Short Notes on Long Comics: 10 Great Examples of Story Structure in Graphic Novels

SHORT NOTES ON LONG COMICS

10 Great Examples of Story Structure in Graphic Novels

by

TIM STOUT

Copyright © Tim Stout 2010

The views and opinions expressed in this book are those of the author and do not necessarily reflect the views, opinions or positions of the authors, illustrators or publishers discussed. This book contains copyrighted material, the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to advance understanding of cultural issues pertaining to academic research. We believe this constitutes a ‘fair use’ of any such copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, this book is sold to those who have expressed a prior interest in receiving the included in-formation for research and educational purposes.

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TABLE OF CONTENTS

Introduction

Spoiler Warning

Chapter One: Batman: Year One

Chapter Two: Blankets

Chapter Three: American Born Chinese

Chapter Four: Three Shadows

Chapter Five: Stitches

Chapter Six: Night Fisher

Chapter Seven: Maus

Chapter Eight: It Rhymes with Lust

Chapter Nine: Hellboy

Chapter Ten: Amulet Book One: The Stonekeeper

Appendix

Bibliography

Acknowledgments

About the Author

Introduction

How many projects have you stopped working on because you didn’t know what happens next?

How many times have you stopped reading a story or watching a movie because “it wasn’t going anywhere?”

These are signs of problems within the story’s structure.

Three-act story structure is like a road map. When you get lost along the way, unsure of how you ended up where you are in your story, thinking you may have taken a wrong turn, three-act story structure prompts you to find your way again. It helps you (and later, your reader) reach your destination: THE END.

But as a graphic artist, why do you need story structure? Why can’t you just draw what you want to draw?

You can. That approach has produced some stellar work. But as you will see in this book, storytellers that utilize the strengths of three-act story structure — whether they intended to do so or not — have produced amazing graphic novels, some of which have been in print for over 20 years!

Collected from timstout.wordpress.com, this book will show you how three-act story structure is used in 10 of the most popular graphic novels on the market. From their example, you can learn how to structure your own story when you feel like you’ve lost your way.

Spoiler Warning!

What follows are the plot structures of many popular and critically acclaimed graphic novels.

I have used the plot template “Blake Snyder’s Beat Sheet” from the book Save the Cat as the basis for the breakdown.

For an explanation of each “beat” please refer to an explanation of “Blake Snyder’s Beat Sheet” in the Appendix.

Note: I use a screenwriting template to discuss graphic novels in this book because templates are for plots, regardless of medium.

“Blake Snyder’s Beat Sheet” is the clearest and most accessible template that I have come across, and like The Hero’s Journey or Shakespeare’s 5-Act Structure, or any other template available to us writers, it is a tool for analyzing plots in novels, films, television shows, short stories, plays, and, yes, graphic novels.

Let’s see what this tool can teach us.

Batman: Year One

Love stories and cops go together like bacon and eggs: Lethal Weapon, 48 Hrs., Rush Hour, Tango & Cash, Turner & Hooch, Bad Boys, Hot Fuzz… The “Buddy Cop” story is a genre all its own, and Batman: Year One is in the Top 10!

Lt. Gordon is new to the hellhole that is Gotham City. To be a good cop in this town, he’ll need help; he’ll need a friend. His worst choice for a partner — the masked vigilante, Batman — may be his best.

If you’re hoping to write a “buddy” graphic novel, Batman: Year One, written by Frank Miller and drawn by David Mazzucchelli, is a great example to learn from.

BATMAN: YEAR ONE STORY STRUCTURE

Premise: Batman: Year One is a buddy cop story about Lt. Jim Gordon, a clean cop in a dirty city who must fight the corruption on his own — risking his life and the lives of his family — or partner with Gotham’s menace to society, Batman.

Opening Image: Jim Gordon sits alone in a crowd with a concerned expression on his face; he’s not looking forward to his new job in Gotham. He wants out of the filth, while Bruce Wayne, alone in his private jet, wants in.

Theme Stated: Gordon meets Commissioner Loeb – the most corrupt cop on the force – who tells Gordon to be a team player. This story is about choosing sides. Which team will Gordon play for?

Set Up: Answer: his own. When his assigned partner, Flass, attacks a street kid for no reason, Gordon silently prepares to take down Gotham’s crooked cops. Gordon has brought dirty cops down before, but he made his share of mistakes. He can’t afford mistakes this time, especially with his wife, Barbara, pregnant. Meanwhile, Bruce also prepares for battle, training his fighting moves, but he, too, isn’t ready. He says, “…something’s missing.”

Catalyst: A month passes and Gordon has been a good cop, much to the dismay of his corrupted co-workers. Late one night, Gordon’s “team” (including Flass) jumps him, threatening him to play ball. Gordon will have to do something to survive on his own.

Debate: But can Bruce and Gordon make it alone? Bruce picks a fight with a pimp, which goes horribly wrong, while Gordon comprises his ethics by attacking Flass, playing dirty to stay clean.

Choosing Act Two: Thanks to Flass, Gordon now has what it takes to survive as a cop for Gotham: the determination to constantly go against the grain of his “team” and develop leverage to keep them under control. But how long can he last on his own? Meanwhile, Bruce also decides to jump into the fray on his own, as Batman.

B Story: Alone in the fight and with a baby on the way, Gordon feels the weight of a city without hope (or so he assumes). Who could restore hope to Gotham and Gordon? We see a wordless panel of Batman silhouetted against the night sky.

Fun n’ Games (Promise of the Premise): The first time we see Batman in action. He’s an amateur, making mistakes, but he is working, and people are taking notice. When Batman crashes a high society party for Gotham’s most corrupt he can no longer be ignored. Gordon is put on the case of catching Batman (the relationship between Gordon and Batman is building).

Midpoint: Their relationship develops further when Batman is wrongly accused of attacking Gordon’s partner, Detective Essen. The corrupt officers use it as an excuse to kill Batman but Gordon decides to not provide backup for the overzealous officers, thus enabling Batman to whoop ‘em silly.

Bad Guys Close In: Bruce goes abroad to recover from the fight. While he’s away, Gordon grows less interested in finding the identity of Batman and more interested in Essen.

All is Lost (& Whiff of Death): Sitting on the edge of his bed, in the dark, holding a gun (a hint at suicide, perhaps?) with Barbara asleep beside him, Gordon tries to not think about Essen and Batman. But how can he keep going alone?

Dark Night of the Soul: Gordon tries to break it off with Essen without much success while Batman gives him a chance at bringing down Flass and Loeb. But when Loeb threatens Gordon with blackmail about his relationship with Essen, he has to make a choice.

Choosing Act Three: After interviewing Bruce Wayne as the possible secret identity of Batman, Gordon makes his choice. He tells Barbara about his affair with Essen. Like Batman, Gordon won’t be a team player for the corrupt.

Finale: With the trial against Flass and Loeb nearing, the corrupt attack Gordon where it hurts: his family. They kidnap his son but they don’t get far: Gordon is close behind, as is Batman (as Bruce). There’s a final showdown on a bridge and Bruce saves Gordon’s son from plunging to his death. Gordon thanks him by “forgetting” Bruce/Batman’s face. They are now partners for Gotham.

Final Image: The trial goes forth, bringing Flass and Loeb down. Gordon is promoted and he and Barbara are seeing a counselor, but Gotham is in a panic due to The Joker. Good thing help is on the way: Gordon’s teammate and friend, Batman. The story ends with Gordon smiling (opposite from the beginning).

THE END

Blankets

People are surprised when I tell them that Blankets, by Craig Thompson, is not a love story. There is a love story in Blankets, but it is not the primary focus.

The main plot is a rite of passage story about a young boy losing his faith in Christianity as he matures into an adult. The love story between Craig and Raina is used like the love stories in the majority of films and novels: as a subplot and the vessel for the theme (individuality).

Even though the love story is given a lot of attention, Blankets is an excellent example of a rite of passage in three acts.

BLANKETS STORY STRUCTURE

Premise: Blankets is a rite of passage about Craig Thompson, a Christian teenager, who struggles against the advice of his religious authorities and upbringing to accept himself as an individual.

Opening Image: A pure white bed against a dark background. Shadows from the window form bars across the bed sheets. Craig, as a child, is “trapped.”

Theme Stated: Craig and his younger brother complain and question why they have to share a bed. Their father yells, “Don’t question your parent’s authority!” Otherwise you get put into the “cubby hole,” a child’s version of Hell. Thus, rebellion and non-conformity leads to damnation. Craig’s individuality is sinful!

Set-up: Craig’s world is full of bullies, overbearing parents, condemning teachers and shame. He is sexually abused by his babysitter and fails to protect his brother from the same abuse. His authorities even convince him that drawing, his only escape, is sinful too. He feels he is already trapped in Hell and the only way out is Heaven.

