So you could be writing issue 1, then issue 4, then issue 2, then issue 9 and then issue 5, then 3, etc. If you're writing for multiple artists at once, you're often having to write them out of sequence. It's not the only reason for Writers being too important in comics presently, but it's certainly one of them.) There would be far less problems in accelerated shipping if artists could draw quick enough to do it all.īut there's also real costs for a writer. Writers become more the driving force of a book the more artists have to switch in and out. However, the cost of accelerated shipping is always the consistency of the art - and it has many other side effects which come from that. (EVERYTHING BURNS was shipped weekly in part, and the excitement was palpable in the readers.) There's bits of my commercial career which had a real pop thrill which were based on double-shipped or even weekly shipped books. I suspect I dislike double-shipping more than many - there's a real momentum you can get to a serial narrative released quickly. There's certainly times when talented individuals don't click at all. Forging your relationship with an artist is very much part of the job. Some artists I get on the phone and talk about stuff. Some artists I have never spoke to directly, and only work via scripts. In terms of collaboration with artists, it varies wildly. Lots of stuff there in terms of ideas, plus some other notes to how I do it. In terms of breaking in, that question was asked by another redditer below - I also link to my masterpost of writing resources there. In practice, that goes all out the window as life is a fucker, but if you know what beat you're trying to follow, it makes it easy to correct things. That means 25 pages minimum per week, in terms of comic pages. Afternoons are saved for everything else - plotting, meetings, polishing drafts into finished work. Most generally, every weekday pre-lunch I write at least five pages of draft. "Whatever works, works" is one of my core writing rules. Being able to change it up when something isn't working is a big part of it. My process is flexible, because I have to basically do it every day, and I get bored. You have been delightful.ĮDIT 2: Right - finished off all the answers. I'll come back tomorrow to answer the rest. 2 hours)ĮDIT: Right! I've done two and a half hours, so I'm knocking off. I'll start answering questions at 9pm GMT (1pm PST, 4pm EST) and finish around 11pm (i.e. I also write many other things, so feel free to ask about them if you have any nagging questions. Phonogram is music criticism trying to pretend it's genre fiction to get into better parties, and mainly explores how we use the culture we consume and how it transforms us. Its themes are primarily mortality and art. WicDiv is about gods as pop stars and pop stars as gods, and follows a pantheon of gods who reincarnate every ninety years, and then all die within two years. The third and final collection of Phonogram comes out in March, and will be called THE IMMATERIAL GIRL. The latest collection of The Wicked + the Divine (aka WicDiv to save everyone's keyboard) came out in February, and was called COMMERCIAL SUICIDE. I'm Kieron, and I write the The Wicked + the Divine and Phonogram for Image Comics.
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