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What our customer's say!

"One of the best books in a great series", The DC Comics Guides are great. And this is one of the best in the series. It gives clear cut practical advice alongside inspirational examples and hints. The structure of the book makes it easy to find that one thing you need, and this book has lots of information an aspiring writer needs. Compared to other books on the same subject, this one stands way above most.

"good, but limited in scope", I read this book because I'm interested in making comic books for fun, and while there was a lot of good stuff here and it was easy to read, there was a lot more that I would have liked to see covered. O'Neil limited his instruction to the traditional super-hero style comic book with lots of action and so forth. While I learned some valuable things about writing, especially from the examples of comic scripts shown in the book, a person like me who'se more interrested in graphic-novel style literature is going to have to go elsewhere for further instruction and advice.

"good stuff", I thought the book was very informative, provided excellent examples, and gave great tips on writing. Many of the writing tips could probably also crossover into other mediums as well. In addition, the book is actually fun to read. If you are thinking about scripting your comic idea, read this book.

"Beyond Comics, This is a GREAT book on the principles of writing!", Whether you write comic books or novels, there are powerful nuggets on the writing process that if applied, you will experience growth in your craft. The book is well organized, easy to read, and easier to digest. This book is a more than a "must read"... it's a "MUST OWN" for ANY writer.

"Best book on writing I've ever read.", I've read about a dozen books on writing and screenwriting, and most have been very helpful, especially J. Michael Straczynski's "The Complete Book of Screenwriting." None of them, however, have just laid it all out like Dennis O'Neil's book. While Straczynski's tome can tell you everything you night ever want to know, O'Neil's book tells what you what you MUST know, and very clearly lays out the basics, without which your story will not work. It's short - and half illustrations at that - but insightful and concise.

It is written specifically for the fast-paced, melodramatic writing style of comics, especially action comics, but it's lessons are useful in any story.

I especially like that it is not about teaching you how to write, but about utilizing tools that will clarify your writing, or help to get you out of a bind.

Read this reviews before You buy...

"A solid introduction, but it leaves you wanting much more", "The DC Comics Guide to Writing Comics" is author by Dennis O'Neil, who wrote some of the classic Green Lantern and Batman stories (usually drawn by Neal Adams). In this volume O'Neil covers the various methods of writing scripts, procedures for developing a story structure, creating well-rounded characters, and more. Although most of what is covered in here is basic to all forms of writing, O'Neil does keep the focus on how these key concepts apply to the writing of comic books. The book is divided into two parts, with an appendix:

Part One: (1) What are Comics? is answered in terms of a comprehensive vocabulary of comic book terms such as speech balloon, story arc, and inker; (2) A Full-Script Versus Plot-First compares the latter, which is the Marvel method developed by Stan Lee, with the former, the traditional approach for writing film and television scripts, with the strengths and weaknesses of each; (3) Story Structure provides a listing of the basic kinds of structure used in comics, including a detailed look at different examples of "The Hook"; (4) Creating Drama looks at the importance of keeping the action going and offers a key distinction between suspense and surprise; (5) Subplots presents the advantages and inherent dangers of subplotting; (6) Characterization spends as much time talking about dialogue and humor as well as about the hero and other characters; and (7) Script Preparation is about the physical act of writing and producing something that can be turned over to an artist (assuming, for the sake of argument, you are not going to do the whole comic book yourself in the spirit of Dave Sims, the early years).

Part Two starts by covering the rules for different types of comic book stories: (1) Miniseries give you a title with a predetermined number of issues, usually between three and six; (2) Graphic Novels are, for want of a better definition, long fictional narratives (sidestepping graphic novel miniseries like "The Dark Knight Returns"); (3) Maxiseries are essentially longer miniseries, like "The Watchmen" or "Crisis on Infinite Earths"; and (4) Ongoing Series, which are the staple of DC Comics and include titles like "Action Comics" and "Batman" that have been published continuously for over 60 years. Basically the same general rules are applied to all of these forms, with a different balance of consideration. The rest of this unit looks at (5) Story Arcs as ways of doing a miniseries in an ongoing series; (6) The Levitz Paradigm for tracking plots and characters over the course of multiple issues; (7) Megaseries, which is O'Neil's newly coined term for stories that cut across multiple titles for the same characters, such as Batman's "No Man's Land"; (8) Adaptations, which in this case applies not to turning great works of literature into comic books but rather adapting Batman movies back into the comic books that inspired them; (9) Continuity, or rather three types of continuity; and (10) Denouement, which is O'Neil's final pat on the back to his readers.