Catalyst: Intent on entering Heaven, a teenage Craig commits his life to God by burning all his drawings. He burns every distraction to prove he is a loyal, obedient, pure follower. Soon after, he meets Raina on a Christian youth field trip.

Debate: Can he, a human, be pure? Craig succumbs to peer pressure when chided about reading his Bible, he runs when Raina’s friends try to make him smoke pot, and he doesn’t join the masses in singing to Jesus because he can’t sing. His quest for purity isn’t going well, except when he is with Raina. With her, he is sweet and fun.

Choosing Act Two: After being separated from Raina, Craig goes looking for her. A stereotypical Christian asks him if he is “lost.” Craig responds, “I’m not,” rejecting the Christian to be with Raina.

B Story: Craig finds her in hiding. Together, they forge their own space hidden away from the crowds and discuss the legitimacy of their Christian practices. Raina shares her opinions about spirituality with Craig and tells him what she considers truly sacred. Craig is inspired by her individuality.

Fun n’ Games (Promise of the Premise): Craig and Raina’s relationship blossoms. They exchange love letters and Craig convinces his parents to let him visit her for two whole weeks. There, in her world, he finds new forms of purity: Raina’s gift of a hand-made quilted blanket (Craig calls it “sacred”), fresh falling snow, Raina’s kisses, and even Raina herself. Craig also finds a new form of impurity: failing Christian marriages. Craig’s doubts in the Christian doctrine grow.

Midpoint: Craig sleeps next to Raina for the first time. He wonders if he should feel guilty, but he doesn’t. He feels as “pure as snow.” Things are going great.

Bad Guys Close In: Craig begins to rely on Raina to feel okay about himself, and Raina gives him mixed messages: keeping him at a distance, afraid of getting too attached if they’re just going to break up, while also telling him that she needs him. Craig wonders if they are using each other.

All is Lost (& Whiff of Death): A few days later Craig leaves for home. He and Raina say goodbye. They say they’ll stay together but when Raina drives away Craig’s feelings are shown as she falls off the face of the earth into nowhere. Later, the blankets of snow on the ground begin to thaw.

Dark Night of the Soul: Craig tries to keep their romantic relationship going but Raina just wants to be friends. He tries to be friends but his heart is not in it. His heart is no longer in his faith either. Eventually, Craig says goodbye to Raina and burns his mementos of her, except the blanket.

Choosing Act Three: Keeping the blanket, Craig disobeys the advice of his Christian authorities by attending art school. He eventually stops going to church all together, preferring to seek an individual idea of spirituality like Raina did.

Finale: As time passes, he gradually learns to accept his doubts and appreciate his lot in life, however flawed.

Final Image: An adult Craig, out in the open winter air, now free from confinement, looks up to the sky as pure snow begins to fall. He has escaped his hellish adolescence.

THE END

American Born Chinese

Should I be an individual or part of the group? Should I stand alone against the majority? Am I crazy for seeing that the Emperor has no clothes, or are they crazy for not seeing it?

This battle between individuality and conformity is very common in us all and we have plenty of stories to show for it: The Godfather, One Flew Over the Cuckoo’s Nest, American Beauty, Glengarry Glen Ross, Office Space…

Often, you can tell you’ve got this type of story by ensemble casts and multiple stories about one theme or topic, like: Ragtime, Robert Altman films, Boogie Nights, and… American Born Chinese.

American Born Chinese, by Gene Luen Yang, consists of three stories, all of which are about socially fitting in, and how far one will go in order to be part of the group: The Monkey King is a deity who gets no respect from the other gods just because he’s a monkey, Jin is a normal kid but he’s Chinese in a white American culture, and Danny is a cool white kid who could fit in if it wasn’t for his embarrassing Chinese stereotype cousin, Chin-Kee.

If you’re hoping to write a graphic novel of multiple stories combined into a single narrative, American Born Chinese is a great example to learn from.

AMERICAN BORN CHINESE STORY STRUCTURE

Premise: American Born Chinese consists of three stories about wanting to fit in and how far one will go to in order to be part of the group.

Monkey King Part 1

Opening Image: A party of gods and goddesses.

Set-up: We are introduced to the Monkey King, a deity, who wants to go to the party but he’s not allowed in. Why?

Theme Stated: Because he’s a monkey (and he doesn’t have any shoes on). Everyone at the party laughs at him. He is an outsider due to his “shameful” race.

Catalyst: Thoroughly embarrassed, the Monkey King wrecks havoc on the party by beating everyone to a pulp and then returns home, intent on changing himself (somehow).

Jin Part 1

Opening Image: Jin, a young Chinese boy, sits in the backseat of a his parent’s car, playing with a Transformer toy, crying.

Set-up: He and his parents are moving to a new town. He will have to leave his friends and start over.

Theme Stated: An old woman asks Jin what he wants to be when he grows up. Jin holds up his toy and says, “a Transformer,” though his mom has told him he can’t grow up to be a robot. The old woman says he can become anything, if he’s willing to forfeit his soul.

Catalyst: Jin attends a new school where he is one of two Asians students. He has no friends and is an outsider due to his “shameful” race until Wei-Chen, another Chinese boy, transfers to the school a year later. They become friends through their mutual interest in Transformers.

Danny Part 1

Opening Image: A title card that reads “Everyone Ruvs Chin-Kee” with a stereotypical Chinese face. Clap clap claps are spread across the bottom panel border (parodying sitcom audience members).

Set-up: Danny and Melanie are studying chemistry. Danny, an attractive white teenager, is about to ask Melanie, another attractive white teenager, out on a date when his cousin Chin-Kee arrives for a surprise visit.

Theme Stated: Chin-Kee, with his stereotypical appearance, speech and behavior, is an embodiment of the theme.

Catalyst: Chin-Kee will be going to school with him the next day, much to Danny’s dismay and the sitcom audience’s delight.

Monkey King Part 2

Debate: As the Monkey King trains in kung fu — learning how to alter his appearance — the other monkeys struggle with his decree that they all must wear shoes from now on. How far will this go?

Choosing Act Two: The Monkey King is given a letter telling him he will be executed for trespassing at the party. Nonsense, because he is no longer the Monkey King, he has renamed himself “The Great Sage, Equal of Heaven” and leaves to inform Heaven of his equality to them.

Fun n’ Games (Promise of the Premise): The “Great Sage” meets with a number of gods and each one needs convincing that he is their equal. After beating the tar out of them, he still hasn’t earned their respect.

B Story: God intervenes. He tells the “Great Sage” to stop all this nonsense and be what he was meant to be: a monkey.

Midpoint: The “Great Sage” refuses and God traps him under a pile of rock, where he stays for over 500 years.

Jin Part 2

Debate: Jin likes a girl in his class, Amelia. He wants to ask her out.

Choosing Act Two: But after seeing Amelia talk with Greg — a cool white guy with curly hair — he chickens out.

Fun n’ Games (Promise of the Premise): Jin perms his hair to imitate Greg’s appearance. He looks ridiculous, but he feels more confident.

B Story: Wei-Chen tells Amelia what a good friend Jin has been to him saying, “[Jin] has a good soul.”

Midpoint: With his newfound confidence in his hair and with Wei-Chen’s help, Jin asks Amelia out on a date. She says, “yes.”

Danny Part 2

Debate: Danny arrives at school late, so that no one can see him with and Chin-Kee in tow.

Choosing Act Two: Danny tries to keep Chin-Kee under control, but to no avail. Everyone notices him.

B Story: A teacher tells Danny’s class that it would behoove them all to be a little more like Chin-Kee.

Fun n’ Games (Promise of the Premise): A montage of Chin-Kee in Danny’s classes acting like the awful stereotype that he is, ruining Danny’s reputation. Even Melanie turns him down.

Midpoint: Danny tells Steve, a friend of his from the basketball team, that this happens every year: Chin-Kee visits, ruins his reputation and he has to find another school to fit in. He’s trapped.

Monkey King Part 3

Bad Guys Close In: God chooses a monk for a quest. He must gather disciplines, one of which is the Monkey King. The monk finds the Monkey King still under the pile of rocks, and after debating with the him about his ability to free himself if only he turned back into a monkey, the monk tells him “with me dies your last chance at freedom.”

All is Lost (& Whiff of Death): At that moment, a pair of demons attack the monk. He is injured and put on a roasting spit. They intend to eat him.

Dark Night of the Soul: Not wanting to see the monk die, the Monkey King relents and returns to his true form.

Choosing Act Three: He attacks the demons and frees the monk. Together, they continue on God’s quest (without shoes).

Jin Part 3

Bad Guys Close In: With Wei-Chen’s help, Jin goes on a date with Amelia. It goes well. He’s happy. That is, until Greg asks Jin to stop dating Amelia. He’s trying to look out for her reputation and Jin would ruin it. Intimidated, Jin agrees. Later, Jin kicks himself for agreeing and works up the courage to talk to Amelia again, but Greg is already there, talking with her. All his confidence shatters.

