How to Get Started Writing Comics

Last week, I launched the Kickstarter campaign for Plexus #2, just before heading to Thought Bubble to table for the first time at the show. In keeping with the excitement I usually feel on the back of a big comic-centric event, I decided to share the workshop I put together for Octocon on writing comic scripts. Check out the slides below, and don’t be afraid to get in touch if you have any questions! The text below is a direct import from Twitter.

In October, I ran a workshop for @Octocon named very simply ‘How to Get Started Writing Comic Scripts’.

Let’s make a thread using the slides from the workshop. I’m still fairly buzzing about comics thanks to @ThoughtBubbleUK this past weekend.

Okay, really simple intro first. Who am I, and what have I written?

I’m a founding member of @lb_comic, and I help run @irishcomicsie

Since 2018, I’ve published four books:

  • Life & Death
  • Meouch #1 (with @garethluby)
  • Plexus #1
  • Turning Roads

What does a comic writer do?

We get the ball rolling. The whole point is to communicate to the art team what you’re trying to achieve.

Include all the necessary info, try not include any padding.

There’s no standard format for writing comic scripts, but when working with a script, you’ll want to include key details like the number of panels per page, details for the artist, reference images and dialogue and captions.

The ‘Marvel Style’ of writing scripts varies according to the writer.

It’s written as prose, rather than in a script format, and can make the artist’s workload greater. Some artists still like working in this manner.

Sample from The Hawthorns in Turning Roads.

Comic scripts are a numbers game, sometimes.

Key things to remember: don’t overcrowd a comic with panels!

@2000AD is a larger format publication, with recommendations for 5-7 panel pages. For US comics, aim for 3-7, but average 4 or 5.

Panel count affects the story’s pace.

For dialogue and other text, be wary not to fill the page.

Leave room for art. Trim back your dialogue and captions.

2000AD guidelines say no more than 3 text spaces per panel, and no more than 25 words per text box per panel. Scale down for US comic size pages.

While most writers aren’t artists, you can still practice layouts from your own scripts.

The image below shows the sort of page flow you should aim for. Can’t recall the source, my apologies.

Writers should always be wary of what’s going on after the script has been written.

In print, page turns are obvious. They’re what you get when you turn the page. Surprises, twists, big reveals, they have greater impact on a page turn.

Those will be your *even numbered* pages in print.

In digital formats, every page offers a chance at a reveal.

Remember that as a writer, you’re just one part of a team.

Learn what everyone does in the creative team, and everyone’s lives will be that little bit easier.

This slide came courtesy of @sxbond‘s interview with @MikeOwenCarroll during @Octocon

As a writer, especially in small press, you’re the one pushing the project from inception to completion.

It’s but one valuable job, but a writer shouldn’t underestimate their own role.

Looking at one page in particular from Meouch, here’s the process from script to letters.

You’ll note from the original script, a couple of panels were removed. They weren’t essential to the story.

Art by @garethluby, colours by @joegriffin111, letters by @HassanOE

These were some tips for new writers that didn’t have another place in the workshop.

Be considerate of who speaks first and where you’re positioning them in the script.

Note important details like the time of day and the weather. The colourist will love you for this later.

How much you write in a script will vary from writer to write.

I like to describe the whole scene in the first panel description.

Keep character actions limited to one per panel.

Remember your script is for the art team, not the reader of the finished comic.

Theatre nerd incoming.

Block out your scenes. How many people are present? Who is visible? Who is doing what?

And remember… you probably shouldn’t ask for group shots in every panel. Don’t overcrowd your scenes or overwrite the dialogue.

Not to hark on about a single point too much, but this one is important:


When people argue who is more important, you stop being a team and start being cogs that don’t fit together.

Listen to your teammates.

While writers don’t go near the art, recognising things like the Golden Rule and the Rule of Thirds from film and photography can help you imagine the scene more clearly in your head.

The better you can envision it, the easier it is to convey your meaning to the rest of the team

Dialogue advice.

Eavesdrop on people on buses and in cafes.

Listen to podcasts to pick up necessary jargon from industries you don’t work in.

Read your dialogue aloud and listen back to it to see if it sounds natural.

Only write as much as fits into an action.

Where can you find collaborators?

Events are handy. In lieu of them…

@CreatorAdvisor is a key resource. Or just put out a tweet from your own account.

