The Darkest Reflections
The best sort of hero/villain throw downs are those in which the villain, using his power, abilities, origin, personality, or some combination of the four, provides a direct contrast to the hero. He is the hero gone wrong, the hero who is sent off the deep end.
The Big Brawl!
Conflict can come in many different forms. From Michael Keaton battling his substance abuse in Clean and Sober to the battle between the Caped Crusader and the Ultimate Hunter in the DC Comics/Dark Horse Comics crossover Batman vs Predator. Whichever way you put it all drama is conflict, it stands in the way of the protagonist accomplishing his goal. But it doesn't have to be limited to a single conflict: it comes from within and without. The protagonist might have to face obstacles that are arranged for him by his opponent and from within himself.
What I'm Trying to Say.
The theme of the story should be as solid as the story's plot. If it's not as strong as your plot, then your story can't sustain itself. What you should do is think about what you're going to "say" in your story while planning the story in your mind. For me, nothing's important as what you're "saying" in your fiction.
Writing Habits: The 90 minute Sessions
Take at least an hour & thirty minutes (90 minutes) a day to write. Did I hear somebody in the third row say "90 minutes? But I can't spare that kind of time to write my paranormal romance novel in a month with just 90 minutes a day." Yes you can.
Bring on the Bad Guys!
Villain. Bad guy. Antagonist. Villainess. Black hat.
Call them whatever you want, they can leave a bad feeling for other characters. Whether it's the dragon Smaug from J.R.R. Tolkein's The Hobbit or The Flash villain, the telepathic simian Gorrila Grodd. More times we think of the hero as the mover and shaker of the story, the protagonist. However, it's the antagonist who drives the plot of the story.
Working with Established Characters.
Alrighty, boys and girls! Are you looking to put in your writing into comic books? If you are, here's a little heads up: When you're writing for comics and graphic novels, you'll be appointed with established characters at one point or another. Clearly, anybody will tell you about a comic book writer who's worked on your favorites. *Comic book master Peter David states that when working with characters like Zatanna or the X-Men, you're being handed a certain degree of reader investment and it's easier to sustain and build an audience with established characters than ones made from scratch.
Comic Book 101: Special Edition!
I know that this group is unfamiliar with writing for comic books and graphic novels. So I'm bringing forth more knowledge on the craft. First, we'll begin with formats.
Full Script-This gives the artist and editor the entire story descriptions of scenes, dialogue, sound effects. Character dialogue is written in all caps. Action descriptions of characters and setting are described in each panel up to several paragraphs or less. Plus, each page should start fresh on another piece of paper with a notion of how many panels. Another thing to take heed are the modifiers.