All is Lost (& Whiff of Death): Feeling down, Jin kisses Wei-Chen’s girlfriend. Wei-Chen confronts Jin and Jin takes his Greg-aggression out on Wei-Chen, calling him a worthless F.O.B. (Fresh Off the Boat), thus ending their friendship.

Dark Night of the Soul: That night, Jin convinces himself he was right to do what he did and dreams of the old woman from before. By forfeiting his soul, he transforms into Danny. Jin is Danny.

Danny Part 3

Bad Guys Close In: Danny enters the school library, where Chin-Kee is making an embarrassing scene, singing “She Bangs.” Danny yells at Chin-Kee, telling him to go away. Chin-Kee won’t.

All is Lost (& Whiff of Death): Danny, in desperation and hate, punches Chin-Kee and Chin-Kee fights back with stereotype-laden kung fu. He tells Danny he will visit him every year, forever. Furious, Danny punches him once more, knocking his head off, literally!

Dark Night of the Soul: It was a mask. The Monkey King was Chin-Kee all along. The Monkey King transforms Danny back into Jin and they talk about Wei-Chen: he is the Monkey King’s son and turned his back on being an emissary to mankind when Jin broke his heart.

Choosing Act Three: What to do? The Monkey King tells Jin he wouldn’t have spent 500 years under a pile of rocks if only he had noticed how great it is to be a monkey. With that, he gives Jin the business card of a Chinese diner and leaves.

Finale: Jin visits the diner and waits until Wei-Chen arrives. He tells Wei-Chen he’s sorry and they make amends.

Final Image: Jin and Wei-Chen are talking and laughing at the Chinese diner. They are friends again and happy to be themselves.

THE END

Three Shadows

How far would you go to save your child? Across land and ocean? To the ends of the world and back again? Would you sacrifice everything, even yourself?

How far would you go?

“How far would you go?” is what journey stories are about. Whether it is a story about an underdog sports team (Bad News Bears, Slap Shot, Rocky), a person dealing with addiction (Ray, Walk the Line), or a road trip (Thelma & Louise, Lord of the Rings, Finding Nemo, The Odyssey), each story is about a character struggling to get from point A to point B whereupon they intend to earn a prize.

They may not achieve that prize, but that’s not necessarily a bad thing. Sometimes it takes trying to get something and failing in order to learn what’s truly important.

Typically, these stories encourage their characters (and us readers) to take the challenge and “go the distance.” But is “going the distance” always a good thing?

Three Shadows by Cyril Pedrosa explores that question. Based on the tragedy experienced by a close friend, Pedrosa presents a beautiful and ultimately optimistic graphic novel story, full of adventure, unique characters, and magic.

THREE SHADOWS STORY STRUCTURE

Premise: Three Shadows follows a father and son as they try to escape from three shadowed figures and the certain death they will bring.

Opening Image: Louis and Joachim (father and son) plant a sapling in their orchard. For them, life is simple and blissful.

Theme Stated: Isolated, safe and as the narration points out, “Ignorant of the world…and untroubled,” they and Lise (Joachim’s mother) live on an Eden-like spread of land. As a smiling family they work in the fields, skinny dip in the pond, and watch the sun set.

Set-up: One night, Joachim sees three shadowed figures on a nearby hillside. As the family debates what to do, Louis shows his first signs of willful ignorance by logically assuming that the figures must be traveling passersby; the family should just ignore their eerie presence. The next morning, their Eden-like land starts to get eerie as well. Fast-moving fog fills the air, the weather grows chilly and their family dog, Diego, runs away.

Catalyst: The shadows are getting closer to the house, frightening Joachim and Lise. No longer able to ignore their presence, Louis goes out to confront them. But once he’s out there, the shadows seem to disappear into the fog. Wary, Louis begins his fight to protect Joachim by warning him to not go anywhere alone.

Debate: Something must be done about the shadows, but what? Louis tries to guard the house, but there’s only so much he can do. With the shadows creeping nearer, even using the ghost of Diego to lure Joachim outside, Lise can’t sit and wait any longer.

Choosing Act Two: One morning, Louis wakes up to find a note from Lise saying that “fear and anger won’t protect Joachim,” so she has gone to town to see Mistress Pike, a seer, for advice.

B Story: From Mistress Pike, Lise learns that the shadows are not people, but rather mystical “things.” They have come for Joachim, and they will succeed. There is no use fighting it. It is inevitable as fate. No longer ignorant about their situation, Lise returns to Louis saying they should just make the most of each moment they have left with Joachim. But Louis refuses to listen. Maintaining his willful ignorance, he chooses to run. Lise cannot persuade him and lets him leave, praying they won’t lose their marriage as well as their son.

Fun n’ Games (Promise of the Premise): Louis takes Joachim in his arms and together they hope to outrun the shadows. Keeping to the forest, they run until they reach water and must take a boat. On the boat, they meet a number of colorful characters: a nice elderly couple, a slave trader and the African slave he hopes to sell, the boatswain, the captain, a palm reader, etcetera. Unintentionally, Louis makes enemies with the slave and the palm reader.

Midpoint: Bedding down for the night, Joachim asks Louis if they’ve beaten the shadows; he wants to go home. Louis assures Joachim they will return home “when it’s safe,” uncertain of when that will be. How long can they keep running?

Bad Guys Close In: During the night, the palm reader and her two henchmen murder the slave trader (in revenge for injuries he gave her). Half dreaming, Louis witnesses the act and thinks he sees the three shadows. The next day, Louis is framed for the murder (by the palm reader and the slave) and sent to the brig.

All is Lost (& Whiff of Death): As a storm brews and tears the ship apart, Louis remembers witnessing the murder and thinks he brought the three shadows upon the boat (“I killed us all”). As the ship sinks, Louis and Joachim escape, leaping into the stormy water and the three shadows appear on the sinking ship’s mast. They have caught up and they’re close.

A Note to Writers: The boat trip is where things get a little drawn out (no pun intended) and the story slows down.

The point of having the murder in the plot is so Louis confuses the murderers for the shadows and thinks the shadows have followed him and Joachim, thus resulting in guilt for bringing death to everyone on the boat. But, once the ship sinks, we see that the shadows actually are there, so…

Why have the murder?

Why introduce a whole slew of new characters and their plot to frame Louis in order for Louis to think he sees the shadows instead of actually just seeing the shadows?

Why not have Louis make a bunch of friends on board so when the three shadows appear (perhaps brought on by his and Joachim’s presence, perhaps not) and kill all his new friends, he feels even more guilty for pursuing this desperate attempt to hold on to his ignorance in the first place?

The murder is interesting but ultimately unnecessary drama. Cut to the chase — in this case the literal chase — between Louis and the shadows.

Dark Night of the Soul: Louis wakes up, sick and weary, in the hut of a peasant man. There were no other survivors from the shipwreck and Louis, plagued by guilt, realizes the futility of running. He wants to return to Lise and spend what little time he has left with Joachim at home.

Choosing Act Three: The peasant offers him one last chance to hold on to his ignorance and protect Joachim from death: all the power necessary to save Joachim for… Louis’ soul. Tempted, Louis agrees and becomes a giant, powerful, mad shell of a man. Wandering the land, Louis protects Joachim within his closed fist, not letting him die while also not really letting him live.

Finale: He is like that for a limited yet timeless period raging war upon the world, until he tires and falls, exhausted by the constant battle. As Louis sleeps, Joachim emerges from his captivity and is immediately met by the three shadows (appearing as three lovely sisters). Joachim is ready to go but first there is something they must do. The three shadows retrieve Louis’ soul from the devilish peasant and Joachim is able to return his father’s soul while saying goodbye. Somehow, as if by a dream, Louis returns home to Lise’s embrace. The arduous journey is over.

Final Image: In an epilogue, their land has returned to an Eden-like state. Time has passed and Louis and Lise now have two daughters. They will always have heart-aching memories, but overall, things are good and they intend to make the most of summer.

THE END

Stitches

In rite of passage stories, the protagonist’s goal is to ignore a difficult truth about their life, which is plain as the nose on their face. Or, in the case of David Small in his critically acclaimed graphic memoir, Stitches, the lump on his neck.

Why do they ignore the truth? Because facing it would require a change they are afraid to make. It’s scary, and maybe if they ignore it, it’ll just go away. Unfortunately, (unless it’s a tragedy) that is never the case, and the protagonist must mature to bear the pains that come with growth.

For young David, facing the truth that led to his throat cancer and the removal of a vocal chord (thus rendering him mute) would mean separation from his family. It would result in a scary situation for any adolescent, but it’s what he must do to survive.

In this harrowing yet ultimately hopeful graphic novel, Small presents the trials and tribulations of his childhood circumstances, and the courage it took to set out on his own.