Irish creators can also be found through @irishcomicsie, @IrishComicNews, @comixireland and the @DublinComicJam

How do you pitch a story to an artist?

Email is best.

Tell them what the story is about, how long it’ll be, and how you plan to release it.

Ask their availability and page rate.

Attach a pitch doc if you have one.

My pitch docs include the concept, a summary, the tone, the length of the comic, and a publication plan.

If you’re approaching an artist who doesn’t know you, tell them your comics history if you have one.

Pitch in the image for Dead Ringer with @GavinFullerton1

When pitching to anthologies, like @lb_comic‘s DOWN BELOW:

Keep the concept, tone, story length details, summary

Remove the publication plan – the anthology is the plan

Add in creator bios. Sell yourselves.

Make sure your portfolio contains comics.

Start with short pieces you can post online.

Use a dedicated website to show them off in one place. Editors shouldn’t have to go looking through your Twitter or Instagram.

Keep it updated.

Make a PDF in Word if you can’t send a link.

Key tips:

Read the guidelines carefully.

Pitch within the genre and page count, and before the deadline. For Turning Roads, I had pitches fail in at least one of those three areas.

When the book is themed, aim to be as original as possible. Your first idea isn’t always best.

When releasing your comics, choose how you do it.

Digital comics can be distributed for free.

Physical books need some investment. Decide how you approach the ‘label’ idea carefully.

See @ComicPrintingUK for printing standards. NB: BLEEDS.

Okay, that’s the end of the slideshow.

Ask questions if you have them. Share your thoughts.

Check out my Kickstarter if you fancy it.

Originally tweeted by Paul Carroll 📚✒ back PLEXUS #2 on Kickstarter (@writeranonymous) on 17th November 2021.

[Update: 19/11/2021: the text in a tweet in this thread erroneously said 25 words per panel, when it should have read 25 words per text box per panel.]

Cover Reveal & New Editions of The Black Pages

This past weekend, Octocon 2020 took place online. It was an opportunity to keep the convention running, even in the face of a global pandemic, spreading members’ attention across Zoom, Twitch and Discord for a free weekend celebrating fandom and genre fiction. I was fortunate to be offered a Dealer Room channel on the convention’s Discord, as well as one for Cupán Fae, where we could talk about our books.

New Editions of The Black Pages

In a pre-Covid world, new editions of The Black Pages would have debuted at the convention in physical form, rather than appearing as an Amazon link. Thankfully, even a global pandemic doesn’t stop authors like me releasing new editions of their books that tie together for the first time since they became a series in their own right.

The new editions – which I’ve been calling my Spellbook Editions – mark a change in the design for the series to keep it consistent and interesting, while also serving to reduce my stress levels when it comes to creating new covers!

The Magic Man: Book 2

On Twitter, I mentioned the cover reveal for my next book. I’m delighted to share it publicly for the first time: the cover, title and release date for the second book in the Magic Man arc of The Black Pages.

The book has some overlap with Second Sight for Sore Eyes in terms of its timeline, with the other side of Arnold and Gary’s story being told. I’ve been dying for the release of this book, which is nearing the point of formatting for publication.

New Cupán Fae titles!

It wouldn’t be Octocon without a Cupán Fae release. This year, thanks to the cancellation of physical events, we pushed our summer release out for a double-bill for Octocon.

I have stories in both anthologies. In Fierce & Proud, I tell a tale of discovering one’s sexuality later in life in Man in the Mirror. In our punk book, Fiercepunk, I have Biopunk and Flowerpunk stories, Accidents Happen and The Central Fae respectively.

Creating these books was a blast, and this time included three authors’ debuts with us!

Until next time…

I’ll have more updates soon, and a few extra bits and pieces as we near the launch of State of Despayre in November. In the meantime, I’ll be working on getting the book ready to go, and prepping for NaNoWriMo 2020. If you want to keep in touch, I’ll be starting my newsletter this month. You can sign up below and get your hands on a collection of stories from Tales of the Fantastical. I promise I won’t spam.

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How to Keep a Story Short

When it comes to writing short fiction, sometimes it can be difficult keeping the word count low. In this post, as part of my NaNoWriMo series, we’ll take a look at three tips for keeping a story short. This is essential if you’re planning on writing a short story a day for NaNoWriMo, if you know how long each one is meant to be.

What makes a short story?

