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Hey fellow comic writers, want to be a better collaborative partner for the artists you work with?
Here& #39;s a few things I& #39;ve learned:
Here& #39;s a few things I& #39;ve learned:
If you reach out to an artist with a comic pitch, have that pitch polished, not just some rough idea.
Have a budget and let them know what it is!!
Be ready for rejection, and if told no, then accept it and move on with a "thank you for your time."
Have a budget and let them know what it is!!
Be ready for rejection, and if told no, then accept it and move on with a "thank you for your time."
If you& #39;re lucky enough to work with an artist and need sample pages for a pitch:
Pay the artist!
Make sure your timeline is comfortable for the artist. They should still have time to relax, take on other work, or work on their own projects. Respect that.
Pay the artist!
Make sure your timeline is comfortable for the artist. They should still have time to relax, take on other work, or work on their own projects. Respect that.
If you end up with a book/series contract, make sure you communicate with the artist so you all feel that things are fair. I highly encourage an agent.
Now, some specifics that will help balance the workload:
Now, some specifics that will help balance the workload:
Your job does not end with a script.
Do your research! (Y& #39;all should be doing this anyway) and since you& #39;re already doing the research, save ALL HELPFUL VISUALS!
Put them in a reference folder for the artist to use. Locations, period clothing, hairstyles, vehicles, poses, etc.
Do your research! (Y& #39;all should be doing this anyway) and since you& #39;re already doing the research, save ALL HELPFUL VISUALS!
Put them in a reference folder for the artist to use. Locations, period clothing, hairstyles, vehicles, poses, etc.
Ask the artist if there is anything you can do to make their work easier. Add all the references you can.
And so help me, if I hear about a fight scene described as "fight scene"
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Be descriptive in your panels! If you don& #39;t know the moves in your fight scene, big yikes.
And so help me, if I hear about a fight scene described as "fight scene"
Be descriptive in your panels! If you don& #39;t know the moves in your fight scene, big yikes.
LEARN TO FLAT
Seriously, learn to flat, and learn to do it properly. Offer to do flats for your artist/colorist and save them a ton of time. (Some have programs that can do it for them, which is great, but the offer is always nice!)
Seriously, learn to flat, and learn to do it properly. Offer to do flats for your artist/colorist and save them a ton of time. (Some have programs that can do it for them, which is great, but the offer is always nice!)
Don& #39;t waste space with too much dialogue. Comics are a visual medium, so we don& #39;t want to clutter up all that good, good art with gigantic speech bubbles!
Ask yourself if something *needs* to be explained in dialogue when it might easily be portrayed in the visuals instead.
Ask yourself if something *needs* to be explained in dialogue when it might easily be portrayed in the visuals instead.
On the other hand, don& #39;t make an artist draw more than they need to. Does your story need seven location changes in one chapter?
Does every scene in your 300 page script help convey emotion, character, or plot? If not, think real hard about how to condense things.
Does every scene in your 300 page script help convey emotion, character, or plot? If not, think real hard about how to condense things.
If the artist asks for an extension, your only response should be "yes"
Crunch is bad. Artists are taking on a physically tolling job, so if they need extra time to rest, take on other work, or work on their own projects as well, then it& #39;s *your* job to support that request.
Crunch is bad. Artists are taking on a physically tolling job, so if they need extra time to rest, take on other work, or work on their own projects as well, then it& #39;s *your* job to support that request.
And support the other work they do!! Jealous and possessive is ALWAYS an ugly look.
You should want to work with an artist because you love their work, not because you want to use them as a step up in the comics world. Share their art, boost their projects, etc.
You should want to work with an artist because you love their work, not because you want to use them as a step up in the comics world. Share their art, boost their projects, etc.
Be polite and genuine in your exchanges.
If you get passive aggressive then honestly, you& #39;re not ready for a collaboration, because no one deserves that kind of energy.
If you get passive aggressive then honestly, you& #39;re not ready for a collaboration, because no one deserves that kind of energy.
Lastly, also respect yourself.
If the artist you& #39;re working with isn& #39;t being respectful of you, then remember this is a partnership and you can choose to step away.
You don& #39;t have to be best friends, but it should always feel like a team.
If the artist you& #39;re working with isn& #39;t being respectful of you, then remember this is a partnership and you can choose to step away.
You don& #39;t have to be best friends, but it should always feel like a team.
Oh snap, I forgot one!
I absolutely believe that in a contract that includes payment for colors and lettering, you, as the writer, should cover the cost of hiring a letterer!
Even if the artist is also the letterer, make sure the pay the artist is getting reflects that (1/2)
I absolutely believe that in a contract that includes payment for colors and lettering, you, as the writer, should cover the cost of hiring a letterer!
Even if the artist is also the letterer, make sure the pay the artist is getting reflects that (1/2)
In my opinion, lettering falls under the umbrella or writing (though it& #39;s also it& #39;s own art!) and writers should have a hand in making sure to be a part of that process.
This goes into the convo you and your collaborators will have to have about fair divides of payment. (2/2)
This goes into the convo you and your collaborators will have to have about fair divides of payment. (2/2)
^ This is in the case of an artist/writer book contract. Not so much the case when a company builds a team themselves and pays a writer as a freelancer.