STITCHES STORY STRUCTURE

Premise: Stitches is a rite of passage memoir about David Small, a boy who realizes his parents have given him throat cancer.

Opening Image: David, at the age of six, draws a white rabbit in the family room, while in the kitchen his mother expresses an unspoken rage through her “little cough,” slamming the cabinet doors, moving her dinner fork just so, etcetera. This story will be about pregnant silence.

Set-up: Each family member deals with pregnant silence in their own way: David’s father punches a speed bag, his brother bangs on his drums, and David, already a sickly child due to sinus issues, feigns illness. By being sick, his mother nurtures him, but he also must endure his father’s therapy. David’s father is a radiologist and — in compliance with the medical opinions of the time — tries to cure David’s sinus issues with x-rays.

Theme Stated: One day, while at his father’s hospital, David ventures on his own. As he slides across fleshly-waxed floors in his socks — something he has been told not to do — David spies a fetus preserved in a jar (this will come to represent the Theme). Frightened, he runs away, leaving his shoes behind. The loss of his shoes and his rebellious actions result in his mother’s silent fury. David learns that it is very wrong to disobey.

Catalyst: David’s brother shows David a picture of a “growth” in one of their father’s medical books (foreshadowing what will come). Uninterested in disgusting pictures of growths, David prefers to escape reality through drawing and playing Alice in Wonderland.

Debate: But can David truly escape his reality? As David and his mother travel to visit his crazy and sinister grandmother, we are introduced to David’s bunch-of-nut-jobs family tree. Can David escape the reality of his family? Can he be different?

Choosing Act Two: Alone with his grandmother, six-year-old David stands up to her putdowns and bullying. This results in a physically abusive punishment.

B Story: When his mother doesn’t stand up for him against his grandmother, David assumes he deserved the outlandish punishment. That night, he dreams that his family has placed him in a coffin. Standing over his body, Grandma calls him a fool and says, “He needed to learn” (Theme: Obedience).

Fun n’ Games (Promise of the Premise): Five years later, a growth is noticed on David’s neck. Claiming they have no money to offer David medical attention, his mother proceeds to go on a shopping spree, buying things for herself instead. David remains quietly obedient, while his silence grows heavy with anger. He even imagines the lump on his neck is pregnant with the fetus (his urge to disobey is growing).

Midpoint: Three years later, David is finally in a hospital. But during the surgery, they find his growth has become cancerous. He wakes to find he can no longer speak. They had to remove a vocal chord. “Ack!” is all he can say, now. Quiet anger is no longer a choice.

Bad Guys Close In: Voiceless, with grotesque stitches, no friends at school, no outlet and continued criticisms at home, David grows desperate for an escape, “screaming on the inside.” He lashes out by stealing a car and by running away from boarding school. Even when he tries to talk about his cancer (or whisper, as his one remaining vocal chord grows stronger), his parents shut the door, refusing to discuss it.

All is Lost (& Whiff of Death): Due to his behavior, it is advised that David go to see a therapist, who is represented as a human-sized, pocket-watch-toting white rabbit. During the sessions, the white rabbit allows David to finally talk about his anger and provides David with the truth he has ignored for his entire life. “[David,] your mother doesn’t love you.” David cries.

Dark Night of the Soul: David’s tears turn to rain. It rains for a number of page spreads as David mourns until there are no more tears to shed.

Choosing Act Three: David meets with the white rabbit several times a week, cared for and protected by an adult for the first time. Over the course of a year, he is able to “escape down the rabbit hole to healing” while his family falls apart…

Finale: David arrives home early one afternoon and catches his mother in bed with a woman (her secret shame is revealed). Meanwhile, his grandmother loses her mind and burns her husband alive. Later, David’s father admits that the x-rays he used on David during his childhood gave David cancer (but he’s not interested in making amends). After all this, David moves away at the age of sixteen to find a haven at art school. Gradually, he makes a life for himself, returning home only once to see his mother before she dies. At the hospital, they share a silent moment (of forgiveness?) before David leaves once again, stopping by the fetus in the jar on his way out. It is no longer scary.

Final Image: In an epilogue, David describes a dream he had. In the dream, his mother requests that he follow in her footsteps and in the footsteps of his grandmother. He refuses.

THE END

Night Fisher

At one point or another we’ve all held on to something for too long.

In R. Kikuo Johnson’s graphic novel, Night Fisher, Loren Foster holds on to a relationship with his childhood best friend, even though by the age of eighteen they have become two very different people.

Instead of letting go of the relationship and being true to himself, Loren conforms his boy scout nature to a lifestyle of drugs and criminal behavior. It will take a rite of passage in three-acts to open his eyes.

NIGHT FISHER STORY STRUCTURE

Premise: Night Fisher is a rite of passage story about a teenage boy in Hawaii who starts smoking meth to maintain a friendship with his best friend.

Opening Image: While night fishing in ocean waters, alone, the protagonist, Loren Foster, reads a textbook on the evolution of Hawaiian geology. This story will be about evolution: who or what we are gradually allowing ourselves to be.

Set-up: The next morning, Loren returns to his Hawaiian home where his father is tending to their front yard (which is overrun with weeds). We learn that their house is very expensive and his father has become a workaholic to afford it, putting a strain on their already distant relationship. They share a surface-level chat about fishing, yard work, and the Bowline knot — which Loren does not know how to tie — until Loren’s dad asks about Loren’s best friend, Shane. Shane was supposed to join Loren in fishing but didn’t show. Did they have a falling out? Loren ignores the question.

Theme Stated: A smalltime pot dealer at Loren’s prep school, Jem, informs Loren that Shane has been smoking meth and keeping it a secret (Loren is too much of a boy scout for Shane to tell him). Ashamed of his good boy nature, Loren “redecorates” his room, removing his childhood posters of superheroes while admitting to the reader that he is always “playing catch up” with Shane.

Catalyst: Shane calls Loren and invites him to smoke meth. Loren jumps at the chance to catch up.

Debate: But can Loren “grow up” enough to salvage their failing friendship? They drive to a rundown shack in a remote part of the island. Loren meets Shane’s smoking buddies and joins them in a meth purchase. Loren’s good boy nature peeks through a couple of times, but he stays the course.

Choosing Act Two: He smokes meth with Shane and Shane’s buddies.

B Story: As the high subsides, Loren chats with Shane and his buddies. Loren tries to impress them (especially Shane) by spreading the sexual rumor about him and a girl named Lacey, which isn’t true, and labeling all the kids at his prep school as “fake” (which he isn’t, of course). Neither attempt is successful; pretending to be someone else isn’t working. He also tries to tie a Bowline knot and can’t. Loren is book smart but unwise about the world.

Fun n’ Games (Promise of the Premise): Loren has a good time pretending to be a bad boy with Shane and his buddies. He accompanies them as they steal things for drug money and gets high with them, shirking his school responsibilities.

Midpoint: Loren and Shane go out by themselves one night. They talk about going to college abroad and how so many Hawaiians are leaving the island. Shane says he doesn’t want to leave. They sneak into a hotel to drink rum and swim in the pool together. They are friends again. Looks like Loren’s conformity worked… but not for long.

Bad Guys Close In: The problems Loren has been ignoring begin to build: he still hasn’t spoken to Lacey since the rumor started, his relationship with his dad is still distant, and Shane is still keeping secrets from him (Jem has been accused of stealing science scales from the school, but Shane is the real culprit).

All is Lost (& Whiff of Death): To make matters worse, Loren participates in his first theft for drug money (he’s no longer pretending; he’s an official bad boy). At the same time, Jem, overwhelmed by the criminal accusations against him, kills a man. In his getaway, Jem drives past Loren and the guys, and the cops mistake their car for Jem’s. Pulled over, the cops find the stolen gear and arrest them all.

Dark Night of the Soul: Loren’s dad picks him up from the police station. He asks why Loren has been behaving so badly. He doesn’t have a good answer.

Choosing Act Three: The next morning, Loren walks through a flea market. He sees many different types of people, not just native Hawaiians. He’s been studying Hawaiian geology and the harsh affects of human behavior on its natural evolution, but it’s not just in the books. Loren stops to touch and smell a piece of fruit. He, too, is changing, for better or worse.

Finale: Later, Loren finally talks with Lacey — the conversation is rough but at least he’s bridging the gap — and learns that Shane was accepted into MIT in Boston. Shane will be leaving Hawaii and didn’t tell Loren. In gym class, jogging, Loren catches up to Shane and tries to congratulate him on MIT, but Shane’s responses are short and curt. He runs ahead, leaving Loren behind. Loren stops running.

Final Image: Loren lies down in the weeds, done with chasing after Shane. The weeds grow tall around him — Hawaii’s evolution continues — and so does Loren’s, for better or worse.

THE END

Maus

Love stories between a man and a woman, between two friends, or between a father and son are always about two people who care for each other and yet encounter a difficulty that keeps them apart.