A short story is like any other story – it needs a beginning, a middle and an end, and should actually say something. It helps to understand general word count ranges for different lengths of story.

  • 0-7,500 words – Short story
  • 7,500-17,500 words – Novelette
  • 17,500-40,000 words – Novella
  • 40,000+ words – Novel

It’s imperfect, because everyone disagrees about one thing or another. Some people will specify word counts for flash fiction differently, whether it’s up to 100, 250, 500 or 1,000 words, and others will insert a noveletta into the mix, as well as specify word count ranges specific to genres.

With that in mind, how do you keep your word count down?

Start as close to the end as possible

The less build-up you have to do, the less time you need to spend wrapping up.

We don’t need to know how everything happened, just that it did, and pick a moment near the end to focus on. This will help you avoid the sort of set-up that a novel requires, and protects the short story from going stale before it’s gone anywhere else.

Introduce the premise, character and their motivation as quickly as possible

We should know everything we need to know from the get-go, especially for fiction of less than 1,000 words. 

If a character’s relationship with their father isn’t important to the story, you don’t need to mention it. If a character’s motivation is to become an astronaut, the story should be about that. 

Ideally, aim smaller: the character just needs to get through an interview, or a lunch, or get somewhere on time. Big motivations, long-term goals, are for novels, unless we’re close to the end.

Short-term goals, things a character can achieve in a day or less, are better suited for short fiction. And always refer back to the previous tip.

Outline in 3-5 bullet points

If you need 20 bullet points to plot your story, it won’t be short. Keep it simple. Refer back to the previous tips.

Your plan for your story can follow something like this:

  • Introduce the premise, the character and their motivation.
  • Introduce an obstacle.
  • Explore how the character will overcome the obstacle.
  • Climax.
  • Conclusion. Wrap it all up.

Write about moments, and let the story end, no matter how much you love the characters (or what you get to do to them.) That’s the key to making it short. If you like the characters, and you haven’t killed them all by the end, you can always write another story about them. Arthur Conan Doyle did it with Sherlock Holmes.

Do you have to plan?

Technically no, but I know a lot of people who try to write without a plan and end up going way over their target word count. Planning your story will help you figure out exactly how much will happen in it. Likewise, if you know how many words you’re allowed to write – if you’re writing for a submission to an anthology, magazine or competition – you need to be able to plan your story accordingly.

What’s next?

My NaNo prep series is done, at least this time around. Ahead of the July Camp session, I may write another series, covering other topics.

In the meantime, my own collection of short fiction,Tales of the Fantastical, is currently available on Amazon. You can download some sample stories below by signing up to my newsletter.

The Time to Write

Any creative act takes time. Novels happen to take a lot of time, even just to get a first draft. That’s fine. When you’ve done it a couple of times, you expect to spend a large portion of your available time sitting at a keyboard, working away. NaNoWriMo just happens to require that you condense the experience into a month. In this blog post, we’re going to look at some tips on making time, and making the most of what you’ve got.

Making time out of nothing

Finding the time to write is difficult, especially if you’re working full-time and/or raising children. During the time when I was minding my niece, my productivity went way down. When I was working in an office 9-5, my available time was gone, too. You learn to make time out of nothing.

Set time aside

The first thing to remember is that the time won’t just appear out of nowhere. You have to make it. Spend a few minutes and take note of how you spend your days. Are you staying in bed long after you wake? Are you playing games on your phone, or browsing social media for an hour?

What’s the least important thing in your day? What can you give up at the drop of a hat?

You already have time to write if you spend time doing nothing. Try to set aside a couple of hours in your day to work on your novel. They don’t need to be consecutive blocks of time, but they should be whole blocks, and you shouldn’t include the time it takes to make tea and power up your laptop. Remove distractions before you get started. That hour is your writing time.

Try the Pomodoro Technique

The simple version of the Pomodoro Technique is this: set a timer for 25 minutes, work for that period, take a five minute break, and then work for another 25 minutes. Starting and stopping with the timer is important. The break is necessary.

Using this as a guide, you can fit two Pomodoros into an hour block, and wind down before you need to do anything else.

If you think 25 minutes is too long, try 20 minutes. During NaNoWriMo, I’ll be helping the Dublin region by running some writing sprints of that length of time throughout the day. When we did it in November 2019 for a couple of hours, three times a day, many members wrote several thousand additional words over their average, and productivity as a whole increased.

