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quote:
Originally posted by Rob Kamphausen:
which one is speedy now? arsenal?
heh. arse.
so, which marvel character would i like to dest... write? well...
i only really like wolverine and magneto. i hate thor-speak. daredevil is not a superhero. hulk is uninteresting. cap'n america... maybe. mebbe spider-man?
i guess i really just don't know enough about the marvel universe
Yep, Speedy is Arsenal. Evidently you don't know enough about the DC Universe, either. This from the guy who's been employed by DC longer than Bob Shreck.
Speedy, you're no arse. But you used to be my sidekick, and I'll never let you live it down. You will never get the cool Arsenal name. Never. It'll do you some good.
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quote:
Originally posted by Rob Kamphausen:
daredevil is not a superhero.
Rob, you should know by now that all lawyers are superheroes.
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quote:
Originally posted by Rob Kamphausen:
you can buy comics now??
Marvel Comics must be purchased. Those hardcovers are $35.00 a pop on ebay too...$50.00 normally..
well worth it though....
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quote:
Originally posted by Dave:
quote:
Originally posted by Rob Kamphausen:
daredevil is not a superhero.
Rob, you should know by now that all lawyers are superheroes.
Whoo-hah!
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quote:
Originally posted by Marc Campbell:
Yep, Speedy is Arsenal. Evidently you don't know enough about the DC Universe, either. This from the guy who's been employed by DC longer than Bob Shreck.
is bob shreck red arrow?
quote:
Originally posted by Dave:
quote:
Originally posted by Rob Kamphausen:
daredevil is not a superhero.
Rob, you should know by now that all lawyers are superheroes.
villains, dave. all lawyers are super villains
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quote:
Originally posted by Dave:
I have to respect someone who decides to push their own concept rather than tout an often hackneyed character owned by a major publisher. Not only are they being commerically brave, but they're broadening comics horizons and doing the industry a great service.
Wow, Dave, what an incredibly cool thing to say. Epic deserves a lot of the credit for providing the forum.
The most appealing part about Epic for me is obviously not their deal but Marvel's market share. There's a better chance that the book will reach readers, and if that helps comics as a whole in some very, very small way, then Epic can't be all bad. Speedy's local comic store doesn't carry CrossGen books, for example, and that store is about three feet from New York City.
Commercially brave -- perhaps commercially stupid for talking in public about granting ownership before contracts have been drawn. Although I have to admit that it does feel more like giving back to a medium I love than being screwed out of something valuable, if that's what ends up happening. Plus, I have my reputation to think about. You don't see too many subversives worried overmuch about property (unless it's someone else's that they want to redistribute).
Ask me again how it feels, Mr. Intellectual Property, after the action figures, lunchboxes, and movies come out.
quote:
Originally posted by Pig Iron:
You must buy every marvel masterwork offered...Marvel up to the early 80's is good stuff.
My absolute favorite Marvel period is the early to mid-1980s, the Jim Shooter years, I guess, although I've been buying Marvels longer and indeed I've been alive longer since then. Very strange.
quote:
Originally posted by Rob Kamphausen:
is bob shreck red arrow?
Sigh...
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Marc Marc Campbell quote:
Can any Marvel history people get me up to speed on when Atlantis sunk in the M.U.? Is it before or after 800 A.D.?
Atlantis sunk around circa 16,000 B.C.
P.S. Can I get a signed copy of the 1st issue? ![[eh?]](images/icons/confused.gif)
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quote:
Originally posted by Chaos Son of SoSa:
Marc Marc Campbell
quote:
Can any Marvel history people get me up to speed on when Atlantis sunk in the M.U.? Is it before or after 800 A.D.?
Atlantis sunk around circa 16,000 B.C.
P.S. Can I get a signed copy of the 1st issue?
Chaos, thanks very much for the tip!
My pledge is free comics to all who request them, so yes, I'd be happy and honored to send you yours.