That difficulty could be many things, like the idea that they are just friends (When Harry Met Sally), or that college is on the horizon and they don’t want to admit that it’ll hurt to be separated (Superbad), or in the case of Maus, that getting intimate means actually dealing with the parts we don’t like about each other.

The majority of Maus documents Vladek’s inspiring experiences in the Holocaust but at the heart of the story, the spine of it all, is the struggling relationship between a father and son.

If you’re hoping to write a tragic love story graphic novel, Maus, by Art Spiegelman, is a great example to learn from.

MAUS STORY STRUCTURE

Premise: Maus is a tragic love story about Art, a New York cartoonist, who tries to have a relationship with his father, Vladek, by documenting Vladek’s experiences during the Holocaust.

Part I

Opening Image: Maus begins with a prologue about friendship. Art, as a little boy, has been deserted by his pals and Vladek scoffs at him for calling them “friends.” This story is about what it means to be friends (love).

Set-up: Many years later, Art visits his father. We learn that they aren’t very close. Vladek has had heart trouble after his wife’s suicide, and he doesn’t get along with his new wife, Mala. That night the two men sit together and Art expresses his desire to document his father’s Holocaust experiences.

Catalyst: Vladek begins with the story of how he met his wife, Anja.

Theme Stated: But once his first story is done, he tells Art not to use it; it would be improper. Art objects saying the story makes his experiences more real, more human. Art wants to see his father’s humanity. (We will learn later that Art and Vladek have always been in competition with one another and Vladek always wins. It’s as though Art is perpetually the flawed child and Vladek is the perfect superhuman adult. Through this project, Art hopes to see his father not as a superhuman but as a person, and perhaps be validated by him in the process.)

Debate: Can these two men be friends? As Art and Vladek regularly meet to document the stories (about Art’s older brother, Richieu, and Vladek’s time as a P.O.W.), they have opportunities to get closer. Unfortunately, Art is more interested in the project than hearing about Vladek’s health and marital complaints, and Vladek continues to be critical while making decisions for his adult son without consulting him (for example, Vladek throws away Art’s coat and doesn’t listen when Art protests).

Choosing Act Two: Vladek’s critiques and expectations are building. Vladek assumes Art will help him around the house and they argue about money (Vladek is very cheap). Art chooses to ignore their growing conflicts by constantly redirecting their conversations toward the project; it has become a crutch for their relationship. Art is even more dedicated to the project when Vladek mentions Anja’s diaries. Art must have them, but Vladek changes the subject.

B Story: Later, after Vladek has told Art about being a black market businessman under the Nazi regime and the first round of selections, Art spends some time with Mala while searching for the diaries. He doesn’t find them in Vladek’s massive collection of random old calendars and hotel stationeries. Mala says that Vladek is more attached to things than people (Theme). It’s driving Mala crazy!

Fun n’ Games (Promise of the Premise): Art wanted a relationship with his father and he got it. As they continue documenting stories about Vladek’s time in the ghettos, Art has early wake up calls from Vladek, guilt trips, reminders of their constant competition and also gets sandwiched in between Vladek and Mala about money. Anja’s diaries have not been found but Art’s mini-comic about Anja’s suicide has (this reminder of Anja’s death upsets Vladek). On top of all that, Art has regrets about portraying his Dad as a Jewish caricature in his comics, but he’s realizing that’s just who his father is! Art’s perception of his superhuman father is beginning to crumble.

Midpoint: The first part of Maus ends as Vladek tells Art how he and Anja were sent to Auschwitz, and then admits he burned Anja’s diaries a long time ago. Furious, Art calls Vladek a murderer. Vladek is hurt and they patch things up, but the damage has been done: Art’s anger lingers and Vladek has revealed just how flawed, and human, he can be.

Part II

Bad Guys Close In: Many pressures begin to take their toll on Art. With guilt, doubt, and Vladek’s high-maintenance tendencies building, the Holocaust stories are a break from the stress! Art even breaks the fourth wall to flat-out tell the reader about the depression he has found in success, a success built upon the death and pain of the Holocaust and the flaws of his father. He feels small and powerless to the point of regressing to childhood form, living in his father’s shadow, still competing even after his father’s death.

All is Lost (& Whiff of Death): Returning to the original timeline, Vladek tells Art and Art’s wife, Francoise, about life in Auschwitz: the work camps and the gas chambers. Later, Art and Francoise chat on the back porch about what to do with Vladek. Mala has left him, so should he move in with them? Art says, no, they’d go mad (spoken as he kill flies with a spray can, gassing them). Looks like the relationship has stagnated. It’s only a matter of time until it, too, meets its end.

Dark Night of the Soul: Guilt trips, returning used food to the grocery store, racism toward black people… Art is fed up with Vladek’s all-too-human behavior. We hear about Vladek’s time in the camps and his release at the end of the war, but Art’s visits become less frequent. It isn’t until Vladek presents a box of family photos for Art’s project — not quite his mother’s diaries, but the best he can do — that they share a loving moment (their relationship is troubled, but not all bad).

Choosing Act Three: A few months later, while listening to a recording of Vladek tell about the death of Richieu, and debating with Francoise about allowing Vladek to stay with them (Art does not want the responsibility), Art receives a phone call from Mala. Vladek is in Florida with her and he’s sick. Immediately, Art flies out to be with his father.

Finale: Art and Mala tend to Vladek’s medical needs and help him move back to New York. Vladek is weak, but able to tell Art about his return to society after the camps. A few months later, as Vladek grows weaker still, he finishes his story in the way he began it: how he found Anja, reunited after the war. He even finishes by saying they lived “happy, happy ever after”; a nice idea, but not quite the truth (Vladek’s superhuman presentation of himself continues).

Final Image: With his story all told and documented, Vladek says to Art, “I’m tired from talking, Richieu… enough stories for now.” Calling Art by the wrong name — the name of his dead, golden-boy brother — is an ironic and tragic end to their love story. Art wanted to see his father’s humanity, and in the end he finally does. Vladek was not a superhuman, he was just a man. The final image: Vladek’s tombstone next to Anja’s.

THE END

It Rhymes With Lust

It Rhymes with Lust, written by Arnold Drake & Leslie Waller and illustrated by Matt Baker, is a gorgeously drawn noir about a newspaperman, Hal Weber, who is entangled in a power-struggle against a beautiful and corrupt city woman, Rust Masson.

Originally published in 1950, It Rhymes with Lust reads like an old B-movie: hardheaded men, very seductive or very meek women, quippy dialogue, etcetera.

Overall, the structure of the story is solid and Matt Baker’s art is beautiful (Matt Baker was inducted into the Will Eisner Comic Book Hall of Fame in 2009 and this is a great example of why), but the character development could have benefited from a few rewrites.

The characters in It Rhymes with Lust, especially the protagonist, flip-flop between emotional extremes. This creates drama that feels like it’s going in circles instead of building toward an ending. If the writers had allowed their characters to struggle with more subtlety between the black and white extremes of their situations, the story could have climbed toward a satisfying climax.

With its solid structure yet weak characterization, It Rhymes with Lust is a perfect example to see how to build your story toward a climax by analyzing a story that does not.

IT RHYMES WITH LUST STORY STRUCTURE

Premise: It Rhymes with Lust is a noir about Hal Weber, a newspaperman entangled in a power-struggle against a beautiful and corrupt business woman set on controlling everyone and everything in Copper City.

Opening Image: Hal Weber steps off the train. The new guy in Copper City. He’s described as battered and raggedy. He has yet to make something of himself.

Set-up: Hal watches a funeral procession. The rich and powerful Buck Masson has died, leaving his wealth to his widow, Rust Masson. Hal knows Rust; they have a history. After being introduced to Rust’s pure-hearted stepdaughter, Audrey, and Buck Masson’s right-hand man, Marcus Jeffers, we learn what kind of history Hal and Rust share: a love affair that she ended. Hal is still bitter about their break-up, but with one kiss he becomes a spineless puppy dog, putty in Rust’s hands.

Character extreme: Hal is still hurt by the break-up with Rust and he lets it be known through dialogue and blatant pouting. Hiding that pain behind a hardboiled, tough-guy façade would have made their flirting more interesting, heavy with subtext. Saying “no” but meaning yes is always more interesting than saying “yes” and meaning yes.

Catalyst: After some necking, Rust gives Hal a newspaper job (that’s why he’s in Copper City, she sent for him). She secretly owns both newspapers in town and wants Hal to be the editor-in-chief of The Express, the newspaper that slants their articles against the Masson political machine. Rust wants Hal to specifically smear the new leader: Marcus Jeffers. Hal knows Rust is up to something but takes the job.

Debate: Hal finds a room to rent, and Marcus Jeffers pays him a visit. Jeffers offers a proposition: $5,000 if Hal will double-cross Rust. Insulted, Hal says no by throwing water in Jeffers’ face.

