Rough Cut Lady

Overheard war stories from Fraction, Wood, and others.

Fraction provided this as a nice little injection of humor:

Rough Cut Lady



Well, that's a nice feeling.

I just put the finishing touches on my first draft. I've written a comic. It's at this point that I wait a few days and they tell me something along the lines of, "We really like what you're doing, and we definitely want to work with you in the future, but we're going to go a different direction on this project." I'll smile, they'll tell me that they hope I understand, and that I'll still be paid for my efforts.

Or maybe they'll tell me it's decent. That's what I want to happen. Or for them to say, this is shitty, this is golden, and here's how to make it all work. I don't know. This will really be the first time my creative writing, not my ability to summarize, has been put to the test at such a high level. Based on the three page sample I sent to someone, I think it will at least be passable. Enough that I won't need a page one rewrite.

Either way, I just finished, so now I need to do another pass and make sure that there isn't a missing page or the worst line in the world stuck in there. I've got some issues with some of the later stuff, but it's still too wet for me to mess with it. I'm going to take the Marz route and rescript after I get the line art. I'm working full script, as I don't know how to just plot, nor would I want to. I think I mentioned, there's a lot of room for the artist to play with things. Not a lot of opportunity for money shots, but maybe that's the kind of thing an editorial pass will fix.

Or maybe the money comes later... After the fame...

Crunch Time

Got a little more insight on my issues with narration. The thing I have to remember is that Brian Cox isn't Robert McKee and he won't be yelling at me for using narration. There's a difference between film and comics, as many similarities as they may share. There are different rules, different pacing, and different everything. So I'm going to let the story be my guide.

Today is the last day I have to work on my first draft of my first issue of my first comic. That sounds pretty cool to say, I just wish I had gotten more work done yesterday. I couldn't focus so I ended up thinking about the book while watching It's Always Sunny in Philadelphia. That show, while maybe overrated by my roommate, is highly underrated. Good stuff.

Time to finish up my book. At least the Falcons aren't on TV, so that's one distraction down.


Extraneous Speech

I haven't figured out how I feel about narration in comics.

Alan Moore can do it. Everyone that's ever written Wolverine thinks they can do it. It's certainly much more viable and integral to a great many stories than voice-over narration is in the cinema. But is it more harm than help?

I had a whole hook, a reason to use narration in my book. But I didn't really feel the need to narrate enough, as I'd rather let the story tell itself, and so I had to rethink my plan. I like the little bit I did, but it wasn't enough to make it make sense to keep it.

Got my first five pages tweaked and added a new one in, and I did two or three pages overall tonight, not including the tweaks. Still on track for Monday, as my quest to get my first pic artist inches ever closer to the home stretch.

Anyway, really tired. I've got a long day tomorrow. I wanted to get one more page done, get my total down to an even number, but my vision is starting to blur. Night to all.



I passed out earlier trying to read a script. I thought that was it for my night, but somehow a glass of chocolate milk gave me a second wind.

Woke up, read the last nine pages of the script, and sent my one note on it off to the writer and our lovely Editress-In-Chieftain. Tomorrow they'll call me a hack, but tonight I rule the webspace.

After that I resumed writing Book 1 of my OGN. My progress had stalled a little what with my nuts sleeping patterns of late and some personal issues. Now it looks like I'm firmly back on track and in no danger of missing my first deadline. Now, whether the book is good, that's a whole other issue. At this point, I think more weight will be on the artist than me. I'm really allowing a lot of freedom in the script, or at least I feel like I am, so it will take some work to get it to be this amazing work my mother expects of me. Alan Moore I'm not. I'm trying to be terse yet descriptive in script and dialogue, so we'll see. Getting my first set of notes will be an interesting process. I think I'm almost more scared of doing a good job than being asked for a rewrite. At least I would know what to fix if the latter happened and I got copious notes, but when people tell you they love something, you want to make sure you know why as well.

I've also discovered that I can't talk to Church about work. He doesn't seem to get, or I can't seem to explain, my work-for-hire status on the book. He thinks all comics have the potential to be Grant Morrison comics, but that isn't what they want here. This is a much more straightforward book, blending genres but not bending minds and perceptions. I think.

What does he know anyway? Everything he wants to do is weird and subversive. Even David Lynch does something straight forward once in a while.

I really like Ron Marz. Good writer, good person, good conversationalist. Good man, that Marz. I think it's a good thing that I don't hate a guy we do this much work with, and whose work I also grew up reading. That's right folks, Kyle Rayner is my Green Lantern.



I'm addicted to work.

I spent about twelve hours at work on Friday, ten or eleven yesterday, and I could have left tonight anywhere from 2-3 hours ago. I hung around to poorly design a fake ad, read pitch, and write e-mails to talent. I wonder if I'm any better than just okay at my job. I know I still have a ways to go, but editing is contingent on so many factors - talent, scheduling, budgets, knowledge, company edicts, etc. I wonder how I'm doing, given everything and my own agenda. Am I merely plugging holes? Am I steering us in the right direction? Can anyone hear me.

Saturday was the most productive writing day I've had in forever. 7 pages in one day. Not sure they're any good, in fact I know they could be better, but a seven page day is a seven page day. I'll take it. Now all I have to do is stop getting tripped up by myself and keep working. I'm really hoping that thinking about layouts and pacing will start to come more naturally as I keep writing comic scripts. I'm just so intrinsically drawn and in the mindset of the screenplay form, that I find the biggest chore just knowing where things go and how quickly. Eisner touched on pacing between panels issues, but I'm nowhere close to figuring this out. Right now I'm writing as if my artist will know exactly what I want on some pages, and letting them fill in the rest on others. I don't know what my style is yet. Sue me. And if I wrote everything I thought, I would hamper them anyhow.

On the artist front, things are in semi-limbo. Looks like my first choice, previously mentioned on this here blog, is available to do the book. All we have to do is get it approved through the various channels and I could be a very crappy (decent?) writer working with a very good, very underrated future star.

I'm using my iPod for the first time today. Opened it weeks ago, then nothing. Threw a bunch of emo and Eels music on there, and took it to go. Bought a case at Best Buy, the DLo VideoShell too. I'm returning it in favor of the iSkin eVo3, as the one I bought comes pre-scratched. Anyway, having music in the loo and on the way to the food court is nice, but I've yet to get the addiction. Not like music is work, right?

Anyone with accessory suggestions, feel free to pipe up.


Editing Link

Writer's Digest Editor's Site

Not even sure how I found this...

Lack of

Sorry for the lack of posts. I've been beset by inability to focus, lack of determination, and the fact that it's upwards of 86 degrees in my apartment when I try to sleep at 1am. Amazingly, it was only 82 this morning when the sun was on its way up.

Anyhow, just wanted to pop on and link to a new artist I had never heard of until today. In viewing the amazing James Jean's (2 time Eisner-winner for best cover artists) work blog (which puts mine to shame 1,000 times over), he mentioned Christopher Niemann. Now, I had never heard of him either, but his stuff is really cool. I think it's time that we started looking beyond comic artists and really try to find someone like the next Dave Johnson to really make some of our covers work beyond traditional posed imagery.

Now for the pretty:

James Jean

Christopher Niemann

Dave Johnson
(interesting note, the original cover showed the figure on top as the King, and on bottom as the Jack...)