By the way, I’ll try and get something new up about FIZZOO! on the morrow eve.

Though the proposed story may contain a controversial element or two it falls neatly into the “Girl plus Otherworldly Companion” slot. The first part - the back-story - needs not be shown. This is the kind of thing that the “box” in the first panel always explains anyway (you can see I’m well up on the precise terms).

Perhaps if the oppressed women she helped were spread throughout the globe, in many different cultures, we could avoid the charge of using a comic djinn to have a pop at specifically Islamic patriarchy.

Hidebound misogynists might still organise themselves in protest, but at least the riots would be multicultural.

In other words, best to offend everyone at the same time.

Now Aisha and her new djinn friend embark on a series of adventures in which uses her invisibility to play pranks and to help people. I can see her helping oppressed women and generally using her abaya as a weapon against the patriarchial society which requires women to wear abayas. I can even see her foiling terrorist plots…

On the other hand I am not sure if it is such a good idea after all. We don’t want fatwas issued against us and we don’t want to be accused of causing riots in Peshawar even if they might go down is history as the ‘Fustar Riots’!

Belinda: Born of Man and Woman
Klubb Legg Kate

a comic adaptation of ‘Out of this World’ where Boirt actually talks out of the girl’s ‘jewelery box’
cf
http://en.wikipedia.org/wiki/Out_of_This_World_(TV_series)

Bin Bag Bettie

(and amorphous blob creature who has to stay in a bin bag in order to not bring shame on her high flatutin prep school)
“oh what’s that Bin Bag Bettie, sure you can be prom queeen etc. etc…’

Ok, back to the scribble pad.

Obviously, scripts should list individual panels with a description of what the author wants to appear in each panel, along with the character or narrative dialogue.

The devil is in the detail. It’s helpful when writers include the expressions, stance and position of characters within the panel (e.g. should they be to the left or right of the scene?), along with any incidentals that they want including such as specific backgrounds and settings.

But I’d love to hear from an artist how they’d like to get the script.

Because that’s what matters.

http://podcasts.resonancefm.com/archives/24

Take note of the post relevance at 8m 15s.

It will let you lay out the page and position your speech bubbles.

Good for working out just how little can be said in an average comic.

http://plasq.com/downloads/

I’m working on this, but if anyone knows of any potentially interested artistic types please let me know.

That 26 pigs thing is great. Loads of inspiration there for prospective FIZZOO! writers.

There’s a fairly awesome A-Z of plots from girl comics at 26pigs for anyone having trouble getting started (or finished).

http://www.26pigs.com/judy/characters.html

Good line on that page, btw:

“[As a comic book writer y]ou now have two audiences — the artist and the reader — and they both need different things from you. Your reader just wants a good story; your artist needs instructions that will lead to that story. Don’t expect your artist to divine the subtext and hidden meanings in your stories the way a reader would.”