Write faster

This piece of advice is kind of a cheat. The faster you write, the more you’ll get done. The truth is, the more you write, it’s likely that you’ll get faster. Some people find this statement is true even of a single sitting – the longer they go without having to stop for an extended period in the middle of the day, the more words they can write.

The time making formula

This blog post has been about highlighting three ways of increasing the amount of writing you can get done in a day. To recap:

  • Set aside time you already have
  • Use blocks of time to work
  • Write regularly as training for writing more

Combined these three things can help you make the time you need to write 50,000 words in a month. Or more. Many overachieve. It doesn’t necessarily make them better writers, just people who can make more use of the time in the day to write.

What if you don’t write novels?

These techniques are aimed at NaNoWriMo as an event, but are applicable to writing generally. I’ve done this for writing comics, short stories, blog posts, and more. Time is limited, but creativity isn’t.

Tomorrow, we’ll look at the writing of short stories instead of a novel, and my simple tips for keeping a story short.

Quick planning a novel

In this NaNoWriMo Prep series, we’ve so far looked at why to do NaNo (aside from it being great) and how to turn a prompt into a plot. In today’s post, we’ll focus on planning your book to give you a guideline for writing.

Getting started with your plan

Your plan needs two things: the idea for the plot, and the characters. If you haven’t already taken note of them, write them down now. It’s good to keep track of your plan in writing, rather than assuming you’ll remember everything in the moment. Let’s get started with writing this down.

Who is your protagonist?

Put down their name, their age, their job. Everything you noted from yesterday’s post – make a list of it. Some of it will be useful for the book, some of it won’t, but it helps that you know your character(s). You can make this sort of list for your primary and secondary characters. Keep in mind that if you’re stuck for time, you should focus on the characters who matter most first.

What does your protagonist want?

This is their why. This will inform the plot in one of the following ways:

  • The story will focus on how they try to achieve their goal
  • The story will be about how they avoid chasing their dreams – some people are great at making excuses for themselves
  • The story will focus on the reasons why they can’t chase their goal

The last point is where we get our next point for your plan:

What is the conflict of the novel?

In my notes, I wrote “What gets in their way?”, because typically that’s what we’re talking about. What stops your protagonist from achieving their goal? What obstacles do they need to overcome?

When you know this, it’s a lot easier to figure out the plot of the novel. This is especially important when you need a plan.

Are there any genre tropes you should include?

Tropes exist for a reason – readers and viewers recognise them. Identifying the tropes of your genre is helpful. Littering your book with them isn’t necessarily a good thing, but it can help you figure out how your book is forming, and what genre it is. Your genre says a lot about the sort of story you’re telling, and can inform a lot about how it’s told.

Figure out genre tropes from reading in your genre and checking out TV Tropes. The former requires a lot more time, while the latter requires some restraint on your part – it’s easy to fall down the rabbit hole of TV Tropes.

Three basic things to note

Everyone knows the classroom guide to writing a story. You need to know three things:

  • The beginning – how will you start?
  • The end – how will you wrap up the book?
  • The middle – what do you need to include to get from A-Z?

The middle is where we include things such as:

  • Conflict between characters
  • Sub plots
  • Plot twists
  • The discovery of your character’s primary goal, if you haven’t already included it in the beginning of the book

Note events in a random order at first if you need to, and then rearrange for a suitable flow. The story should be resolved by the end of the book – even if you’re writing a series. Every book in a series should still read as a full story by itself.

How do you plan?

There are a lot of different methods. I note everything that happens in a book, chapter by chapter. This is after I’ve thought it through, sometimes through mind maps. I like to add notes to myself in my plan about things I’ll forget as I’m writing, like the setting of a scene when I know I can get lost in physical conflict between characters. Other times, I’ll highlight a key detail that needs to be included.

My preference is to print my plan and keep it beside me while I work. This has the added benefit of allowing me to take notes on it as I go, especially if I introduce a character I hadn’t planned on before. While I prepare extensively, I still let myself have fun while I write by tending to the plot as it develops by itself.

Come back tomorrow

As the series progresses, we’ll take a look at some tools for managing your time, and tackle the subject of short stories – Camp NaNoWriMo is about freedom, and if you think a novel might be too much work, short fiction might be your best bet!

How do you turn an idea into a plot?