Although be warned. I have been known to guilt people into buying copies instead. I know a measly $2.25 or $2.50 or $2.95 may not seem like much to you, but to me...to me...sniff...sob...to me it means my wife can finally get the operation she needs...sniff...and the sun will shine a little brighter in this cold, unforgiving world.
(Breast enlargements aren't cheap, you know.)
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I know - mine cost a fortune. quote:
Wow, Dave, what an incredibly cool thing to say. Epic deserves a lot of the credit for providing the forum.
The most appealing part about Epic for me is obviously not their deal but Marvel's market share. There's a better chance that the book will reach readers, and if that helps comics as a whole in some very, very small way, then Epic can't be all bad. Speedy's local comic store doesn't carry CrossGen books, for example, and that store is about three feet from New York City.
Commercially brave -- perhaps commercially stupid for talking in public about granting ownership before contracts have been drawn. Although I have to admit that it does feel more like giving back to a medium I love than being screwed out of something valuable, if that's what ends up happening. Plus, I have my reputation to think about. You don't see too many subversives worried overmuch about property (unless it's someone else's that they want to redistribute).
Ask me again how it feels, Mr. Intellectual Property, after the action figures, lunchboxes, and movies come out.
Marx said property is theft, so you just keep feeling good about it.
In the meantime, if you ever need any help with your contracts, let me know. I'd be happy to give you a hand, gratis.
You seem like a good guy, and that way I'd be helping out "indies", which would make a nice change.
quote:
Originally posted by Rob Kamphausen:
quote:
Originally posted by Dave:
quote:
Originally posted by Rob Kamphausen:
daredevil is not a superhero.
Rob, you should know by now that all lawyers are superheroes.
villains, dave. all lawyers are super villains
I always get those mixed up. Its part of being morally ambiguous.
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I wouldnt mind buying the book, if fact that was my plan all along, I just wanted you to sign the issue.
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quote:
Originally posted by Dave:
In the meantime, if you ever need any help with your contracts, let me know. I'd be happy to give you a hand, gratis.
Dave, I think Dale Cooper from Twin Peaks said it best: "I am honored beyond the ability to express myself." I'll hold you to it.
quote:
Originally posted by Chaos Son of SoSa:
I wouldnt mind buying the book, if fact that was my plan all along, I just wanted you to sign the issue.
Heh heh heh! Guilted another one! Set 'em up, and I'll knock 'em down.
Seriously, though, Chaos, my pleasure.
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quote:
Originally posted by Marc Campbell:
quote:
Originally posted by Dave:
In the meantime, if you ever need any help with your contracts, let me know. I'd be happy to give you a hand, gratis.
Dave, I think Dale Cooper from Twin Peaks said it best: "I am honored beyond the ability to express myself." I'll hold you to it.
I'll be out of touch in October, while we relocate, but before I go I'll PM you a hotmail address where you can reach me during that time, just in case.
Not to make too big a deal out of it, but, to explain myself, I generally don't mind helping people (that is, people other than large corporations, who are usually my employers) with stuff like this for free (so long as they don't sue me over it if it all goes south). Legal costs are prohibitive for newcomers to creative industries, and act as a disincentive to new talent, either to get proper advice or even to sign a contract if they're suspicious of the terms. So, in helping you out, I'm helping the comics industry as a whole by encouraging new talent. Huzzah! Group hug!
I've done the same thing for small-time actors and musicians in the past. Seems appropriate to do it for an "up and coming" comics writer.
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No, I think you did it because you still want to marry me. But I'm straight, Dave. I'm already married. I thought we've been through this. Geez!
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quote:
Originally posted by Marc Campbell:
No, I think you did it because you still want to marry me. But I'm straight, Dave. I'm already married. I thought we've been through this. Geez!
I'm sorry. Honest, I'm having no trouble accepting it. And its not me who is ringing at midnight, night after night, and hanging up without saying a word, either.
I just feel hurt that you ran straight back into Rob's arms.
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Of course I went back to Rob. He's easier to manipulate.
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Such a grubby euphemism....
