An interesting excerpt from another article in 9thart. About monologues in comics though the entire article talks of other things too.(by Antony Johnston)

So I finished the script for ALAN MOORE'S THE COURTYARD a few weeks ago. If you've been living under a rock, allow me to briefly explain; THE COURTYARD is a short prose story by Moore, written for an HP Lovecraft tribute anthology a few years back. I've adapted it into comic form for Avatar Press, and Jacen Burrows is drawing it.

Now, this was somewhat of a daunting task. Moore is probably the best-known and most-admired comic writer of our times, and here am I - a little-known writer of some small promise - producing a comic script which has to meet the man's standards.

I've written prose myself, of course. And I know damn well that when I write, I have a pretty clear mental image of what I want to get over. Given his 'normal' medium, I think it's safe to assume Moore does, too.

The problem is: you may have a clear image in your head, but (because this is prose) you don't always write it into the text. Not unless you're Thomas Hardy, anyway.

And this made me realise something I'd never really thought about before. One of the differences between prose and comics which now seems so obvious, I can hardly believe I didn't think of it when I agreed to script THE COURTYARD:

In prose, it's perfectly acceptable to write long segments of story where nothing actually happens. I don't mean blank pages, of course; I'm talking about those parts of the story where you're inside a character's head, reading an inner monologue. And if that inner monologue's important to the story, then it has to go into an adaptation.

Comics aren't very good at having nothing happen. Even 'talking heads' scenes can be made to work; viewpoints can be shifted, different characters can be drawn, and the fact that it's a conversation between two or more people makes it more visual right off the bat.

Not so with a monologue. It's a bit of a challenge.

Instead, you have to come up with something new; something either the character is doing, or something you can show while the monologue is going on; a juxtaposition perhaps. Essentially, you have to Make Something Up.

Making Something Up is not normally a problem for me. It shouldn't be a problem for any writer. But this is Making Something Up For Alan Moore, for heaven's sake. A somewhat different proposition to making something up for my own stories.

I'll say one thing; it's opened my eyes to how artists must feel when they get a bare-bones script, and have to fill in visual details that aren't in the text. I swear I'll never write a one-line panel description again...

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Using blog for thesis shit.clearing up my inbox and noting down stuff that I have to read.

EDITORIAL: CAMERA OBSCURA - SUPERHATE
By Alasdair Watson
Stand back, Superman. There's just one thing dominating Alasdair
Watson's thoughts this month: His consuming hatred for that sexless,
simplistic, immoral and inferior icon of a sci-fi subgenre: the
superhero.

EDITORIAL: FACE IT, TIGERBy Andrew Wheeler
Andrew Wheeler completes the trio of new look 9A editorials with a
look at the world of continental comics, the scorecard on
homosexuality and representation, and news of, well, the news at
Ninth Art.

THE FRIDAY REVIEW: THE INVISIBLES: SAY YOU WANT A REVOLUTIONBy Brent Keane
As the final volume of Grant Morrison's unruly epic hits stores,
Ninth Art goes back to the lighting of the fuse with the very first
volume. It's the perfect place to join the Invisibles. If, y'know,
you're into that whole 'linear' thing.

GUEST EDITORIAL: LOST IN THE WAR ZONEBy Jamie Delano
In the first of Ninth Art's new guest editorials, the original
HELLBLAZER writer and the man behind OUTLAW NATION offers us
his "confessions of a minor writer fallen out of love with The Word".

EVERYBODY BE COOL: THE DRESS UP LONGBOXBy Kieron Gillen
There's more to the iconic power of comics than Superman. Comics are
a great resource for iconic images; yet only in rare cases does
the 'look' make the crossover into fashion.