I wanted to get a lot more details in this page to make up for the blankness in the last page. Also, I had a good feeling of where I wanted to take it, so that always makes it easier.
Now I'm going to talk about scripts.
I don't usually script my strips. I have a general idea of where I want to take them and I usually make up dialogue on-the-fly or in my head beforehand. The skinny-dipping arch was "scripted" in that I drew pencils for 10 of the strips before I even started it, but the dialogue and a few pages did change before it was all finalized.
Last night I had some good ideas for where to take this current arch and how to lay it all out. This morning I woke up and decided I'd write down how this page would play out. For your convenience I will share:
Emily grabs the box of oats from Amy and hugs them close to her body. "Yum!" she mumbles. Meanwhile, Amy squints off down the aisle.
"You okay, Amy?" Emily asks.
We cut to a profile shot of a man in a hoodie with scruffy hair and a motorcycle helmet at his side.
Cut back to Amy squinting. She audibly asks "Is that…?" Emily responds, "Who?"
Amy approaches the hooded man, his eye is caught and he turns to reveal himself as Carl from the camp. He looks wide-eyed as he realizes who Amy is.
You'll notice that there are staunch differences despite the fact that I wrote this page 5 minutes before I started drawing it. Why?
Because art is flexible, and sometimes that means changing something that isn't working out the way you thought it would in your head.
So if you are the kind of artist who writes scripts and then draws, or draws based on someone else's scripts, it's important to maintain your artistic flexibility. If something isn't working for you change it. Simple enough!
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