the girl’s fears, outlaw have allies hidden on the roof-
something a punch won’t solve. tops to ensure his own victory? Com-
The second act allows for char- plications arise out of the situation
acterization as well as complica- and characters involved as we move
tions such as someone trying to talk toward the inevitable final act.
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StoryteLling
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117
ACT THREe
The third act is the resolution, which
comes complete with a climax and
conclusion. Here, everything started,
your main plot, and your subplots
have to be wrapped up. The gun-
fight occurs and the aftermath and
the changes to the town are wit-
nessed. Just as the first act had a
moment leading to the second act,
the same thing occurs here, which in
our example would be the two men
facing off, about to draw. As they take
their places, we’re transitioning from
second to third act. All the questions
your reader has must be answered by
story’s end.
How much of your story should be
devoted to each segment? Well, that
depends on the demands of the story,
but the rule of thumb says one-quarter
is reserved for Act One, one-quarter
for Act Three, and the remaining half
goes to the second act.
Now, a typical comic is twenty-
two pages long, so that would mean
you devote about five pages to Act Example of the third act from the Eva one-shot.
One, eleven pages to Act Two, and

six pages to Act Three, give or take about Sherlock Holmes, arguably a apparently risen from the dead and is
a panel. These days, though, many nineteenth-century hero still popular once more at large.
comic book stories are continued, run- and vital today (and portrayed by Act Two would cover the investi-
ning four to six issues in length. In Robert Downey Jr., who also wonder- gation, complicated by Irene Adler’s
that case, you need to figure out how fully essayed the role of Tony Stark in arrival once more in Holmes’s life, and
the three-act structure can apply to the the two Iron Man movies, based on a the subsequent warrant for the great
individual issue and the story arc as a little something I created once upon detective’s arrest.
whole. It’s trickier but a necessity for a a time). The climax comes as Holmes,
successful tale. Act One would be the entire open- Watson, and Adler work together to
ing sequences as we meet Holmes prevent Blackwell from poisoning the
and Watson, see them save the girl members of parliament and taking
THREe ACTS: A TIMELESs from Lord Blackwell, and see how control of the country. The transitional
STRUCTURE Holmes observes everything and moment here would be when Adler
You may think that the classic struc- reacts accordingly. We’re treated to winds up atop the unfinished Tower
ture, as taught by many, from McKee a glimpse of his home life and learn Bridge, needing Holmes to save the
to your English teacher, can’t possibly something about this particular day.
still be employed today. Alas, you’d be moment as Watson prepares to move Act Three then would tidy every-
wrong, as I will demonstrate by break- out of 221B Baker Street as he readies thing up once Holmes emerged victori-
ing down a more contemporary film to marry. ous (of course) and we resolve the plot
in the same way. Let’s use 2009’s The inciting incident, as we tran- threads and tidy things up before the
reimagining of a classic for modern- sition to Act Two, would be word end credits.
day audiences. That’s right, I’m talking reaching the duo that Blackwell has
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StoryteLling
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Cyan Magenta Yellow Black

Cowriter: Bob Greenberger Cover design by Jess Morphew

Library of Congress Cataloging-in-Publication Data Printed in China

Paperback Edition: 978-0-8230-0084-5

8 Stan LEe’s How to write Comics

STAN LEE’S TOP TEN TIPS FOR WRITERS

54 Stan LEe’s How to write Comics

It starts with an idea

112 Stan LEe’s How to write Comics

are. I have many friends who are writ-

The ThrEe-Act Structure

blew up a good-sized portion of Stam-

114 Stan LEe’s How to write Comics

that can be approached on two levels,

come. While seeing the hero confront

116 Stan LEe’s How to write Comics

One, eleven pages to Act Two, and

118 Stan LEe’s How to write Comics

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