Character extreme: After knowing that Rust is up to something and expressing interest in hearing Jeffers’ $5,000 business proposition, Hal throws water on Jeffers, personally insulted that Jeffers’ would even think Hal would not be 100% loyal to Rust. Hal knows he’s involved himself in dirty business. Choosing sides is fine, but to be insulted is extreme. A cool, business-minded demeanor as he remains loyal to Rust would have sufficed. It’s not personal; it’s dirty business.

Theme Stated: Later, Audrey visits Hal. She warns him about getting involved with Rust’s power-hungry intentions and asks if he would join her in opposition. Hal is initially cynical, comparing her to his father: a financially poor idealist. But did standing up for what he believed in make his father happy? Hal says: “He was the happiest man I’ve ever known” (this story is about integrity).

Character extreme 1: “He was the happiest man I’ve ever known” could have been subtler. “Yes, I suppose,” would have done the job, and not thrown his life-long opinion about his father’s actions out the window. There’s an entire story left for him to come to this conclusion.

Character extreme 2: By the end of the conversation, Audrey and Hal’s relationship has gone from introductions to falling madly in love saying, “There’s never been anyone else.” They don’t even know each other yet. Again, there’s an entire story left for them to fall in love. At this point they should just flirt with the idea of liking each other. Let it build.

Choosing Act Two: A week later, Hal, as the editor-in-chief of The Express, is busy carrying out Rust’s orders. People think he’s a straight shooter but in truth he’s still loyal to Rust and he’s beginning to have second thoughts about his actions.

B Story: His second thoughts turn to a desperation for freedom over a lunch date with Audrey. He admits he’d “give anything” to be like his father: happy and with integrity.

Character extreme: This is completely opposite from how he was in the beginning. This kind of reversal usually occurs near the end of the story, during the “Dark Night of the Soul,” when the character’s involvement has progressed too far and they can’t get out without a significant sacrifice. Right now, nothing is stopping Hal from quitting his job and moving back to wherever it is he came from. Merely beginning to doubt his involvement with Rust by having a taste of the simpler life with Audrey is more appropriate for this spot in the story.

Fun n’ Games (Promise of the Premise): Back at work, Hal is told about an illegal gambling club Jeffers operates in town. He immediately informs Rust about it. They meet to discuss it, and with one kiss Hal regresses to his putty-like state. She tells him they’ll plan a raid and he can cover it, but once Hal is out the door she takes action toward her real plan. She sends her henchmen to bomb the club. In the days that follow, Rust tightens her grip on the town by muscling each successful business under her control.

Character extreme: A few hours after expressing his desires for integrity, Hal abandons them completely by informing Rust of Jeffers’ club. This is even before their few minutes of necking. If Hal had not been portrayed with such a fervor for purity a scene before, this story moment would have worked a lot better.

Midpoint: Hal’s co-workers connect Rust to the bombing and Hal, claiming to be a straight shooter, is condemned for not hitting Rust with the press (marking the story’s first use of the statement “I was wrong about you, Hal”). Immediately, Hal changes his tune, ordering a full investigation of the bombing. But he doesn’t stop there. He attempts to “disillusion” the town by making a positive impact on the kids, organizing an athletics club for the boys (which Rust actually told him to do). Shortly, he earns a reputation for being a great guy. On top of that, he learns that the condition of the town’s mine is extremely poor. While investigating, the mine almost collapses on Hal. Now, he’s really determined to expose Rust.

Character extreme: This story moment is when the consequences of choosing sides typically start to appear. Hal should feel the sting of his co-workers condemnation but he shouldn’t change tunes until after his brush with death in the mines. A near-death experience would shake him up and open his eyes to the other lives at stake in Copper City. This can’t go on and he would try to reason with Rust in the next story section.

P.S. The whole boy’s club “disillusionment” should be cut. Taking a stand about the mines is enough to be considered a great guy. The only benefit for having it in there is so they deliver papers for him in the end. Not that big a loss. It was Rust’s idea anyway.

Bad Guys Close In: Hal goes to confront Rust about her dirty business deals, but once Rust grows angry at his strong stance about the mines, he wilts. As Rust runs her fingers through Hal’s hair, making excuses for the poor conditions at the mines, Audrey walks in on them (I was wrong about you!). Hal leaves in shame and doesn’t publish the attack article while Rust slaps Audrey around for a bit.

Character extreme: Hal’s behavior has been erratic and now it gets ridiculous. At this point in the story, it’s good to have him confront Rust and to have her make decent enough excuses for him to soften his anger. Confused and not knowing the truth, he may even abandon the attack article. However, it would be stronger if he threatened to expose Rust, and she threatened to expose him in return. He has been knowingly operating The Express under her direction, after all. Audrey would certainly not like hearing her knight in shining armor had been in cahoots with Rust this entire time. In the least, after a brush with death, it should take more than an angry woman to calm him down.

All is Lost (& Whiff of Death): Roughed up, Audrey returns to her house. Hal is there and seeing what Rust did to Audrey spurs him into action, again. He leaves to warn Jeffers about the attack Rust has planned for him (Audrey goes with him – I was wrong about being wrong about you!) but Rust and her henchmen are already there beating Jeffers to a pulp. Hal approaches them but, once again, wilts in Rust’s presence. Ashamed of Hal, Audrey runs away (I was right when I was initially wrong about you!). To seal Hal’s coffin, Rust tells him to help “bury” Jeffers. Hal and a henchmen drive out of town and dump his body in a ditch beside the road. Hal’s hands are stained with blood.

Character extreme: Obviously, Hal’s two complete 180’s (coming full 360) in less in ten pages is not wise writing. It is difficult to say what should have been done since many changes are needed in the first half of the story, which would affect the current moment. However, it is good to have Audrey realize that Hal is just as dirty as the rest of them and to have Hal fall deeper into corruption during this beat in the story. It is preferable to have Audrey be “wrong about him” only once.

Dark Night of the Soul: Ashamed, Hal drives home. Back in his room, he holds a liquor bottle in one hand and Audrey’s glove in the other. Audrey, or the bottle? Hal decides to smash the bottle, like he’ll smash Rust.

Character extreme: It is good to have Hal wallow for a moment before finally taking action, but after so many emotional flip-flops his choice is merely another 180. As writers, we’re allowed only one big change-of-heart per story and this is where it is supposed to be. If you have more than one, this moment loses credibility.

P.S. Apparently, Hal has a drinking problem. It was mentioned before, but this is the first we see of it.

Choosing Act Three: Later that night, Hal writes a new editorial, exposing it all. With the help of boys from the club and friends he’s made along the way, he’s able to distribute the paper across town before Rust can get word of it.

P.S. Does he expose his own involvement in Rust’s scandal? He doesn’t say. If the story is about integrity, he probably should.

Finale: Jeffers (who lived) reads the editorial. Audrey reads it too (she was wrong about being wrong about… oh, nevermind). The whole town reads it. They convene at the mines to make a stand. Losing her grip on the city, Rust loses her control of her thugs — they open fire, hitting an innocent miner — and loses control of her mind, babbling to the crowd that she’s still the ultimate power of the city despite her illegal actions. In her raving, she exposes Jeffers for his illegal political activities, and in a last-ditch effort to save his career, Jeffers kills Rust as her thugs kill Jeffers. All evils are slain. The town is saved.

Final Image: Hal walks away a public hero with integrity and Audrey by his side.

In Summation: The writers knew what they were doing, structurally. But their use of characterization needed a lot of work.

THE END

Hellboy

There are questions we all ask ourselves: Why are we here? What is our purpose? Why are giant monster frogs killing people?

…Well, maybe we all don’t ask ourselves those questions, but Hellboy, the world’s greatest paranormal investigator, asks them in Seed of Destruction, the first collection of Hellboy serials by Mike Mignola and John Byrne.

As is the case with most stories that follow an investigator, Seed of Destruction is a murder mystery, and as it is with most murder mysteries, it will be the desire for answers that drives the story forward and gets the investigator — even the world’s greatest — into trouble.

P.S. If you are hoping to serialize your graphic novel, Hellboy: Seed of Destruction is a great example to learn from. By splitting Act 2 in half, Mignola and Byrne were able to have four “chapters,” each 24 pages long. It goes fast, but even in a 96-page graphic novel, you can create a very solid structure.

HELLBOY STORY STRUCTURE

Premise: Hellboy: Seed of Destruction is a murder mystery about Hellboy, a paranormal investigator, who uncovers a plot to destroy the world when the man he calls “father” is murdered.

Opening Image: The ruins of a church. In a few pages, this will be the site of Hellboy’s mysterious “birth.” The rest of the story will center on what goes on here: the mystery and importance of Hellboy’s origin.