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I'll say one thing for ya -- ya don't miss much. ![[wink]](images/icons/wink.gif)
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dave's a "bottom," after all.
heading back north...
now that you've got an official deal and acceptance into the world of marvel, does that make future dealings easier? like, if you proposed another idea, would that go directly to marvel or stick with the epic region?
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quote:
Originally posted by Rob Kamphausen:
heading back north...
Good one...
quote:
now that you've got an official deal and acceptance into the world of marvel, does that make future dealings easier? like, if you proposed another idea, would that go directly to marvel or stick with the epic region?
Right, that's a good question. To do it justice, I should probably mention the way a comic book goes from pitch to publication.
All comics start life as a pitch. This is basically an advertisement -- it's designed to spark interest. A pitch is usually pretty short. It contains a brief description of the comic idea, maybe a few story outlines and a few pieces of concept art, and that's about it. (Epic pitches are different, but I'm coming to that.)
Anyway, a writer can come up with the pitch. Or an editor comes up with the kernel of the idea and invites several trusted writers to submit competing pitches. ("Jordan's coming back as GL. Somebody make it work.")
If I'm a writer and I want to make a pitch without being invited by some editor, I've gotta know who to pitch to. Different editors control different groups of characters. So if I wanted to pitch a Spider-Man story, I'd have to know who is in charge of Spidey. If I wanted to pitch a Riddler story, I'd have to know who was in charge of the Batman group. So that's the first checkpoint.
Then, that editor needs to be willing to hear my pitch. Editors would rather work with people they know and trust. Be fair, now -- who wouldn't? I could have the greatest Batman story since "Robin Dies at Dawn," but if I'm a complete stranger to the editor, that person looks at me as (1) someone who potentially flakes out on deadlines; (2) someone who potentially airs his gripes in public; (3) someone who potentially sues us; (4) someone who potentially doesn't take criticism professionally or work well with others.
Now let's assume I get past all this. I've managed to sell the editor on me as well as my idea. Now the editor has to go to the top brass and sell them on the idea. The top brass doesn't care as much about the story itself -- they figure the editors know how to pick a good one. But the top brass is extremely concerned about the health of their company and the industry as a whole. If I'm an unknown quantity to these people, the editor has to defend choosing me over Warren Ellis. "How is this new guy going to screw us over?" is the question that gets asked. But also, "How will the public perceive this comic book? How will this get my company more market share? Are my competitors doing anything similar? How does this help me get into the bookstore market? How does this help me get into the DVD market? What kind of movie will this make? What kind of licensing deals does this give my company? Is this new guy going to be late? Is he going to make my distributor even more angry?"
By some miracle, many pitches make it all the way through, because the people at the top love putting out comics. Say what you will about the current people in charge, but you should never doubt that they love comics. Who else but a comic lover would put up with the stress and the hassle? Every single comic that goes out the door is the next potential Nightly News scapegoat when some spoiled teenager shoots up his school. I'm convinced that most controversial decisions have been made as a reaction to the market. Many are stupid decisions, yes, but they're not personal swipes against longtime fans. Of course that's just me, and I'm getting a bit off topic.
OK, now. An Epic pitch tries to take some of the guesswork out of the "Is this new guy for real?" question. So an Epic pitch has to include a complete 22-page script. This tells the editors many things. How well you write, number 1. How professional you are, number 2. Do you proofread your own work? How's your grammar and spelling? By this logic, someone who presents a more professional script is more likely to be professional when it comes to deadlines and editorial input. But it's not a sure thing, because people are people, and there's just no perfect way of telling who's going to be solid and who's going to flake out.
Right now, as we speak, Epic and I are in the middle of a "getting to know you" process. My pitch appealed to them because it exhibited some talent and some professionalism, and I managed to convince enough of the right people that it could possibly help Marvel attract new readers or crack new markets if they published it. And of course there was a tremendous amount of luck involved. But they really don't know me yet.
