This is a question dreaded by anyone doing creative work, as usually, the first truthful answer is, "I don't know". I have also previously said that looking for ideas is like asking your brain please and it eventually comes up with the goods...Which in short just means, keep asking questions and eventually answers, or at least parts or answers will come.
Showing posts with the label writing
About a hundred and thirty pages. Rough first draft of my new comic. A photo posted by Joe Decie (@joedecie) on Feb 4, 2015 at 3:57pm PST I asked the artist Joe Decie about his writing process after he posted the above image, and he answered: "...first I did thumbnails, then these. They're full size pages drawn quickly. Checking the pace and flow etc." More posts on writing comics
Here is a sample page from the comic I hope to put out by the end of this year. I have been working with Mark Selan or Sureshot comics in editing the overall story. Early on in the story of the comic some elements just did not flow right. I was happy with how they were drawn for the most part although a lot of the text had to be rewritten to flow better. I devised a solution for editing the work without having to redraw the whole thing again. I decided to use the method of printing the artwork in blue line (I erased the content of panels I was redrawing completely before printing) and then re-lettering where needed. I took out some redundant panels and tried to add new panels that gave more flow to the storyline. I could not help myself redraw my head in some of the panels as my style had changed slightly and I wanted the character to remain more consistent.
An interview that was originally posted on the comicscomics blog between Hope Larson and Dan Shaw. I really enjoyed it as it goes in to one of my favourite subjects on comics, that is the writing and editing of them. Here is a snippet or you can read the whole thing here Shaw: This might be a dumb question, but did the editors/publisher approve anything before the first draft? Did you submit to them X # of completed pages, or does it all start with words- a paragraph summary of the project? And, for the draft that you're talking about in the first stage, is that all in words or does it have drawings too? Could you describe what that draft/script is like? This is interesting because your publisher/editor is accustomed to working on all-word books, so they probably had to invent a model for doing this that isn't like the Marvel Method. Larson: It's not a dumb question. I know people sell stuff off outlines all the time, and I think at this point I could, too... But I
I am a big Raymond Briggs fan. His comics were some of the first ones that I read; Other than the newspaper ones. Here is a look at his creative space and some insights in his writing process. "On the board is a spread from the book I've been working on for the past two years. It is about old age and death, and if I ever manage to finish it before I die, it will be called Time For Lights Out. The kind of work I do, which involves writing, designing and illustrating, needs a lot of space. This room is about 14 x 28 feet and is nowhere near big enough. This picture shows just a corner of it. There is also an ex-billiards table covered in equipment which the lucky scribbly-tappy writer does not need. First you write it, then you design the typography and lay out the hand lettering. This gives you some idea of the space you are going to need, so you can then design the format, the pagination and the grid. This will show what space is left for illustrations. You light-box off
Basically I'm the second kind of writer you outlined. Occasionally I use the story-board method or the stream of consciousness method, and when I do use these I am usually pretty fond of the results, but at heart I'm a prose writer. More often than not I’m drape my graphic work over the top of a pre-prepared scaffolding of prose. I do this because I’ve noticed that a well written ‘voice-over’ is a really fantastic way-in to a comic, particularly for those eyes more schooled in reading text rather than comics. Artist like Joe Sacco, Majane Satrapi, Julie Doucet represent this really important interface between the world of book books and the world of comic books. Reader’s eyes are led through this confusing maze of panels on these stepping stones of more familiar prose. I’m really trying to position my work in this interface by making comics specifically for the people I know who don’t read many comics. I’d rather go to the National Young Writer’s Festival than Supanova. The
Nicki Greenberg , is a Melbourne comic artist behind the comic adaptation of ‘The Great Gatsby’ and is currently working on a comic adaptation of ‘Hamlet’ (Preview above) Here is an edited interview I had with her about her writing process when it comes to comics, How do you initially jot down ideas, if at all? Yes. For a shorter comic I will jot down ideas in a mix of words and pictures, as the idea strikes me. For a longer project like a book, I will spend months planning, which includes drawing and refining characters and making lots of detailed notes (visual and in words) about structure, concept, interpretation etc, even before beginning the proper roughs of the pages. Is there anything peculiar about your writing process, eg, has to be at a certain time, has to be in a certain type of book or paper, pens etc? I usually plan and do thumbnails in pencil, but for a longer work I write extensive notes in pen as well. Ok, the loose pages. This is something I use when drafting
How do you initially jot down ideas, if at all? When I'm in a habit of comic journaling I use a set panel format so I don't get blocked by stressing about best layout. This of course means the stories always have the same rhythm. The panel layout is three rows on A5 paper, each row has a square panel and a rectangular panel: row1: short(title), long; row 2: long, short, row3: short, long. It looks like a brick wall pattern. Do you have a drafting process, eg, thumbnails, quick sketches, notes etc? For longer non-diary pieces I thumbnail figures thinking purely about body language and character interaction. All thumbnails, sometimes some more character design sketches, then back to thumbnails. How do you (or do you) edit your work in terms of the writing? Editing all takes place as thumbnail scripts. My comics have very little writing. My current story telling derives from theatre storytelling exercises so it is all about expressing the characters' different states