Sometimes, all you have is a single idea. These can come from a stray thought when you’re out for a walk or taking a shower, or a prompt, or a dream. The problem with only having an idea is that it doesn’t really go anywhere. In this blog post, as part of preparation for NaNoWriMo, we’re going to look at how to turn an idea into a plot.

What’s the big idea?

A story is usually made up of a few key elements: the plot, the characters, and the setting, through which we understand the theme and the meaning of the story. That’s a simplification to highlight that the plot is just one piece you need to work on, but one that can help guide the rest of the process. And it all starts with an idea.

Asking the important questions

A plot is based on events, and an idea can help inform them. I expand on this process with my Pocket Prompts, with a completed series on the card ‘Something Explodes’, but the general process behind expanding an idea into a plot is to ask key questions of it. For example:

  • What happens if you take your prompt literally, or figuratively?
  • Who is affected by the idea that prompts your plot?
  • If the idea is for an event, when does it take place?
  • If the idea is for a place, is it a place to visit, a place to leave, or a place to avoid?
  • If the idea is for a character, are they your protagonist, your antagonist, or a side character along the way?
  • What happens if you turn your idea on its head and do the opposite?

Expanding an Explosion

As I mentioned above, I’ve completed this process with the Something Explodes card from my Pocket Prompts. The complete series of articles goes into detail on why I ask particular questions and add certain details. In the end, one card produced 9 ideas for stories.

Everyone interprets differently

One thing that writers tend to be wary of is sharing their ideas. They’re afraid someone will steal them. Odds are, if someone says that online, they’re likely to get the following response:

There are no original ideas.

Everything has already been written. Being a writer isn’t about being 100% original, it’s about writing about something in a new way. Every idea has been done in one way or another, but how an individual writer tackles it will always be different. (Unless, of course, you ask a class of 11 year old boys to write a short story – in my personal experience, at least half a dozen will end with a volcano eruption killing everyone.)

How do you create a character?

There are dozens of resources on making characters – I’m in the middle of making my own as a compliment to Pocket Prompts and 25 Ways to Beat Writer’s Block – but the major thing I’ve learned when writing is that the more I know about them, the easier it is to write about them.

Ask questions about them. Focus on key personal details, like family names, their job, their appearance, for a start. Then, when you have an image of them in your head, find out their why.

Why are they going on an adventure/running for local office/trying to kill that one guy?

The why informs the plot, and how the character will navigate it.

How do you plan a book?

That’s for tomorrow, when we’ll look at a quick-plan method for the writer on a tight deadline. With April fast approaching – and Camp NaNoWriMo with it – we’re all in that boat.

Why Should You Take Part in NaNoWriMo?

As I write this, Ireland is shy of a lockdown and people are generally practicing social distancing. The first couple of weeks were stressful, but as this continues, people will eventually replace stress with boredom. That’s where NaNoWriMo comes in, and with April right around the corner, Camp NaNoWriMo is the perfect opportunity to create something for yourself. In the first of a series on the NaNo experience, we’re going to look at the benefits of taking part in NaNoWriMo, whether there’s a quarantine in place or not!

The Pros of NaNoWriMo

For those who don’t know, NaNoWriMo is a month-long writing challenge. Every November, writers all over the world attempt to write 50,000 words of a novel. With Camp, every April and July, writers can set their own challenges within the same creative space as the regular challenge. Whether you’re partaking in Camp or doing it in November, the benefits are the same.

A dedicated platform for tracking your progress

Sometimes, it’s difficult to keep track of how much you’ve written without posting about it on social media. Even then, you’re open to questions, and prone to distractions. The NaNoWriMo website is the perfect place to regularly update your project’s word count, and to see your progress displayed in a graph. As a motivational tool, there’s nothing quite like it.

Community support when you need it

NaNoWriMo is built on communities working remotely. While the Dublin NaNo region normally tends towards twice-weekly meetups in November, Camp is much more relaxed. We maintain conversations on the NaNoWriMo forum, as well as Facebook and Discord, as a general rule of thumb during NaNo, and we’re but one place local writers can turn to for advice and support. The dedicated NaNo forum is filled with writers from all over the world, offering their two cents on every topic related to writing, neatly organised by category.

Regional communities for those who need to know locals

Every region is different. Some are great at meet-ups, others are great at the online stuff. The Dublin region typically prefers in-person meetings, because even the most introverted Irish person likes a good chinwag and a cuppa with other people every now and then. The regional communities are a great way to make new friends; I met my fellow MLs in the Dublin region during NaNo and we talk every day online – and meet up at every available opportunity.