So now it seems like Epic is testing out what they bought. "All right, Campbell, you seem to be semi-professional. Prove it." Epic is suggesting changes to my script, and I imagine they are looking very carefully at (1) How well I make them and (2) How well I take it. They probably want to get a flavor for what it's like working with me. Am I a diva? Drama queen? Long-suffering artiste? Or can I put my ego aside and help give them the comic they want in a timely fashion?
Slowly but surely, I'm getting an idea what it's like to work for Epic, and I imagine Epic's forming an opinion about what it's like to work with me. But not until Northwood Saga comes out will I even think about pitching something else to Epic or Marvel. It's way too soon. We need to build the relationship first.
After Northwood comes out, I'll be in Epic's comfort zone, so to speak. I won't be an unknown quantity any more. So the next thing I do at Marvel will probably be at Epic.
A few good experiences later, something will start to happen. I'll start getting good word of mouth from Epic's editors. Then I just gotta wait patiently. A Marvel editor will come up with an idea, and that person might invite me to pitch, having heard good things about my work. Or, more likely, a creator will flake out -- happens all the time -- and a book will be in peril of missing a deadline. "Who can we get on short notice on the cheap? Who will do a good job?" My name might come up. I do a good job, and that editor will remember me and may eventually invite me to pitch. At the very least, that's another editor I can add to my Rolodex, to keep in the back of my mind when I want to make a pitch of my own.
So -- at last, in answer to your question, I'm in a better pitching position than I was in June, but not that much better. Not until I can prove to Epic and Marvel that I'm a good investment all the way around. Now is the time to build relationships. The time for more pitches will come.
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My first reaction after reading your post (Marc)
"SIGH....damn!"
I've been working on a comic for the better half of a year. Is Epic still taking scripts/pitches from unknown writers?
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quote:
Originally posted by Chaos Son of SoSa:
My first reaction after reading your post (Marc)
"SIGH....damn!"
I've been working on a comic for the better half of a year. Is Epic still taking scripts/pitches from unknown writers?
Chaos, yes, absolutely. That's the whole point of Epic. I see where you got that from what I wrote, though, so let me clarify.
The beautiful thing about Epic is, you don't need to know an editor to make that first pitch. Epic's door is open. They'll take pitches from anybody. They don't want to see your resume. They don't care if you're Warren Ellis or Marc Campbell or Chaos Son of SoSa. They'll take anything from anybody.
This gives you, the writer, great power in an otherwise closed process. But with great power comes great responsibility! So when you make that first pitch, just go way out of your way to make it as professional as you possibly can.
Hope this clears it up. Epic wants new writers. Give them (1) A good story that (2) is professionally presented and (3) helps them reach new readers, and you have a real shot.
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Thanks Marc. Im going to try it out.
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Fantastic, Chaos. Best of luck to ya.
This thread's supposed to be an upper, not a downer. I don't want to leave you guys with the impression that it's a hopeless cause, which it isn't. It's definitely doable. I did it, so it can be done. If it happened once, it can happen again.
At the same time, I don't want to lie to you. Once you have a foot in the door, that's basically what you have -- a foot in the door. A foot in the door is definitely something. It's an excellent start. I have no complaints. In fact, I feel incredibly fortunate. I guess what I was trying to say is this: Even after you get your foot in the door, you don't automatically get the keys to the house.
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Mr. Campbell, you provide great advice/insight/erotic stories for us aspiring comic writing people-type objects. I'd like to have your baby someday.
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Marc, Mike Carey, the writer of Lucifer, describes a similar path to his success at Vertigo. He had a pitch for Vertigo, happened to find a sympathetic editor, and he was hired. He also had some experience in writing comics for 2000AD, which no doubt helped - he had experience in the industry. But despite the ssuccess of Lucifer - it does middlin' well in sales and has received critical acclaim - he's yet to break it into mainstream stuff (an offer for him to write Firestorm for DC was pulled).
I have some sympathy for editors of comics, who receive pitches. Nearly everyone I know who reads comics wants to write them. It must be overwhelming. No doubt this is part of Epic's appeal.
