Free PDF , by Brian Bendis

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, by Brian Bendis

Free PDF , by Brian Bendis

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Product details

File Size: 192575 KB

Print Length: 224 pages

Publisher: Watson-Guptill (July 22, 2014)

Publication Date: July 22, 2014

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B00I1ZJOE4

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Amazon Best Sellers Rank:

#70,909 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

I am not generally a fan of Bendis' work. I get why other folks are, it just doesn't work for me. I'm not saying this up front because I want to start some flamewar over the quality of Bendis' writing but so you'll know that someone who is emphatically NOT a Bendis fanboy is giving this book a five-star review. Also, I bought and read the Kindle version and will talk about that below, just in case that's relevant to your purchasing decision.I'm going to assume that if you are thinking about getting this book it's because you want to become a writer of comic books, so I'm going to review it from that perspective. And from that perspective one of the things that's great about the book is what Bendis *doesn't* include. He doesn't include a lot of basic "what is a story?" stuff, nor does he spend a lot of time beating the drum for super detailed outlining or going over the basics of three-act story structure. I am grateful for this because it seems like every other general book on writing fiction these days does. If you want or need that stuff for comics in particular, you should definitely get Dennis O'Neil's _The DC Comics Guide to Writing Comics_ or Peter David's _Writing For Comics With Peter David_, both of which are well worth your time regardless.Okay, so what does it have that's worth five stars? Bendis writes about his process and its evolution. He talks about writing for the artist on a project, and how he's adjusted his style to work to the strengths of different artists. To me this is incredibly valuable stuff. Sure, anyone interested in writing comics knows that you're supposed to write stuff that an artist can actually draw, but I feel that Bendis goes beyond this basic advice. In relating his experiences and applying these principles to different real world artists on published projects, I think there's a lot of additional insight here that I have not gotten from other books or blogs that I have read. His interviews with established comic book artists and comic book editors are, in my opinion, invaluable. I strongly disagree with some who criticize them for being too shallow or too subjective. The fact that not all artists or editors agree or want the same things is very important, and I enjoyed reading about their thought processes and getting a sense of where they were coming from and why they prefer what they prefer. It got me thinking about things more from the perspective of an actual working professional, beyond the simple "rules" everyone writes on their blogs, and I think that's extremely valuable. Even in instances where they were very terse, just seeing the contradictions in preferences between professionals in the context of their other comments was useful.I want to especially emphasize how valuable and important I think the material from the editors is. The discussion and examination of what these editors want from the people they hire, the common mistakes, the things that impress them, how they want prospective writers looking for work to approach them is great material and worth the price of admission alone to me. I've read bits and pieces of this kind of thing scattered about over the years, but this is the single best collection of this sort of advice and instruction I have read to date. I learned a lot of new things and started having a ton of new ideas just from these sections alone.There are three other strengths of the book I want to emphasize, things that are sorely lacking from most other books on fiction writing generally and comics specifically. The first is the business side of things. With very few exceptions, comic book writers are independent contractors, and that means that if you become a writer you are your own business. This is important, often neglected material, and Bendis and his wife and business partner provide a treasure trove of useful information and important advice on this topic. The second is that Bendis discusses the mindset of writing and living as a writer and dealing with fear and discouragement. This material might be too fuzzy for some people looking for "just the facts", but I feel that these people are missing out on some real wisdom. We all know how mentally tough writing can be, and the pressure just ratchets up when you set out to support yourself or your family through writing. It's not an easy road, and Bendis is at once brutally honest and deeply encouraging when he writes about it. Finally, another important strength of the book is that Bendis' writing style throughout is very light and conversational. A lot of books on fiction writing are dry and feel very textbooky. Bendis style here keeps you engaged, gives the things he emphasizes more impact, I think, and makes for a quicker, more enjoyable read than many other books on writing.I also want to give special mention to his writing exercises, which I think are quite good. I am not generally a fan of writing exercises in how-to writing books, but I liked these. The descriptions are excellent and instructive in themselves, and I had fun doing them. I feel like I got real benefit out of them, and they generated a lot of exciting new ideas that I hope to be able to put to good use.My only complaint is something I was hoping the book would include but does not, something that I haven't seen in any other book on writing comics, and something I think would have been extraordinarily useful for his readers here, and that is a more detailed discussion of plotting and adapting a specific story idea to different practical lengths. What I mean by that is say you have an idea for a comic book story and you immediately see that it could be done in a very simple, straightforward fashion in one issue, but with some additional complexity and expansion of its theme it could be a good two parter -- or maybe even extend over three or four issues. I would have loved to see Bendis examine that process and talk about the issues and challenges in scaling a story up or down a specific number of issues and/or in trying to fit in other subplots. How do you balance individual issue needs against "writing for the trade paperback collection"? While I'm sad there wasn't a section like that in this book, I'm not going to rate it lower just because it didn't include this, especially when what's here is so valuable, and such a fun, easy read.Finally, a quick note on the Kindle version. Many books often have poorly formatted image files in the Kindle version, or images that are too small or too fuzzy to make out clearly. I found the images in this book to be quite readable, and my eyes suck. While your mileage may vary, I never the need to download a higher resolution version via the links, although these seemed to work quite well. Anyway, for me the reading experience on my iPad via the Kindle app was thoroughly pleasant and I enjoyed being able to highlight text and make notes directly in the book.

