Good points all around Ashbad. Thank you! But do you think you could explain a bit more about how you think the story faulters? It's fine if you don't want to though.
Gladly!
Here are some questions that one asks oneself while reading this:
- Who exactly is the main character (yes, his name is Alabaster and he's a bunny-like creature, but how could he be described on a high-order)?
- Why does he posses the horn?
- Why did he blow it three times?
- Why did he throw it away "as hard as he could" afterwards?
- Why would he throw it as hard as he could? Did he already suspect there was a curse? Did he originally blow it knowing that, and decided to do so anyways?
- How did he suddenly end up in an office?
- Why would a horn haunt someone? When would a horn start haunting someone, after they have blown it, or after they have discarded it?
And most importantly:
- What's the significance of these events? Why do they matter in the scheme of things?
You could answer these questions and concerns by adding intermediary frames that address them. For example, since the story is lighthearted and probably meant for children, you could probably just begin the comic with a brief, first-person direct characterization of the protagonist and the scenario (in which he could simply say, "Hello, my name is Alabaster" with explanation of who/where he is and why he's there, followed by a flashback to blowing the horn, or a present-tense narration of blowing the horn -- followed by an explanation of how he found it, why he blew it, and why he threw it.) The "what" (implicit)in the story is covered in detail, but you distinctly lack the "why" and "how" (explicit), which are equally important components that help better explain a story's direction to readers. Without explaing why or how the given scenarios are happening, you will have a story that may make sense to you, yet will seem jumbled to readers.
I'd probably start by storyboarding first to form a rough-rough-outline that can be used to figure out what dialogue would appear in a set of frames, what the setting would be, the characters involved, the reason why the conflict is happening, what the conflict actually is, the details necessary to support fluidity between frames, etc.
With storyboarding, you can quickly dump the ideas you've formulated onto paper to be further polished afterwards -- which is a process not unlike that of thumbnailing ideas for an artistic composition, or that of outlining a story or essay. A comic is both narrative and a series of illustrations, and both components need equal weight of consideration during the planning phase. Once you've outlined some general ideas, you can modify them as needed, and then draw up a working draft. From there, you can modify or further polish your first draft into a more spectacular draft, and from there into a coherent, finalized form.
The more time you spend discovering underlying questions a reader may ask, the less likely that the reader will notice large gaps of logic in the final result. Therefore, the only way to kill the fast-forwarding symptom is to effectively slow down, plan in large chunks from the outset, and improve your result from there.
Good luck, and I hope this post provided a better explanation!