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quote:
Originally posted by Dave:
I have some sympathy for editors of comics, who receive pitches. Nearly everyone I know who reads comics wants to write them. It must be overwhelming. No doubt this is part of Epic's appeal.
Yeah, even when I was an editor for DC, I was clearly working on the wrong floor if I wanted to segue into writing comics. I got the distinct impression that the Web guy was not supposed to slide pitches under doors. One of my colleagues lobbied a bit harder, and she eventually got a fill-in issue. I don't think she ever quite broke into the comfort zone, so they didn't use her again. Too bad. Her book was really good.
I can't overemphasize how remarkable it is that Marvel through Epic is taking pitches from anyone. It is a real opportunity for anyone who doesn't happen to be Brian Michael Bendis. Epic gave me more of a chance and took more time with my submission than my colleagues (and friends!) when I worked at DC. That is something.
Marvel isn't doing this for charity. What comics they get, they'd like to own. Also, they're paying Epic people less money. Also, they want to experiment with an overhead-cutting editorial scheme that shifts most of the production work to independent studios. (Like me. I'm now an independent studio.) So Epic, if it's successful, could bring about some significant changes to the way Marvel produces comics.
But there are many ways to cut costs, and opening the door to all pitches is an indirect route at best. Call me a sap, but I think Marvel loves comics. Yes, maybe Epic is creator-unfriendly, but maybe comics stand to benefit from this.
Have comics companies behaved badly toward creators in the past? Yes. Will they behave badly toward creators today given half a chance? Of course. Look at Epic. Yet you can make the argument that, when creators lose out, comics benefit. Superman, Batman, Wonder Woman, the Silver Age, the Marvel Age, Frank Miller's Daredevil, The Dark Knight Returns, Watchmen, Swamp Thing, Sandman...all happened under creator-poor conditions. Image, Rob Liefeld, unshipped product, Kevin Smith, Rob Liefeld, the 1990s speculator bubble, slack continuity, hologram covers, and Rob Liefeld...all happened under creator-favorable conditions.
I want good creators on comics. Better, I want good comics. If I have to choose between rock stars with top billing who can't seem to get around to doing comics and end up flushing the industry down the toilet; or Siegel & Shuster types slaving away on a regular schedule that any Nazi would envy without heat, fresh water, or pensions, well...I'm not ashamed to admit it. Crack those whips! Get back to work, Jerry!
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quote:
Originally posted by Disco Steve:
Mr. Campbell, you provide great advice/insight/erotic stories for us aspiring comic writing people-type objects.
Ah, good, Disco Steve, glad I could service you. Are you looking at Epic?
quote:
I'd like to have your baby someday.
OK! But the kid's name has to be "Tuttle," girl or boy.
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quote:
Originally posted by Marc Campbell:
Ah, good, Disco Steve, glad I could service you. Are you looking at Epic?
Never seriously. I worry that school will get in the way of it, being a Senior in High School. Of course, school gets in the way of comics, and not vice versa.
That and I'm not sure what to think of Epic. Sounds too good to be true.
quote:
OK! But the kid's name has to be "Tuttle," girl or boy.
Tuttle?! I wanted to name it "Strogdor the Mighty" if it's a boy or "Paste Pot Pete" if it's a girl.
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I always knew this place was a gay pick-up joint. quote:
Have comics companies behaved badly toward creators in the past? Yes. Will they behave badly toward creators today given half a chance? Of course. Look at Epic. Yet you can make the argument that, when creators lose out, comics benefit. Superman, Batman, Wonder Woman, the Silver Age, the Marvel Age, Frank Miller's Daredevil, The Dark Knight Returns, Watchmen, Swamp Thing, Sandman...all happened under creator-poor conditions. Image, Rob Liefeld, unshipped product, Kevin Smith, Rob Liefeld, the 1990s speculator bubble, slack continuity, hologram covers, and Rob Liefeld...all happened under creator-favorable conditions.
