The End of EIC and the Beginning of OGN

My seven work day tenure as EIC was fairly uneventful.

It came and went the same as any other seven days. I did my job, I did very little in the way of change, and most decisions were made with an eye or ear toward deferment to others. I may not have been at this forever, but I should learn to trust myself a little more. If I fail, I fail, but if I stand on the sidelines I don't even get the opportunity.

In any event, Renae was back which meant I got to focus on my normal stuff. Trafficking, proofing, contact, and feeling confused. Sometimes you can go home again.

I got an e-mail today from someone I've never heard of. The best part was that her name didn't even match her e-mail. Normal gmail addy, but totally different first name on it than her real one. I have no idea who she is, but she knows a thing or two about the OGN I'm working on. One thing she was told, on this e-mail thread in which several people were Cc'd is that there was a treatment for the book. I e-mailed my editor and he told me that yes, the final version of my treatment has indeed been approved.

All that means is say goodbye to the theoretical and start mashing keys for real. It's funny that I never really thought I would end up in comics. I never wrote comic scripts, never tried to draw my own, and never really even conjured fan fiction in my head for my favorite super hero books. I guess after I got offered Bearers, and even before that, I might have thought that working in comics and being respected in other ways might open the door for me as a writer. Well, it has, and now my chance to deliver or fail is at hand.

I reread Alan Moore's Guide to Writing Comics a few weeks back. Just a quick primer to refresh that if I want to be the type of genius he is, it all starts with theme. I went with Plot and Character, in the face of both Moore and Tolstoy. Strangely enough, #1 on the agenda for ol' Leo was transitions. You can thank Stephen Gaghan for that little tidbit.

Anyhow, before I get further off traffic, I'm knee-deep into Will Eisner's Graphic Storytelling and Visual Narrative. If there's a guy who did it well over and over again, it's him. My biggest worry is the actual panel-to-panel storytelling. Because I have a movie background, my sense of timing is a little different. I pay attention when I'm reading scripts and comics, but laying it out on my own from scratch is my biggest worry. Hence Eisner tonight and probably some perusing of Panel One and Two tomorrow. Hopefully I'll be all set to break down my issue one script by pages and then get to the nitty.

The artists search begins. I asked for artist approval, and at this point I think that's basically turned to I can look for anyone and get shot down as needed. I'm brainstorming and googling people I think fit the profile. It's tough to find an artist for a book that's all suits and conversations with a dash of other stuff thrown in. Most people you see want to work on what inhabits the vast majority of shelf space in the direct market - spandex-clad super hero action. Visually I see this book much closer in tone to a psychological thriller, mystery, or crime book than anything else. I'll go with my top couple dudes of Phillips, Lark, and Maleev for what I'm looking for. There are a couple of other guys who I think are on a very similar level in terms of what they can achieve visually, but I'll save their names so prying search bots don't snatch them out of here and give them other, better-paying gigs before I get a chance to nail them down. One of them has been name-checked on this blog, and I met him at SDCC. I flat out told him a few weeks back that I must work with him in some way, shape, or form. Right now I think there's only one other artists that even approaches my level of wanting-to-work-withedness, but it's much less visceral with the second guy.

Anyhow, the wheels are spinning on all fronts. I'm going to waste less time on words that don't amount to a paycheck and a published work, so that's all for tonight.

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