Tuesday, December 30, 2008

Waid Wednesday #4: Artists Are Not Helper Monkeys

This week, we backtrack a little bit. The responses and e-mails I’ve been getting about these blog entries are very gratifying and very illuminating (also a little tame; I worry that I’ve apparently not yet said much worth arguing over. How does anyone post two thousand words about anything on the internet and not get flamed by someone?), but I realize, for the benefit of those newer to or outside the comics biz, the terminology is a touch “inside” and I maybe should have laid more groundwork about How A Comic Is Created. Hence:

Comics stories start, like most everything else dramatic including half the breakup conversations I have ever had, with a script. Unlike the standardized screenplay format, there is no existing template for comics scripts. That’s primarily because comics is a uniquely collaborative medium. Some writers are their own artists and work it all out in the drawing; some writers break their scripts down panel-by-panel with dialogue; some describe simply the basic plot to the artist sans final dialogue, then add the actual words and captions once the art’s produced. I’m sure that last method sounds spectacularly backwards to our film and TV brethren—like crafting and looping in dialogue only after a scene’s been shot—but that’s the way many of the most classic American comics of all time were done. More on why this is in a moment.

Once a script is approved by an editor, it’s given to an artist who’ll illustrate it on (almost always) Bristol board. Some artists do finished, ready-for-print work; sometimes, to speed production, they work only in pencil and an inker comes behind them to add textures and shading and background detail with India ink to get the art camera-ready. Whether he’s doing finished work or just pencilling, however, the artist turns the writer’s words into pictures, and that is much harder to do well than most writers realize. Not only does a comics artist have to be able to draw anything from a herd of horses to a county fair to a Betelgeusean starship, all the characters have to be consistently on-model in every shot without fail, the storytelling has to be clear, and the images have to be dynamic. Tall order; some of the most phenomenal illustrators I have ever met are wizards in their own areas of expertise but cannot begin to juggle the multiple tasks of a comics artist.

This is why I say that artists are not helper monkeys; they’re not in it to visualize “your” story, because it stopped being “your” story the moment you engaged in a collaborative medium. From here on in, it’s also the artist’s story, and if you’re working with an illustrator who’s any good at all, you as a writer have to tamp down any control-freak tendencies you suffer under and relax into the process. Chances are, the artist isn’t going to draw that submarine hatch exactly as you’d envisioned it or angle that close-up exactly the way you saw it in your head, but as long as the story’s being told effectively, that’s okay. That’s what artists are paid to do: bring their own storytelling skills to the table. If they’re experienced, then more often than not you can give them a detailed story outline with first-draft dialogue, then craft your final draft around their drawings to add nuance, characterization and exposition, and there’s going to be an energy to those pages that’s present because the artist felt engaged and not simply dictated to. I always put my phone number and e-mail address on the first page of every script I write and encourage my artist to call me with questions, observations, or insights, particularly if they read a scene description and can suggest a clearer or more dynamic way of illustrating it. Again, it’s not “my” story anymore; it’s OUR story, and at some near-future date, we’ll go into specific examples of how my artists have improved my scripts immeasurably.

Beyond that, coloring is its own craft. Most comics artists work strictly in black-and-white line drawings, then scan the physical artwork so gifted artists-slash-technicians-slash-specialists can use Photoshop (industry standard) to add color. The letterer likewise uses his computer (alas, the days of hand-lettering are all but gone) to lay in the captions, balloons, sound effects and titles using (by and large) Adobe Illustrator. The coloring and lettering, once an editor has reviewed them for errors and corrections, are then wed into high-res EPS files and FTP’d to the printer. A few weeks later, printed comics are in stores. Rinse, repeat.

There are as many ways of mixing and matching these creative components as are mathematically possible. There are plenty of artists who do their own coloring and/or lettering. There are letterers and colorists who also write. Or draw. There are no union lines to cross. What’s important is that everyone’s telling the story.

Still too inside? If so, forgive my lack of perspective and feel free to ask questions.

Next: A Unit of Entertainment

55 comments:

Anonymous said...

Can you explain the comic book lettering TRADITION of putting SOME TEXT in bold face? Sure, sometimes it's obviously to show that a character is stressing a given word, but often it just seems kind of random. Like there's a QUOTA or something.

Anonymous said...

Not "too insider!" I love comics and I really enjoy your descriptions of how the sausage gets made. Really interesting insights, thanks.

Mark Waid said...

"Can you explain the comic book lettering TRADITION of putting SOME TEXT in bold face? Sure, sometimes it's obviously to show that a character is stressing a given word, but often it just seems kind of random. Like there's a QUOTA or something."

It's 100% personal style, nothing outside of that. Every singer phrases the lyrics differently. Sometimes emphasis is a rhythm the reader taps into, sometimes it seems totally random (like your--admit it--vaguely snarky example). I don't know what to tell you; it's the way it sounds in the writer's head.

I probably use it a little too much as a crutch, myself, and sometimes I look back on my own scripts and it seems overused and forced. Other times, I don't notice it at all. No right or wrong; everyone pretty much agrees that Jack Kirby's dialogue had emphases that seemed TOTALLY arbitrary, but that doesn't take away from the fact that his 1970s work made for some of the best comics ever. Go figure.

Jer said...