I want good creators on comics. Better, I want good comics. If I have to choose between rock stars with top billing who can't seem to get around to doing comics and end up flushing the industry down the toilet; or Siegel & Shuster types slaving away on a regular schedule that any Nazi would envy without heat, fresh water, or pensions, well...I'm not ashamed to admit it. Crack those whips! Get back to work, Jerry!
Anyone with enough skill, business nouce, and faith in themselves always can go the Dave Sims route.
Or the Jim Lee route, to use a better example. I firmly think that if you draw like Lee and can cobble together a decent story, you'll be a success in the industry.
If you have only the ability to write, or to just draw, you're going to be reliant upon a publisher.
Writing comics is just half the talent. Drawing is the other. If you'rer weak on one leg, you need a publisher as a crutch. And the publisher is going to want to own the work.
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quote:
Originally posted by Dave:
Anyone with enough skill, business nouce, and faith in themselves always can go the Dave Sims route.
The self-publishing or the misogyny?
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Dave and Disco, thanks for the observations as always.
Dave Sims... surely a creator worthy of respect. The mainstream isn't the only stream, obviously, and there are probably more artistically valid ways of getting into mainstream comics than Epic, especially if you have a noisy inner artiste. (I've managed to strangle mine.) There are certainly harder ways. Epic is kind of like the Dark Side of the Force -- quicker, but at what price? Yet the potential benefit to the mainstream may be worth a couple human souls. Now, I don't characterize my ridiculous little script as brilliant, revolutionary, or the work of genius. Anyone who's read The Silmarillion might as well give Northwood a skip. I will say that my book belongs to an underrepresented genre, and even among other fantasy books I'm trying for a different niche. If this is what Epic ends up being, it could nurture a true work of genius, right there in the middle of the mainstream. Right outta Nu Marvel. Imagine. This is maybe the best chance for a paradigm-changin' creator to slip one in.
Re: Subversives. I can't imagine a Dave Sims or a Robert Crumb in a world without Marvel or DC. I think the independent industry absolutely requires a mainstream industry to subvert. Truly brilliant things have come out of the indy world, but I'm not convinced that mainstream comics work better when they appropriate indy standards and ideals. For one thing, you need a genius to pull it off. How many geniuses are there, really? Not enough to build an industry on. Also it seems like we benefit when geniuses suffer.
Look at Disco Steve. He's in high school. Obviously he's suffering. And he comes up with naming a girl "Paste Pot Pete." Brilliant. Get him out of the brain factory, and he'd suggest something lame like "Trapster," I bet.
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quote:
Originally posted by Marc Campbell:
Dave and Disco, thanks for the observations as always.[qb][quote]
Welcome.
[quote][qb]Look at Disco Steve. He's in high school. Obviously he's suffering. And he comes up with naming a girl "Paste Pot Pete." Brilliant. Get him out of the brain factory, and he'd suggest something lame like "Trapster," I bet.
Aye. Verily.
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Joined: Oct 2000
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Educator to comprehension impaired (JLA, that is you) 50000+ posts
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Educator to comprehension impaired (JLA, that is you) 50000+ posts
Joined: Oct 2000
Posts: 53,734 Likes: 2 |
Marc,will you book feature lesbians?
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Joined: Jan 2002
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Banned from the DCMBs since 2002. 15000+ posts
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Banned from the DCMBs since 2002. 15000+ posts
Joined: Jan 2002
Posts: 15,367 Likes: 13 |
We can but hope and pray, bsams. quote:
Originally posted by Disco Steve:
quote:
Originally posted by Dave:
Anyone with enough skill, business nouce, and faith in themselves always can go the Dave Sims route.
The self-publishing or the misogyny?
Both!
quote:
Re: Subversives. I can't imagine a Dave Sims or a Robert Crumb in a world without Marvel or DC. I think the independent industry absolutely requires a mainstream industry to subvert. Truly brilliant things have come out of the indy world, but I'm not convinced that mainstream comics work better when they appropriate indy standards and ideals. For one thing, you need a genius to pull it off. How many geniuses are there, really? Not enough to build an industry on. Also it seems like we benefit when geniuses suffer.
