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Hi, I've been talking with a visual artist friend of mine, about the possibility of our doing an online graphic serial together. I've never been into reading them; not for any reason other than they've just been off my radar. Had a deprived childhood in that sense. 
I'd really appreciate hearing from anyone who's done one of these, or has read enough of them to have a good take on any consistencies they may have noticed, as far as what makes a good one and what makes a bad one.
I'm in that awkward position of not knowing enough to be able to ask intelligent questions, while at the same time needing to learn as much as I can as fast as I can. So a few stabs in the dark:
The open ended structure would seem to make for unique considerations as far as approach. First, is that so? Meaning, do you think of structure as 'open ended'? Second, if so, how does that inform your choices? No matter what we write, we know that every choice rules out other choices, and sets you on a particular path. But I would think that here, it would be even more so. If that is so, do you most often opt for the choice that will have more potential for development down the road? The choice that has legs?
Speaking of structure, and installment length, would each 'issue' have a beginning, middle, and an end? By 'end' I don't necessarily mean a resolution; though I guess as long as your characters and story line are compelling enough, you can resolve one particular issue while still leaving them wanting to come back for more. (I'm just thinking out loud here. I realize I could be way off).
Also, How long is an issue, typically? Along those same lines, how often are they usually put out?
I was recently told by someone who does read online graphic serials that there are three forms of text- Action, dialogue, and thought. Is that so?
Since I'm not doing the drawing, I want to be considerate of the artist, and I want to present him with scenes and characters that are going to be intriguing and fun to draw. I've begun to map this thing out from my point of view, and it's starting to feel good; but say I have what I think is a great scene I'd like to write, if it's (for lack of a better word) unwieldy for him, is it better to go another way?
I guess I have more questions, but I may have already worn out my welcome with these. Okay, one more: When I write (I think this is so with most writers) I have a specific image of the characters I'm depicting. I know what they look like, facial expressions, body carriage, gestures, etc. But I would think that in this case, these would be best kept to myself. Do you agree? If by now your wondering why I don't just ask my future collaborator some of these questions, the answer is I will be able to in the near future. He's busy on a project now and I don't want to disturb him. In the meantime, I want to get a head start on my end.
I'd appreciate any advice at all. If my questions were so bad they didn't address the real issues, please tell me so. Thanks!
I'd really appreciate hearing from anyone who's done one of these, or has read enough of them to have a good take on any consistencies they may have noticed, as far as what makes a good one and what makes a bad one.
I'm in that awkward position of not knowing enough to be able to ask intelligent questions, while at the same time needing to learn as much as I can as fast as I can. So a few stabs in the dark:
The open ended structure would seem to make for unique considerations as far as approach. First, is that so? Meaning, do you think of structure as 'open ended'? Second, if so, how does that inform your choices? No matter what we write, we know that every choice rules out other choices, and sets you on a particular path. But I would think that here, it would be even more so. If that is so, do you most often opt for the choice that will have more potential for development down the road? The choice that has legs?
Speaking of structure, and installment length, would each 'issue' have a beginning, middle, and an end? By 'end' I don't necessarily mean a resolution; though I guess as long as your characters and story line are compelling enough, you can resolve one particular issue while still leaving them wanting to come back for more. (I'm just thinking out loud here. I realize I could be way off).
Also, How long is an issue, typically? Along those same lines, how often are they usually put out?
I was recently told by someone who does read online graphic serials that there are three forms of text- Action, dialogue, and thought. Is that so?
Since I'm not doing the drawing, I want to be considerate of the artist, and I want to present him with scenes and characters that are going to be intriguing and fun to draw. I've begun to map this thing out from my point of view, and it's starting to feel good; but say I have what I think is a great scene I'd like to write, if it's (for lack of a better word) unwieldy for him, is it better to go another way?
I guess I have more questions, but I may have already worn out my welcome with these. Okay, one more: When I write (I think this is so with most writers) I have a specific image of the characters I'm depicting. I know what they look like, facial expressions, body carriage, gestures, etc. But I would think that in this case, these would be best kept to myself. Do you agree? If by now your wondering why I don't just ask my future collaborator some of these questions, the answer is I will be able to in the near future. He's busy on a project now and I don't want to disturb him. In the meantime, I want to get a head start on my end.
I'd appreciate any advice at all. If my questions were so bad they didn't address the real issues, please tell me so. Thanks!
