Wednesday, January 07, 2009

Waid Wednesday #5: Rainbow Of Confusion

Slight change of plans. I billed this installment last week as “A Unit Of Entertainment”—the importance of building a conflict and a resolution into every chapter of your serial fiction, and some tips on how—but that post’s turning into a term paper, plus I want to embed some examples from a specific story, so as soon as I wrestle the word count down and get clearance to reproduce a short script I did for a friend’s upcoming book, we’ll tackle that one. Probably next week.

In the meantime, this week’s post was cued by a question from a longtime listener/first-time caller. Christine asks: “I often overdo captions, probably because the theatre bug always makes me want to monologue, and captions can be a monologue broken up over corroborating or subverting images. What are the ideal ways to use a caption as a character-revealing and/or story-telling device in a short or long comic?”

This is an awesome question, because answering it gives me license to rant about my least-favorite narrative device in modern comics: multiple narration. You might want to put on a helmet for this. But first, let’s address Christine’s questions more directly.

Captions can be a great character-revealing device when they are used sparingly. First-person narrative captions, in particular, are a great way of letting us into the characters’ heads. But—as I keep insisting—comics is a visual medium. That means the writer has to be careful not to overuse captions in lieu of showing us the story. I wrote THE FLASH for DC for ten years using captions in the “first person immediate” tense, but that was a character choice—it made sense to me that the fastest man alive would be telling his stories in the moment. The danger was always the temptation to tell more than show. It’s deceptively, temptingly easy for a writer to overwrite captions because they’re generally the easiest part of scripting (it's so much easier to write monologue than dialogue). But the comics page is all about balance—words and images working in tandem to tell a story with depth and immediacy that that neither can accomplish alone.

Here are my pocket guidelines about caption use:

One: Err on the side of paucity. You really don’t want to have more than about twenty words in a caption, max—in script terms, no more than two lines of type across the page. (This applies to word balloons, as well, btw.) Any more than that runs the risk of creating a big block of type that’s just wearisome to read. And four of those in one panel and eleven of those on one page exhausts the reader. Don't make each page a chore.

Two: Always be aware that the caption creates a distance from the story that word balloons and thought balloons do not, same as v/o narration creates a distance in film. If there’s something about your story that demands that distance, go to it. But always ask yourself if dialogue might be a better way to immerse your reader more fully into the story.

Three, and most important: Find ONE VOICE for your captions. ONE. If your captions are third-person, stay with that. If they’re first-person, find ONE narrator and stick with him or her. Do not cross the streams. Do not interrupt the reader by confusing him as to who’s talking. And for the love of God, American superhero comics, stop having five different characters narrating a scene when all I, the reader, have to differentiate their voices is caption color. This has gotta stop. Frank Miller introduced multiple narration to mainstream comics twenty years ago with BATMAN: YEAR ONE, which was narrated half by Bruce Wayne (in scratchy, handwritten journal-entry captions) and Gordon (in faux-typewriting font captions). It worked then because it was fresh and exciting and the two voices and two caption styles were radically distinct. Now it is old, tired, and easy, and as storytelling tricks go it runs the risk of creating more confusion than insight.

(This makes my head hurt worse than anything in comics today: This month’s issue of Superteam X is tag-team narrated by everyone on the team plus their android butler, and immediately, I’m lost in a narrative where the voices are all the same but I’m supposed to know—and remember from panel to panel and page to page—that all the red captions are Team Leader’s, all the orange ones are Spunky Sidekick’s, all the blue ones are Plucky Speedster’s, etc. I’m not talking about a Rashomon set-up where Each Hero says to the group, “Okay, here’s what I think happened” and then we flash back to three pages that are clearly narrated from that particular POV. I’m talking about—I am not making this up—coming across an eight-page fight sequence with so many heroes narrating it that they ran out of colors. Martial Artist’s captions were medium-blue, Subatomic Guy’s captions were dark blue, everyone all sounded the exact same anyway, and the writer got to clock out at two-thirty rather than actually have to put some effort into integrating words and pictures. Multiple narration is very hard to do well and not for beginners.)

As in TV or film or the stage, comics captions/comics narration can be used ironically, can be used to reveal character, can be used to artfully step over the dull stuff...but they should work with the story you’re telling, not in isolation. Balance, balance, balance.

59 comments:

originalslugboy said...

Mark Waid, you're my hero.

Marty Nozz said...

Oh man, I'm so glad someone said this who isn't me. Multiple narration in comics drives me nuts. It's like thought balloons are passe or something. It really drives me nuts when writers who I really truly love and are very talented do it. It happened in a DC book which I won't name, but some people will probably guess.

Giant battle with multiple superfolks doing supery type things and the captions were EXACTLY like you described. There were more different colors of captions over two pages than a bag of Skittles. Completely killed the flow of the story. It was a clear case of thought balloons should have been used, but they went the caption route.