Goals to help with motivation

Setting a goal is the first step towards doing something. It’s why so many people get lost when working or studying alone – they don’t know what they need to achieve. November NaNo is clear: 50,000 words in 30 days. Camp lets you set your own goals, whether you want to aim higher or lower, write or edit, work on a novel or a comic or a collection of short stories. The site will then track your progress on the project based on the timeline you’re working with.

Somewhere to put your energy or to distract yourself

When I was younger, writing was a great distraction. It gave me something to focus on that wasn’t school. Now, it’s one of my favourite things to do, and leaves me with a sense of accomplishment like nothing else. During the COVID-19 social distancing, writing a novel – or practicing any sort of creativity – is the perfect way to channel some energy. Restlessness isn’t good for the head. Taking part in a community challenge like this is a great way to relieve some of the stress of the current environment, and gives you something to share with friends and family at the end.

What are you waiting for?

If you’re not already signed up for NaNoWriMo, head to their website and register. When you’ve announced your novel, let me know wherever you found this blog post, or in the comments below! I’m rooting for you – from a safe distance.

Pocket Prompt Expansion: Something Explodes #8 – Endings and Beginnings

So far, while looking at the ‘Something explodes’ card, we’ve looked at types of explosions and Cause & Effect. For the final post in this series, before we move onto other cards and other ways of utilising them, we’re going to look the explosion’s position in the narrative.

We’ll start with one key question: Is this the start or beginning of something?

Explosions cause change, one way or another, and can either alter a story before it begins or punctuate a character’s arc. Two stories about the events of 9/11 – Extremely Loud and Incredibly Close and Remember Me – look at the explosions of the World Trade Centre at different points in the narrative. One uses the plane crash to launch a character’s story after the death of his father, while the other uses the death of the protagonist to roll out emotional conflict with other characters in the story.

For this post, I want you to answer a few questions that will help you figure out how an explosion can change the narrative.

  • Does the explosion occur before or after the story begins?
  • Is the explosion something that happens as a result of actions in the story, or does it sneak up on the reader as a twist?
  • How early into the story will there be a story?
  • How much do we know about what happened?
  • How much more information comes is revealed as the plot unfolds?
  • Do we ever really understand?
  • Are you ending on an explosion? Why?

Whether an explosion – be it literal or emotional – takes place before, at the beginning, in the middle or at the end of a story affects the sort of consequences that can be felt by it, and the type of story you’re telling. If the explosion is the climax of the tale, you’ll want it to appear later. If it is the premise on which your story is based, it’ll need to happen early enough into the book that the fallout can be felt.

This is true for both literal and emotional explosions. For those of us who focus on the narrative of relationships, a focus on emotional explosions is essential. Some questions you might ask:

  • Do the people involved rely on each other?
  • Are they separated as a result of an argument?
  • Are they stuck together, even if they don’t like it?
  • Have they been fighting since before the narrative begins?
  • Does the reader know this?
  • How does their meeting affect the story? Will they meet at all? Is that the point?
  • If a story is entirely about the relationship, what causes it to grow or break down? What can you do to leave suggestions over what might happen? Can you introduce a twist?

Whether you choose to start or end with a bang is up to you. Explosions within a story can cause a dramatic shift in the dynamics of your characters, and bring out the best or worst behaviour in people. Use tension to your advantage, and answer as many questions as you can about how you’ll use an explosion in your story.

Have you got your deck of Pocket Prompts yet? Order a set today!

Pocket Prompt Expansion: Something Explodes #7 – Prevention

Something explodes, a bomb, a volcano, emotional tension…but can it be prevented?

So far we’ve looked at Cause & Effect in the sense that it’s a set thing, but is there something your characters could have done to prevent it from happening altogether? In this post, we’re going to look at the magical time travel of hindsight.

As with previous posts in this series, we’ll look at the literal explosions first, and ask a few choice questions to help uncover what could have been changed to affect the story in different ways.

  • If a bomb exploded, could they have caught the person or people responsible beforehand? Were there warning signs?
  • If there is an infrastructural cause to an explosion, such as a gas leak, could inspections have prevented it? Is there a reason why there weren’t inspections in the past?
  • Were warning signs ignored by the people with any authority to do anything about it?
  • If the explosion isn’t a once-off event, what can be done by your characters to prevent a repeat?