Set-up: It’s World War II and something is supposed to happen at this church, but what? U.S. army officials and British paranormal experts — including the man Hellboy will come to call “father,” Trevor Bruttenholm — wait to find out. Meanwhile, at a different site, Nazis watch a sorcerer and his clan perform a séance with evil spirits. The sorcerer’s work brings Hellboy to life at the church ruins. The paranormal experts don’t know where he came from or why he has a huge right hand and fifty years later…

Theme Stated: … they still don’t know. Hellboy is now a grown “man” and Trevor is feeling old. He has forgotten something important, something he needs to tell Hellboy. (The desire to know information will affect each character in this story, especially Hellboy.)

Catalyst: Trevor tells Hellboy about an expedition he led with the three Cavendish brothers. They found what they had set out to find (ancient ruins) but something dangerous was there. Everyone on the expedition was killed except for Trevor, who doesn’t remember how he survived. At that moment, a giant frog monster attacks Trevor and Hellboy (who saw that coming?). Trevor is killed and Hellboy has to figure out why.

Debate: Who would want Trevor and the others on the expedition dead? Chapter one ends hinting at the answer: an old woman sits in a dark mansion, holding a frog, with a figure standing in the shadows behind her. The figure says his plan is underway and it will be over soon.

Choosing Act Two: Chapter two begins with Hellboy and his team of paranormal investigators on the trail of the murderer. They stop at the house of the three brothers who were killed in the expedition: a deteriorating mansion named Cavendish Hall.

B Story: The old woman from the end of chapter one answers the door and invites them in. In response to their questions, she explains that the three brothers, her sons, came from a long line of Cavendish men, beginning with Elihu Clavendish — a whaler, whose harpoon will come into play later — all of whom were obsessed with finding the ruins and learning of its importance. The obsession has killed them all (Theme: the desire to know information can lead to death).

Fun n’ Games (Promise of the Premise): Hellboy and his teammates (Liz, a young woman with pyrotechnic abilities and Abe, a fish-man) are given rooms for the night. Liz is given her own room and Abe decides to snoop in the waters that surround the old house on his own. Once they are all separated, the attacks start. The giant frogs kidnap Liz and Hellboy finds the old woman dead (she was working with the figure in the shadows to have her sons returned to her, and they were, as frog monsters, and they killed her). Then, the figure in the shadows reveals his identity: the sorcerer. He says he is Hellboy’s “true father” and together they are meant to unmake the world. By joining the sorcerer, Hellboy will learn who he is, why he is and what his huge right hand is all about. But if not, he will die. To emphasize the point, a giant, tentacle creature (the same creature Trevor found in the ruins) grabs Hellboy and drags him under the floor of the house. The chapter ends with Hellboy falling into darkness.

Midpoint: Chapter three begins as Hellboy lands underneath the Cavendish house before the creature and the sorcerer. The sorcerer reiterates that he gave birth to Hellboy in order to be his right-hand man during the apocalypse. But Hellboy refuses this role. Not pleased, the sorcerer uses the strength of his best frog monster to force Hellboy into submission.

Bad Guys Close In: As Abe continues exploring the Cavendish house and falls into a dark hole, Hellboy is beaten to a pulp. With Hellboy down and nearly out, the sorcerer reveals his name (Rasputin), his backstory — a long but clear journey through the early 1900’s bringing him to murder Trevor to get to Hellboy — and his goals: to utilize Hellboy to unchain the seven great powers of evil and unmake existence.

All is Lost (& Whiff of Death): Rasputin gives Hellboy one last chance to join forces and know the answers to his personal mysteries, but Hellboy refuses. Rasputin decides to use Liz instead and orders the frog monster to kill Hellboy while Abe lands at the bottom of the hole and meets a ghost: Elihu Cavendish (holding a harpoon). Is this the end of them all?

Dark Night of the Soul: Chapter four. Rasputin uses Liz, caught in a trance, and the tentacle creature to call upon the evil spirits while the frog monster drains Hellboy’s life from his body and Abe is nowhere to be seen.

Choosing Act Three: Hellboy uses all his remaining strength to pull a grenade from his belt and destroy the frog monster. Boom!

Finale: Rasputin is about to conclude his séance with the seven great powers of evil but Abe (acting under Elihu’s trance) stabs Rasputin with a harpoon. Liz wakes from her trance, causing Rasputin and the tentacle creature to burst into flames. The house caves in. Abe and Liz run but Hellboy lingers; there’s something he still needs to do. Rasputin, now a flaming skeleton, comes back to life to say that if he dies Hellboy will never know the truth about himself. Hellboy chooses to not know (Theme) and “kills” Rasputin (“kills” is in quotes because Rasputin vows to return).

Final Image: Outside the house, there is a quick wrap up. Abe doesn’t remember anything, neither does Liz. Only Hellboy is haunted by Rasputin’s final words, vowing to return. Meanwhile, Rasputin’s clan, frozen in a cryogenic chamber, begin to thaw.

THE END?

Amulet Book One: The Stonekeeper

Superman, Batman, Spiderman, Emily Hayes of Amulet Book One: The Stonekeeper, they all have one thing in common. Can you guess what it is?

What does it take to be a superhero? Answer: A special ability, a dogged determination to use that ability for good, not evil, and an Achilles heel (which enables an arch-nemesis to gain leverage on the hero). Often that Achilles heel is family or loved ones.

What is the plight of a superhero? Answer: They can never, ever live a “normal” life. It is their destiny to live a life of thankless public service because it’s the right thing to do, and typically the loved ones of the superhero will pay for their choice. This is true in Amulet Book One: The Stonekeeper by Kazu Kibuishi. Every time Emily chooses to pursue her “special ability” her family is put in more and more trouble.

Since this is a series of five books, by the end of Book One she has not yet fulfilled her destiny to save the masses with her “special ability” but this installment (her origin story) is still presented in three acts.

AMULET STORY STRUCTURE

Premise: Amulet is a superhero tale about Emily Hayes, a young girl who must learn to use the power of a magical amulet to save her family from a world of fantasy and danger.

Opening Image: The story starts with a pretty heavy prologue as our protagonist, Emily, and her mom try to pull Emily’s dad, David, from the wreckage of a car accident before the car topples over the edge of a cliff. They don’t succeed and David dies. By Emily’s facial expression, we know this story will deal with the emotional weight of this moment. A hero will be born from these ashes.

Set-up: Two years later, Emily, her little brother, Navin, and their mom move into an old family-owned house hoping to start anew. While exploring the house, Emily finds the study where weird-looking bird skulls are mounted on the wall, old robotic machinery is lying around and a book rests on a podium in the middle of the room (handwritten notes about “stones of power” are written on a page).

Theme Stated: Emily’s mom tells her the study belonged to their relative, Silas Charnon. Emily tries to use the artifacts of Silas’ genius around the room as proof that attending a new school and learning things that are “not useful in the real world,” like algebra, are not worth her time. She can be like Silas and learn more on her own. Her mom says that Silas was an eccentric and not someone to emulate. “It’s better to lead a normal life,” she says.

Catalyst: When their mom leaves the room, Emily and Navin find an imprint on the podium for a hand. Emily touches it, causing it to flash with light and flip over, revealing a stone necklace: the Amulet. Emily puts it on and tells Navin not to tell their mom. They don’t notice a ghost-like spirit with cat-shaped pupils and a figure kept in shadow are also in the room, watching them.

Debate: But why? What do they want? That night, the Amulet speaks to Emily, warning her that she and her family are in danger. At that moment, they hear a noise coming from the basement. Mom goes to check and a monster with tentacles (later called an Arachnopod) attacks her. The kids run down to the basement and find their mother gone. They open a door nearby and find a staircase into darkness (a rabbit hole to another world).

Choosing Act Two: Together, they cross through the doorway and as they run down the stairs the staircase reforms into a brick wall behind them. There is no way back to the “normal” world.

Fun n’ Games (Promise of the Premise): The Arachnopod is there, waiting for them. It grabs Navin and stores him in its belly with their mom (alive) before attacking Emily. Fortunately, Emily’s anger accidentally triggers the power of the Amulet, stunning the Arachnopod. As it flees, Navin is able to escape — their mom is unable — and the Amulet directs the two kids toward Silas’ house, advising Emily on how to use the Amulet’s power to protect them as they go, calling her “Stonekeeper.” Nearing Silas’ house (located on the top of a small island of rock), the shadowed figure from the study confronts them. He looks like an elf (tall, pointed ears, silver hair) and, similar to the ghost-like spirit, he has cat-shaped pupils. He, too, has an amulet, and is about to attack the kids when a large man in a hat and trench coat saves them, whisking them away across the body of water to the house.

B Story: The man in the trench coat turns out to be a robot controlled by a smaller robot named Miskit (a talking pink bunny rabbit). Miskit introduces the kids to Silas, who has been waiting on his deathbed to tell Emily about the Amulet. By wielding the power of the Amulet and listening to its guidance, Emily will be able to save their mom, rule the land of Alledia — the alternate version of planet Earth that they are in — and even turn back time (Emily thinks of her dad). With that, Silas dies, leaving Emily to make a choice: trust the Amulet’s guidance or try to save their mom on their own, without a magical power (normal).