The Appendix has Mark Evanier's thoughts on "Writing Humor Comics," and a list of suggestions for the Comic Book Writer's Library. Overall, the book is much more descriptive than anything else, which ends up being both its strength and its weakness. Still, O'Neil does try to crystallize his thoughts into specific rules whenever possible. If anything, O'Neil is guilty of trying to cover too much and sacrificing, to some degree, depth for breadth. Throughout "The DC Comics Guide to Writing Comics" the best examples are when O'Neil can go into detail (especially if it is regards to a comic we have actually read). The book is illustrated with examples from comics throughout DC's history, but the best examples are rough or finished pages paired up with the pages written up for the artist by the writer. This is where we get our best sense of how comic books are written and produced in the real world.

The companion volume to this work, "The DC Comics Guide to Pencilling Comics," is written by Klaus Janson. There is actually a minimum of overlap between these two volumes, which offer a complimentary approach to the creation of comic books. These two DC volumes are worthy additions to the limited library that every aspiring comic book writer/artist should own, which would include Will Eisner's "Comics and Sequential Art" and "Graphic Storytelling," Scott McCloud's "Understanding Comics" and "Reinventing Comics," and even John Buscema's "How to Draw Comics the Marvel Way."

"Add This to the Reference Shelf!", This is one of the best references a writer interested in the field should own. I'm currently working on a script to submit to a publisher. Already it helped me avoid a couple of the common pitfalls. The author provides excellent insight reinforced with illustrations on writing for the genre.

"Nixx Pixx Tixx on Kixx Flixx Chixx", This book, written by legendary comics writer/editor Dennis O'Neil, is the first in a series of 'how to' books being released by DC comics. The fact that DC recently decided to suspend their policy of accepting unsolicited writing and art submissions seems to contradict the encouragement of these guides, however. Still, the information provided by Mr. O'Neil is valuable nonetheless, in that it collects, in an organized manner, all the basics for a solid foundation in comics writing. Even so, the insights are not anything particularly new, especially if you have any previous writing education. But, it is the organization of these simple facts 'all in one place' and by such a knowledgeable pro like Denny O'Neil that I feel may add a bit of confident relief to any aspiring writer. I would recommend it at least on the grounds of it's technical accuracy and the 'official' tone it carries as being published by an actual giant of a comics publishers such as DC. Please note, however, that although I have read the book, I am completely full of (...).

"The best how to writing comic books I ever read.", Maybe many people will think this book is concern about just to DC characters fans, WRONG!!!!The writing of the scripts are superb and each one of them could be use for any comic book writer for any super hero of their own. I find this book invaluable for the comic book writer. Thanks a lot DENNIS O'NEIL.

"Very helpful, but I did expect more.", When I saw this book, I thought it would be a great way to pick up some tips ... and it was, but not as many as I had hoped for. It's great for beginners, but for anyone who has been at this a while (like myself), it seems pretty dumbed down. Another bad thing is that I expected a book and I got what looks like a trade paperback comic. It's fun to read, but I just think there is more to be said. This book focuses more on format & structure than content. And even at that, O'Neil (an outstanding writer) spends half his time saying how there are more than one ways to do anything, and this way may not be the right way for you. HOWEVER, I was able to get a few useful tips and pointers from its 128 pages. Personally I feel that if you can get JUST ONE useful tip from it, then it's worth the .... And I did get several, so I'm happy with it. But don't look for writing tips on how to make compelling characters (there is a breif bit about it, but not much). This book is more about style and format. But at the end of the day, I would certainly recommend this book to anyone who wants to write comics. Format & structure are very important. As I said, if you can get just one tip from it, you've got your money's worth!