Photo from this CC flickr page Last year I was researching how comic artists wrote their comics. This came about after reading a great book on narrative journalism called 'Telling true stories'. It made me realise that each comic artist has their own peculiar way of constructing comics in regards to writing, and it is interesting to look at the quirks we have when writing or ideas down for future comic stories. Go here to see all the posts on this topic from last year. I would also like to hear from anyone else I did not hear from last year about their process Some example questions to think about (Although answer any way you feel suits) How do you initially jot down ideas, if at all? Do you have a drafting process, eg, thumbnails, quick sketches, notes etc? How do you (or do you) edit your work in terms of the writing? Is there anything peculiar about your writing process, eg, has to be at a certain time, has to be in a certain type of book or paper etc? What conce
"So here is a go at talking about my methods of going about doing a comic. In terms of auto-bio of course I watch closely life events that particularly resonate as a good story to me. Usually it is something a bit quirky or poignant that I find myself telling repetitively to my friends/family/acquaintances. I will tell the story so much that I will get it down to a fine art form in that way (though not ALL stories are told, but I will go over it myself in my head). Once I am hooked on the story I will attempt to put it down in writing. Usually in a point form, free form writing/very messy .. I will throw in appropriate dialogue on the side. I usually don't take this part too seriously as I know it will be reworked...this allows a space to not feel pressured to have to write anything perfect first attempt. I am doing this I will get mental pictures and if some are particularly interesting I will do a quick doodle of them to capture expression and background... I get a lo
Childings writes: "Basically I am doing it as a script but I am reading books about drama and playwriting and using that as my model rather than screenwriting because I think it's closer to what I want to do with my comic. Although honestly I think comics (longer ones, like graphic novels or whatever you want to call them) are closer to cinema than anything else. I mean a storyboard is basically a comic book. Now I just have to write each scene so I can start drawing the chapters. I'm leaving the very end of the story a little open-ended and I plan on working on the first chapters as soon as I have the scripts done, because I know certain details, etc might change along the way and in that case I'll have to revise scripts and change dialogue, etc. Dialogue is pretty difficult but I keep a voice recorder and get my husband to read scripts outloud with me or just create the dialogue -- then I type it out and edit it so it reads better. Actually, this is the hardest p
DaveMahler writes: "I started out doing comics with drawing up panels and dividing the conversations/narrative. Then I started trying to script it out before hand with Word, writing Panel 1: person 1 does this and says "bla bla bla." and so on until I had my comic, then I divided the panels into pages. I've tried storyboarding, using stick figures to show the action, but I find it confusing, and I only use it occasionally. As far as little quirks go, I usually get inspired by things that happen to me, or snippets of conversation I hear. So I always carry around a little notebook and pen. I refuse to work with any pen but fineliners, unless I have no option. As far as pencils go, I need hexagonal pencils. Can't stand circles...I know its weird, but I guess that's just me, ha ha!" Thanks Dave for your insights into your own different comic writing methods. I especially liked how you added the part at the end about fine liners and pencils, they’re the k
Thanks to comics aficionado Greg Gerrand for sending me this link to Jeff smith's process. You can view the full thing here . But it's the very first step that I'm interested in the most, that initial getting the ideas down part and as crazy as it sounds I especially like how he says Mechanical pencil on copy paper : "Step 1. Bone script pages Mechanical pencil on 8 1/2" X 11" copy paper This first set of four pages comes from the script of a Bone story from later in the series. The sketches are loose and fast. They have to convey where the characters are in the panel and what they are feeling, so I can remember later when drawing the real pages. And since they are only meant to be seen by me, the scripts are often very rough." More comic artist writing methods coming soon...
This snippet from an interview by Chester Brown on how he wrote 'Louis Reil': Interviewer: How did you go about constructing "Louis Riel"? Was there a script, or did you work on it chapter by chapter? Chester: There was a complete script for it. It was done in pretty much the same manner that can be seen in the American Splendor movie. I would take a piece of paper and divide it into six panels, write the dialogue and indicate with stick figures where the characters were supposed to be positioned. Then I went back and did the finished book.
I got some really good quotes from the net on writing comics. The first one is from a comics artist called Matt Madden and the second is by Chris Ware (and even makes a comment on Clowes work!) Interview one: " X: Speaking more specifically about your own work... how would you define your approach? MM: This is a hard question to get a handle on. Let me try to work from the inside out, that is, starting with the basics of how I write a comic. Like many writers/artists, I have both a sketchbook and a small memo pad and I am constantly gathering sketches and notes, some of which are eventually collected and arranged into a story. When I write comics, I write in thumbnails; that is, I try to write the verbal and the visual simultaneously, allowing the two elements to play off each other. I find that this method produces ways of expression that would not be possible through writing a script in screenplay format first and then breaking it down visually. As for drawing and writing s
Continuing the topic of writing I thought I’d write about methods of well known creators and how they go about writing. I think this is an interesting topic due to the specific concerns and constraints of writing comics. If the art and writing go hand in hand then surely the only way to write comics is in story board like format or maybe you could say that drawing comics takes so long that you should script the story first to get it exactly right before you start sweating it out over the pages. I’m not saying that if you use the right brand of note books or pens your writing will be better I just find it interesting the little quirks in the way different people approach creating. I’ve read somewhere that Crumb writes his stories as he draws them and only works on 2-3 panels at a time until moving onto the next. He uses a stencil for the borders. Harvey Pekar I'm sure still uses the page dividing and stick figure method. Most mainstream comics where the work is divided between