Midpoint: She chooses to trust in the Amulet and becomes the new leader of the house in Silas’ stead. With the help of the robots, they locate the Arachnopod that has her mom and determine how to head it off: fly a plane through a dangerous passageway called “The Gauntlet.”

Bad Guys Close In: Emily, Navin and Miskit board the plane and together they fly through the Gauntlet. Emily begins to use the Amulet’s power with more confidence, battling the creatures that try to attack them. They pass through the Gauntlet and spot the Arachnopod with their mom, traveling with a number of other Arachnopods. Using the Amulet, Emily tries to save her but must stop when the plane is attacked by the other Arachnopods.

All is Lost (& Whiff of Death): The plane crashes and is ripped to pieces by the impact. It begins to rain as Emily chases after the Arachnopods, alone. Emily struggles to keep up but eventually finds that the Arachnopod with her mom has been apprehended by the elf. Using his amulet, he kills the Arachnopod, retrieves Emily’s mom, who is unconscious, and holds Emily captive.

Dark Night of the Soul: Emily offers the Amulet to him if he’ll let them both go. He laughs. He’s not after the Amulet; he’s after her. It has been prophesized that she will kill his father, the Elf King, and the elf wants to help her. Together, they can free Alledia and she can “finish what Silas started.” All she has to do is let the ghost-like spirit enter her mind and take over — no more problems, no more worries.

Choosing Act Three: Emily refuses. As the ghost-like spirit attacks Emily, she uses the power of the Amulet to destroy it. The power flows through Emily, telling her to kill the elf. But as the elf cowers, completely vulnerable, Emily spares him and warns him to never come near her family again. He flees and Emily looks after her mom.

Finale: Back in the house, we learn that the Arachnopod poisoned Emily’s mom as she tried to escape. They need an antidote and the Amulet won’t help them (it is angry with Emily for not killing the elf). Emily begins to doubt her decision to trust the Amulet. Feeling responsible for how not normal their lives have become, Emily cries, saying, “I’m sorry,” to her unconscious mother.

Final Image: This installment of the Amulet series ends with Silas’ house transforming into a giant robot able to walk across land and tall enough to travel through water. They need to get to a town 300 miles away for the antidote, but will they get there in time?

Emily’s life is now as completely opposite of normal as it can get. She is special in ways she never imagined and must learn what to do with her power to save her mom in book two!

TO BE CONTINUED…

Appendix

Blake Snyder’s Beat Sheet

Opening Image: A visual that represents the struggle & tone of the story. A snapshot of the protagonist’s problem, before the adventure begins.

Set-up: Expand on the “before” snapshot. Present the protagonist’s world as it is now, and show the problems he is dealing with. Introduce the major characters.

Theme Stated: The emotional problem that the protagonist must deal with to be a stronger, happier, healthier person. This is what the story is about at its core: the message, the thesis statement, the protagonist’s “Internal Struggle.” Usually, it is spoken to the protagonist or in his presence, but he doesn’t understand his problem, not until he has some personal experience to support it.

Catalyst: The moment where life as it is changes. It is the knock on the door, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “External Struggle” has arrived, thus producing a goal for the protagonist to achieve. The “before” world is no more, change is underway.

Debate: But change is scary and for a moment, or a brief number of moments, the protagonist doubts the journey he must take to achieve the goal. “Can I face this challenge? Do I have what it takes? Should I go at all?” It is the last chance for the hero to chicken out.

Choosing Act Two (a.k.a. “Break Into Act Two”): The protagonist chooses to pursue the goal and the journey begins. We leave the “before” world behind and enter the challenging world of Act Two.

B Story: A reminder about the Theme (the Internal Struggle). Usually, the reminder occurs in discussion between the protagonist and the love interest, which is why the B Story is usually called the “love story.”

Fun n’ Games (Promise of the Premise): This is when the story delivers on the premise: the monster eats the crew of the ship one-by-one, the lovers develop a relationship, the superhero dons their suit for the first time, etc.

Midpoint: Dependent upon the story, everything is “great” or everything is “awful.” The protagonist either gets what he thinks he wants (“great”) or doesn’t get what he thinks he wants (“awful”). But, in either case, not everything we think we want is what we actually need in the end.

Bad Guys Close In: All the forces against the protagonist (both Internal and External) regroup to defeat the protagonist’s goal. The protagonist’s great/awful situation disintegrates.

All is Lost (& Whiff of Death): The opposite moment from the Midpoint: awful/great. The protagonist realizes he’s lost everything he gained, or everything he now has has no meaning. The initial goal looks even more impossible than before. And, if that weren’t enough, something or someone dies. It can be actual, emotional or alluded to, but the “Whiff of Death” marks the end of the protagonist’s old way of handling the External Struggle. The protagonist has to change or everything will end tragically.

Dark Night of the Soul: The protagonist mourns the loss of what has “died” — the dream, the goal, the mentor character, the love of his life, all of the above — but, he must hit bottom before he can…

Choosing Act Three (a.k.a. “Break Into Act Three”): …pick himself back up and try again. The protagonist chooses to jump back into the fray, usually by incorporating the B Story message into his old way of handling the problem, creating a fresh, new approach.

Finale: Act Three is about synthesis! Incorporating the experience from the External Struggle and message from the Internal Struggle (Theme and B Story), the protagonist gives every ounce of effort to accomplish his goal while the bag guys give every ounce of effort to prevent it. The Climax results in success or failure for the protagonist.

Final Image: Opposite of Opening Image. This moment proves, visually, that a happy or tragic change has occurred within the protagonist.

To purchase a copy of Save the Cat, visit www.blakesnyder.com.

Bibliography

 Miller, Frank. Batman: Year One. DC Comics, 1988.

 Thompson, Craig. Blankets. Top Shelf Productions, 2004.

 Yang, Gene Luen. American Born Chinese. New York. First Second Books, 2006.

 Pedrosa, Cyril. Three Shadows. New York. First Second Books, 2008.

 Small, David. Stitches. New York. W. W. Norton & Company, 2009.

 Johnson, R. Kikuo. Night Fisher. Seattle. Fantagraphics Books, 2005.

 Spiegelman, Art. Maus. New York. Pantheon, 1986.

 Waller, Drake. It Rhymes with Lust. Milwaukie, OR. Dark Horse Books, 2007.

 Mignola, Mike. Hellboy, Vol.1: Seed of Destruction. Milwaukie, OR. Dark Horse Comics, 1999.

 Kibuishi, Kazu. Amulet Book One: The Stonekeeper. New York. Scholastic Graphix, 2008.

 Snyder, Blake. Save the Cat. Studio City, CA. Michael Wiese Productions, 2005.

Acknowledgments

Special thanks to Calista Brill of First Second Books for encouraging me to start writing about my knowledge of story structure and other tools for writing as they apply to graphic novels. The result is my blog, www.timstout.wordpress.com (a writing resource for graphic novelists) and this book. Hopefully it is the first of many.

Thank you to Stephen R. Bissette, Michelle Ollie and The Center for Cartoon Studies for encouraging me to teach this material to fellow students and alumni. I learned more by teaching than I ever thought possible.

To my wife, Katherine Roy, thank you for your undying support and encouragement. Your inspiration and guidance are on every page.

Finally, I give my whole-hearted appreciation to the late Blake Snyder for writing the book series Save the Cat. His tools for story development (especially the Blake Snyder’s Beat Sheet plot template) have helped me tremendously. Blake, your enthusiasm for the writing process will be missed. Thank you.

About the Author

Tim Stout helps creators make the most of their comic stories.

After earning a Bachelor of Arts in Film Studies from the University of California Santa Barbara, he attended The Center for Cartoon Studies for a Master of Fine Arts in Cartooning and founded Tim Stout Story Consulting, a consultation service for comic storytelling.

He writes about writing, graphic novels and writing for graphic novels at his blog, www.timstout.wordpress.com

If you are interested in a story consultation email him at timstout1@gmail.com

Praise for Tim Stout Story Consulting

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With the exception of Rick Veitch, I’ve never worked with a more devoted, attentive, in-synch and fun-to-work-with project co-editor than Tim Stout. — Stephen R. Bissette

Tim Stout is as valuable to me as pen and paper in the comic writing world. His keen eye for story structure, character development and pacing sets me on the right path when I’m faltering in the writing process. — Jen Vaughn

The feedback Tim Stout offered me was nothing short of inspiring. He was able to articulate how he reads comics and character interactions in a way that presented me with solutions to problems that I could sense were there but had been unable to pin point. While still being supportive, he gave very accurate and extremely helpful criticism and insight into my characters and narrative. I left our meeting feeling excited and encouraged. — Beth Hetland

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