As far as human actions are concerned, there are things we can do to make changes to prevent an incident. When it comes to nature, we need to look at things a little differently.

  • Does the technology exist to predict the explosion?
  • Was anything done to alleviate the fallout of the explosion? (e.g. a volcano erupting)
  • Did anyone warn about impending disaster?
  • Were they ignored? If yes, why?
  • Is the character unreliable? Do they have a backstory that marred their reputation?
  • Are those with the power to act unwilling to put resources into making change?

When it comes to genre fiction, we can see a lot of opportunity for predicting disasters and making changes. Whether you want to introduce time travel into your narrative, or substitute ‘something explodes’ for ‘a kaiju arrives at Tokyo’, we can examine a growing number of ways to turn the card into more than just an explosion, and treat prevention as a matter of changing the past instead of the future.

How about emotional explosions? Most arguments are avoidable. Answer the questions below to explore how an emotional explosion might be prevented.

  • Is someone overstepping boundaries?
  • Are people purposely using language that they know will be hurtful?
  • Are people putting their own needs ahead of the other characters?
  • If both characters know the intent of the other involved, does that make things better or worse?
  • How much of what your characters are arguing about is a result of something that happened recently, and how much is a result of long-term tension building?
  • Is there a dominant person in the relationship? Have they used their position in the relationship to overshadow the other person?

There are many more ways to look at this, from positive and negatives points of view. Emotional explosions are often the result of someone containing something for too long, whether it’s hope or sadness, regret, expectation or a grudge.

The key thing to look at it is how to use the long-term relationship between characters, and individuals’ personal histories, to influence how a narrative plays out. This can also affect man-made explosions, and cases of people ignoring the evidence in front of them that would otherwise prevent an explosion. Personal biases and undisclosed histories from before a story begins can be used to alter the plot of your story, and help determine whether something could have been avoided.

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Pocket Prompt Expansion: Something Explodes #6 – The Aftermath

In our discourse about explosions – a sentence I never thought I’d write – we’ve looked at the sort of explosion, the cause of the explosion, and began to look at the aftermath. Today, we’re solely focusing on how the world looks after the explosion.

Literal explosions are maybe easier to imagine for this, so we’ll ease into the discussion today that way, and expand as we go. Some simple questions to get you started:

  • Is there a death toll?
  • Was a key piece of infrastructure damaged?
  • Is the location of the story shut down as a result of the explosion?
  • Are there police out to contain crowds?
  • Are there riots?
  • If it was localised, how is the neighbourhood effected?
  • If it is distant, how many people witnessed it?

Other things you might want to consider:

  • What sort of scale was this explosion?
  • Was it nuclear? How does the fallout affect the plot?
  • Does your story include magic? How does a magical explosion change the plot?
  • Does your story include elements of sci-fi? Are there aliens? Are there robots? What does a sci-fi explosion do your world?
  • If the explosion is a natural disaster, are you character caught in the middle of it? What is there role? Civilian or rescue worker?

There are many other ways to interpret this, and I’d love to hear some ideas in the comments. In the meantime, we’ll move onto the aftermath of an emotional explosion.

Emotions can run high for a number of reasons, as we explored in the second post for this card. A story can greatly shift as a result of either good or bad news. Use the following questions to prompt a further exploration of the aftermath of an emotional explosion, and see what other questions you might be able to ask and answer.

  • Is there an argument? Does it cause characters to stop talking?
  • If yes, will you write both points of view?
  • Will the characters make up? What is necessary to bring them back together?
  • How does your protagonist losing a close friend or loved one affect their story?
  • How does your protagonist cope after an argument?
  • Who is responsible?

Shifting away from anger and towards happiness:

  • If your protagonist received good news, how will this change their life?
  • Will their emotional state shift from happiness into something else?
  • Will others understand and be supportive?
  • What can go wrong to disrupt the happiness your protagonist feels?
  • How can your protagonist use their optimism to keep going?

The same sorts of questions can be asked about any sort of emotional explosion. The key points to focus on are the parties involved, how their relationship is affected, who is responsible, whether people are supportive, and what can or has to change for things to either move forward or go back to the way they were before.

In future posts, we’ll look at long-term consequences of the explosion, and explore how the story might be different if things could be prevented, covering both literal and emotional explosions.

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