From: [Peter A David] at [cup.portal.com]
Newsgroups: rec.arts.comics.misc
Subject: Re: How does PAD write scripts for Marvel?
Date: Fri,  8 Jan 93 06:17:53 PST

How do I write a story?

Well--it depends on what I'm writing.  

There is a basic formula on which I generally hang my story construction.
I use it both for lengthy story arcs, and shorter installments of self-
contained stories within that arc.  It's the fundamental structure of
dividing a story into three acts.  The first act is the set-up, wherein
you get an idea of what the story is going to be about.  We then have the
first act turning point--some sort of catalyst sets the story into motion.
The second act contains the bulk of the action--most of the developments the
twists and so on.  And this builds until the second act turning point at
which time I introduce (I would hope) some unexpected twist that (a)
is logical based on the preceeding events while at the same time (b) is
surprising and simultaneously (c) sends the story off into another 
direction in which the stakes (either physical or emotional) are raised in
some way.  This second act turning point spins you into the third act,
during which you build to your climax. (It helps if you can also introduce
some sort of "ticking bomb," as it were--some elements that brings the
story down to a crunch and gives you a sense of urgency that matters must
be resolved *now* or someone is toast.  A good example of a cinematic second
act turning point, for instance, is from "Indiana Jones and the Last Crusade"
at the moment when Indy's father is shot.  That single act accomplished
all of the above goals.)
Once you hit the climax, you then have your resolution.  It helps to wrap
the story as quickly as possible, since--by definition--anything that
happens after the climax is a let down.

That's basic structure.

In terms of story subject matter, it's a constant fight to maintain a sense
of ebb-and-flow, of peaks and valleys.  Doing stories with the peaks--the
fight scenes and action--are no problem.  Editors like those.  Doing stories
with the valleys--(set up, characterization--stories like Hulk #399 or
X-Factor #87)--meet a bit more resistance.  Usually I have to assure the
editor that, although this will be no fighting this issue, there will be
a big blow-out the following issue.  Which is why a development-heavy issue
like Hulk #401 is followed by a slugout in #402.  Even then, I try to 
approach things differently.  I had the Hulk fight Juggernaut, but Juggy
was in civilian garb--and then pleaded with the editor not to advertise
who the Hulk was battling, since I figured the one shot I had at fooling
people was that they would automatically assume that if the Hulk were 
fighting anyone significant, Marvel would splash it all over the cover.
And Bobbie Chase, bless her, didn't hint it at all on the cover.  If
the story worked at all, it's because of her restraint.

That's a real short answer, believe it or not.


PAD