Book Review: Animation Writing and Development: From Script Development to Pitch
Skwigly
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Just looking at the impressive list of credits in the introduction suggests Jean Ann Wright has really done her homework, before she set out to write on the subject of animation writing and development. Her wealth of experience puts her in a great position to give an overall appreciation on the subject, with numerous hints and tips.
Delving into the book, I have to say we’re not disappointed. Animation development (and I speak from personal experience here) can be an absolute nightmare especially when you’re starting out on your first project and you’re not sure exactly what to do, I only wish I had this book as a guide when I first started on the lonely hard road of development. It would have saved me a lot of heartache, so trust me when I say if you’re thinking about developing a concept as a producer, director, writer or animator go out and buy it, borrow it or whatever you need to do to get your hands on it (I wouldn’t recommend stealing it though!)
It’s encouraging to see someone tell it how it is, pointing out how hard it can be, yet Wright remains full of enthusiasm for her subject. A common trait amongst those in the animation industry.
Wright goes through the main stages of development both visual and literary in a sensible and logical order.
She shares personal insight into the history of animation from different international perspectives. Rightly she pays a lot of attention on story, character development and conflict which are a must for all good storytelling (animation or otherwise) pointing out that most animators focus on visual development at the expense of character development of the literal kind (and the fact is you’re going to need both, like it or not). Those people who are purely from a visually artistic background would do well do go out and buy this book to go along with your Richard Williams “The Animation Survival Kit” that I know is nestling on most of your bookshelves, getting grubby from overuse.
Throughout the book, there are great examples of scripts, storyboards, model sheets from the Powerpuff girls, Jackie Chan Adventures and a number of other properties plus she’s kindly provided an example story bible “How to care for your monsters” telling us what people are looking for in the industry. And believe me you’d do well to heed Jean’s advice and tips. Aside from the usual ‘Show don’t tell” and KEEP IT SIMPLE!!! comments you’d find in most books on animation writing I think my favourite quote from the book when she is talking about creating a new scene has to be
“Cut anything that won’t keep the kids rolling on the floor with laughter, sobbing into their tissues, or sitting on the edge of their seats with their mouths agape like a farm boy at his first sight of alien crop circles”
I think the above goes for anything in the process of creating an animated concept; characters, dialogue, storyboard frame… you name it.
Jean provides some good practical examples of development, pitching, dealing with development execs., licensing etc. but for me the two unique things in this book that you won’t find in any other is a) a breakdown of the different types of animation audience spilt by age with fantastic descriptions of what each age group likes, dislikes, what interests them etc. (which will be invaluable when deciding what target group you should be aiming your concept at) and b) a list of different type of comedy devices that you can employ in your writing (I only wish she went into a bit more detail on this last aspect).
Like Jean says you could do a whole lot worse than watch some of the silent film masters of visual comedy; Charlie Chaplin, Laurel and Hardy, Harold Lloyd etc. and analysing why these geniuses are so funny and what you can learn from them.
Above all Jean gets across through the different chapters of her book what it is about animation that appeals to me most and why I think it is THE superior art form on the planet. She encourages you to be original yet keep a mind on how things are done in this respect alone her book is worth a look. I think Jean is telling us that working in animation is much more than just being able to draw, or tell a good story, or create an appealing character, you need a vast array of skills that you’re going to have to learn in order to develop an idea or concept. Animation development is a sublime mix of all these things plus a good dose of psychology, hard work, tenacity and inspiration. And you could cut yourself an age of learning about it the hard way by reading this book.
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