I think I pace my comics very strangely. I blame Alan Moore, because I might as well blame the best.

In Moore’s Writing for Comics, he talks about one particular story he wrote, a 40-page Superman tale with two interlinked plots: first, Superman’s hallucination of living on a non-destroyed Krypton, and second, a more action-packed story about Superman’s friends attempting to free from this delusion. Moore packs a stupendous amount of information into his little pamphlet, and I somehow got it into my head that that’s how comics should be written: they’re about 40 pages long, and they have an A plot and a B plot.

Of course, most conventional comics are 22 pages long and they don’t have plots; they just have scenes. (We’ll leave that rant for another time.) What I’ve been trying to write, in my own confused way, is a television episode. I have no idea if this is a good way to produce a comic story, since I’m much too close to my plots to tell how well they flow, but at least I’ve learned this: having stories of a roughly fixed length keeps plots from attenuating forever. Quite a few good dramatic webcomics are suffering from Zeno’s Paradox plotting, as they approach but never quite reach the resolution of one or more major plot points. Forcing upon myself cutoff points after 40-50 pages clears out the underbrush of subplots and prevents my stories from calcifying.