The rules you listed about caption use are ones that I've tried my level best to go by in my writing. Thanks.

Anonymous said...

As a new reader a year and a half ago, I had the darnedest time trying to figure out who was saying what in JLA. Colors...everywhere!

Stuart Moore said...

Mark: Agree completely re multiple voices. It can be done, but you have to be VERY judicious -- half the book in one voice, the other half in a different one. And even then, it's usually better to find a simpler solution.

This is a side-issue, but your note about monologue-vs.-dialogue writing jumped out at me. I agree that over-captioning is an easy trap, because it's such a quick way to get information across; but do you really find monologue that much easier to write? For me, a script really starts flying when the dialogue is flowing. (Then again, I remember being astonished a few years ago when Joe Casey said the dialogue was the last thing he wrote. Everyone works differently, I guess.)

Unknown said...

Thanks, Waid!

For the record, I find dialogue easier to write than monologue. Sometimes, though, monologues are just fun.

Anonymous said...

Hey, Mr. Waid. Thanks for the insight. Big fan of your Flash work.

Mark Waid said...

Stuart, Christine: to be honest, when I stop to think about it, I suppose my mileage does vary. Sometimes it is easier for me to write dialogue than monologue--IF I'm in the right headspace and IF I can "hear" patter in my head that doesn't sound like every other "clever," quip-filled conversation we've ever read. But I still find that there's more to parse when I'm juggling two or three different voices and POVs simultaneously--whereas when I'm just writing captions, it's one voice and (to me) the path of least resistance.

I will say this--and Stuart, I know you'll back me up on this--when you're doing the plot-then-art-then-dialogue method and you're staring at a three-page fight scene, it's sure as HELL easier to write a bunch of narrative captions than it is to come up with fresh witty banter between Spider-Man and Doc Ock. I shamefacedly admit that, more than once in my long career, I have at two a.m. elected to go all Omniscient Narrator with pages because I'm sleepy and I can't think of anything original for Batman to say in that moment.

Also, everyone go read Stuart's SPIDER-MAN: FEAR ITSELF one-shot that came out today. It's good.

Ardaniel Collier said...

The other problem with multiple narration, which I came across as a kid reading one of Fabian Nicieza's PSI-FORCE issues: somewhere along the line, the colorist or the printer will err, no one will catch it, and one or more of those captions will be the wrong color. Reader confusion will ensue.

(I do image QC for a living. It's easier than you'd think to miss stuff.)

Stuart Moore said...

Mark: Absolutely. Oddly, I've almost never worked plot-first, so I've rarely approached it from that angle. (You've also written a lot more superhero fight scenes than I have!)

The big trick, of course, is to be innovative without being too clever for your own good. If you wrote an entire Star Trek miniseries in iambic pentameter -- in Klingon -- you'd definitely spice up that phaser battle. But I don't know how many people would actually want to read it.

Stuart Moore said...

Oh, and thanks for the plug -- glad you liked the special. I just caught up on Amazing Spider-Man yesterday...loved your recent story. (Great cliffhanger between the two parts.)

Jay Faerber said...

I really find it easier to write dialogue than monologue, too (although I can relate to your struggles dialoguing an already-drawn fight scene).

I guess my problem is that with monologue, I always have a hard time keeping an even "pace," for lack of a better word. I want the narration to be consistent, but that impulse tends to be at odds with the "show don't tell" rule, and I find myself angsting over whether or not to just leave a scene silent, or put in narration because the rest of the issue has it.

And Mark, I'm loving your posts here. I find them just as informative as when you looked over my sample X-Men dialogue when I was first breaking in to Marvel.

Really looking forward to your Incredibles book. Marcio drew a Dynamo 5 issue for me recently, and he's fantastic.

Cully Hamner said...

Stuart, it's interesting that you write the dialogue first; for some reason, that just DOES NOT COMPUTE with me. I'm fairly sure Warren Ellis does that, too, though. I remember getting half a finished RED script from him and was surprised that the other half was just the dialogue. I'd never seen that before.

On the couple of rare occasions that I've written anything, I've nailed down the plot first, and done the dialogue after I've at least laid out the art. It's been the easiest part to me, as well, but it's almost like I won't allow myself to do it until the hard part is done.

Derek H. said...

I know you probably don't want to single out any BAD uses of the multiple narration -- but aren't there some other, modern, good uses of it? I thought it worked in Identity Crisis because the multiple perspectives were part of the trick, and I also think Brubaker's Captain America does it well -- probably because it is multiple narration but consistent from scene-to-scene. I'd agree that, as a simple reader, the jumping between narrators mid-scene is gross.

Unknown said...

Another thing that annoys me about the color-coded multiple narrators is that if you're color-blind and certain shades of certain colors look similar to you (cough cough), then you're kinda out of luck.

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