I will agree with others that parts of this book are thin, but I don't think this is necessarily a drawback. The many example pages and pictures he includes (and others see as fluff) are often paired with example scripts and concepts, and this is very useful to a prospective writer. Furthermore, the art he includes without scripts often connects to a specific point he makes about making sure the writing caters to the artist in question. It can make it feel like it is short on substance, but I actually think it makes it more effective - and easier to read.I don't think Bendis reinvents the wheel here; his writing advice is solid and mostly standard, and he references a lot of the big names in the field. It is, however, incredibly useful that he combines all this advice in one place. Previously it was scattered across volumes.I think what truly elevates it is his addition of personal experience. Laboring as an indie creator for years and his own transition to comic celebrity is mentioned, and when paired with the writing advice it is useful. It also underlines his constant and repeated point: you've got to write to be a writer, just like he did.I've read probably close to 20 books on comic book writing, and this one has two major advantages over the others. First, many of the books published are by writers who had only a cup of coffee at the Big Two; there are many small time guys pushing their momentary experience in these books as some sort of revelation. Even the books by experienced writers are often from guys who are no longer working regularly (or have passed away). Bendis is a working, major writer for a major company; love him or hate him, his advice comes from a place of expertise and practice, and this is good, current input.Second, he includes a major chunk of material from artists and editors. Many comic writing books give input on scripts and how to write them, but many do not include the matter of collaboration. Comics, more than anything, is going to require collaboration - many writers say this in interviews. Bendis has a ton of interviews with artists about their approach, their views, and what they look for. He has good, CURRENT info on how to talk to editors and craft pitches, and clear thoughts from editors about what is needed to be successful. His artists and editors are from across the spectrum of indie and major publishers, and from across eras. I found it very enlightening, because I was so wrapped up in my own process that I often neglected to think about who would have to read my work next.Compared to other books on comic writing, I found it incredibly useful to my thought process and very encouraging. I would probably pair it with the "Writers on Comic Scriptwriting" books to get some more depth from writers to add to what Bendis does here. Occasionally, because of all he is trying to do and the example pages, it does go for breadth as opposed to depth - but I think this is a benefit.At this point, you must be thinking, "Ok bro, thanks for the review from a non-published dude." However, this past weekend at a convention I talked to several writers at tables and panels to get input on the writing process, and a number of them recommended this book. They could be in on some deal with Bendis where they get a nickel every time they say it, but it seemed genuine and these professionals trusted his work.

I enjoyed the book. Beyond the chapters on scriptwriting it was a sobering look at the comics industry. My only beef was that the business aspect was worth an entire book in itself. Still, it's a good book that tells like it is and doesn't pull any punches. The business of working for the majors (as this seems to be the books focus) is not for the faint of heart. Dreamers beware.One last note: one of my main beefs with the comics being published today is that they are really ten page stories stretched to twenty or so. If you don't believe me, grab a Lee/Kirby comic book from the sixties or a comic written and drawn by Steranko or a Frank Miller Daredevil or Master of Kung Fu by Doug Moench and compare how much story you get in those twenty pages or so to what you get nowadays and you'll see what I mean.

I've read a lot of books on comic book scripting and none of them approach comic book writing as much as this one does. It takes an honest look into the industry itself while providing samples and talking to artists who work with comic book writers, which I have barely seen in other comic book teaching and reference books. I was skeptical of this at first frankly because I'm not a huge fan of Bendis' work. I enjoy his plot approaches more than I do his dialogue approach which I think is a little too real for me at times. I have to say though that Bendis knows his material and I would be really lucky if I could take a class of his in the future. Buy this book. The advice is priceless.

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