Yes. If you're going to take the piss, you need something to take the piss out of.
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300+ posts
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quote:
Originally posted by britneyspearsatemyshorts:
Marc,will you book feature lesbians?
There's a little dwarf on elf love, but it happens between the panels. You should feel free to insert the elf babe into whatever fantasies you like.
I hope no one from Marvel is following this thread.
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Joined: Aug 2003
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300+ posts
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For those who come to this thread for actual practical information about Epic, not my incoherent ramblings about comics and the sex talk with various male strangers, I have some new developments to report.
I just got back some comments on the revised script. If you're keeping track, Teresa at Epic wanted me to rethink the beginning of the comic. My original script started with a little info about the world, and then I built the first encounter up slowly. The event that kicks the story into gear didn't come until page 6, I think. So Teresa suggested moving that crucial event to page 1 or thereabouts and pushing some of the extra info to the background.
Teresa also wanted me to watch out for declarative dialog, a bad habit of mine. Declarative dialog is what you get in Scooby-Doo. "Look, Scoob! A ghost!" when it's plain to see that a ghost is exactly what it is, or at least a guy in a ghost costume who wants to scare everyone away and keep the treasure for himself. Declarative dialog is why nobody likes Shaggy very much. So I went through and cleared out all the declarative dialog.
The third thing Teresa wanted was an additional scene with the elf babe. The elf meets the main character -- the dwarf -- about halfway through. In my original script, it was hinted that perhaps there was something going on between the elf and dwarf that the writer hadn't presented in the interest of an R rating. So I added a scene that keeps us in R territory (no explicit exchange of fluids) but makes their relationship a little more apparent.
OK, so this was my first revision. Teresa liked what I did overall and suggested a few other changes. She wants me to cut a few extraneous panels here and there to tighten up the pacing. As soon as she pointed these out, I saw right away that they weren't necessary, so let nobody tell you that having an editor ruins your work. I'm grateful for Teresa's input.
She also wants most of the narrative captions to go. Narrative captions ("Meanwhile, in Gotham City...") have fallen out of favor in comics. My first draft of the script used a fair number of them. They can be annoying, so I tried to give them some character. I imagined the narrator of the Conan movie and tried to write the captions in that style. I ended up really liking them. But it seems like Teresa subscribes to the theory that you should only use as many words in comics as absolutely necessary. I can appreciate this. Plus, not all of the captions are getting the axe. The ones that are staying are crucial for the reader to understand what's going on. Still, it'll be hard for me to take them out, because I think they're clever bits of pseudo-dialog. But if the comic is better without them, then there's no good reason for them to stay.
What else? Let's see...Teresa wants an additional one-page scene that puts back some of the exposition I took out. She came up with the idea of two idiots talking behind the dwarf's back, kind of like a Greek chorus device to draw the reader in. This should be a blast to write. And she wants yet more of the elf babe.
Now, how to add a page and a half without taking out any existing pages but keeping the total page count to 22. Math was never my strongest subject, but this seems a bit challenging on a theoretical level.
I should be getting some more editorial comments this week from Stephanie Moore, Epic assistant ed., so I'll hold off writing anything new until I hear what she has to say.
All in all, I feel good about the editorial input. It's exceeded my expectations. The goal of it has been to help me tell the best story possible. My inner artiste approves.
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Joined: Oct 2000
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Educator to comprehension impaired (JLA, that is you) 50000+ posts
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Educator to comprehension impaired (JLA, that is you) 50000+ posts
Joined: Oct 2000
Posts: 53,734 Likes: 2 |
quote:
Originally posted by Marc Campbell:
There's a little dwarf on elf love, but it happens between the panels. You should feel free to insert the elf babe into whatever fantasies you like.
I hope no one from Marvel is following this thread.
heh, you said insert.....
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Joined: Oct 2000
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betrayal and collapse 5000+ posts
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betrayal and collapse 5000+ posts
Joined: Oct 2000
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