Some artists do finished, ready-for-print work; sometimes, to speed production, they work only in pencil and an inker comes behind them to add textures and shading and background detail with India ink to get the art camera-ready.

I've noticed some artists are using "digital inking" these days - how is that done? My assumption has been that the pencils are scanned into Photoshop and then the "inking" is done that way - is that actually what "digital inking" means or is there more to it than that? And do you think it's going to become more commonplace?

Russell P. said...

"Chances are, the artist isn’t going to draw that submarine hatch exactly as you’d envisioned it or angle that close-up exactly the way you saw it in your head, but as long as the story’s being told effectively, that’s okay. That’s what artists are paid to do: bring their own storytelling skills to the table."

Likewise, if that submarine hatch just has to look the way you envision it, then it's usually common courtesy to provide the artist reference.

I'll never forget arguing with the artist on my first comic book script because he didn't want to redraw a silenced pistol which I had failed, in my script, to indicate simply could not, in no way, be a revolver.

He didn't appreciate that the revolver wouldn't effectively be silenced in any realistic way, thus hurting the storytelling of the scene; I didn't fully appreciate that the revolver took lots of time to reference, re-angle, and draw to fit the perspective of the given shot.

We both learned that day.

Anonymous said...

Not too insider. It answered the question I asked a few days ago, and then answered the two or three your answer generated in my mind.

Thank you.

Anonymous said...

For an example of really good collaboration between writer and artists, see Gaiman's Sandman series.

Cully Hamner said...

Sorry to disappoint you, Mark, but I found nothing to argue over in this piece. :)

Thanks for laying it out so clearly.

Anonymous said...

Sorry to disappoint you, Mark, but I found nothing to argue over in this piece. :)

Indeed. In fact, I'm scrabbling desperately to find anything at all to pick at.

How's this? "Encapsulated Postscript? FTP? Good Lord, has anyone told the printers that this is the TWENTY-FIRST Century?"

Yeah, pretty weak tea, I know.

El Cid said...

Let me make an industry-expanding suggestion for you:

Having seen a few of the CBR-compressed scan comics on a big-sized HDTV (it's too tedious to go through the downloading thing on a regular basis, plus I don't read so many comics), let me say that I don't think I have ever truly seen the beauty and detail in comic books until I scrolled through them on a 50" HDTV.

And if you think I'm talking tech-geeky (i.e., how I did what with an HDTV), that's completely not the point. I assure you I had no intentions whatsoever of being impressed by simply pulling up a comic image on a PC connected to a TV. Mildly curious at best. And then, blown away.

I mean, I've been reading comic books my whole life, and collecting a few -- but seeing a well-done Thor or X-men or Superman filling up a widescreen with full-to-bursting color, I found myself lingering over each panel far more than I think I may have ever done before.

I showed it to friends of mine. We sat there and stared (undrugged) at a few panels and just noticing the cinematic levels of staging in, that I know we would have breezed over flipping through a normal-sized comic.

This industry is changing. It's not just about "electronic" formats.

I don't know how to advise a good monetization model -- a CD or DVD which can hold a yearly collection, maybe.

All I know is that the comic book artistry is being missed by the public because we're just not capable of seeing the full imagery conveyed.

A properly formatted 16 x 9 HDTV rez comic on a decent-sized screen (say a good bit larger than a typical PC monitor if viewed from a regular sitting distance) seems to me to have some potential.

Gerry Alanguilan said...

Sorry Mark, but you'll get no flames from me on this one. In fact, I want to thank you, and I'm hoping I could quote you for this topic I'll be writing on my blog.

You explained the nature of collaboration in comics more simply and more eloquently than I could ever have.

It's something I've bumped heads over other people when discussing the role of the writer and the artist in comics with professionals from an older generation. I'm from a comics industry that regarded the writers as the ultimate boss, and the lord of the realm, and whatever they say goes. Artists were second class citizens who are replaced when they don't do what the writers want.

They "say" that comics is a collaborative medium but it's more lip service than anything else. It was never put into practice. The writers got all the credit, and all the compensation when films are made of these comics, and not one single mention of the artist is ever uttered.

There are many bitter old artists here in the Philippines because deep in their hearts they know something is wrong, but they weren't able to articulate it because things had been done one way for so long. And that any sort or protest put you out of the job.

Things are changing though, with the influx of younger creators who now know what's what. Blogging on the Internet has certainly helped. Thanks again for this post. It's been a big help!

Kidsis said...

Hey Mark, if you want to go from vaguely snarky to full on flame, it helps to have a female avatar and express an opinion. Try Britney Waid and see what happens.

Unknown said...

Well, they are in Gorilla City!

Unknown said...

You want disagreement? Okay, Mark.

In regards Kirby's 70's work, I'll say you were spot on if you're talking about the Fourth World stuff, and I also liked (in varying degrees) OUR FIGHTING FORCES, KAMANDI, and THE ETERNALS. But, let's face it...Kirby had an awful lot of misfires there, too. BLACK PANTHER, DEVIL DINOSAUR, and even his CAPTAIN AMERICA, which apparently ended up selling so low they had to take him off it. Jack's dialogue was just not up to snuff, and his books sometimes had very corny elements (such as the fat housewife "Black Panther", and the whole T'Challa "King Solomon's Frog" coming right after the thoughtful Panther Vs. the Klan by Don McGregor) that an editor could and should have vetoed.

But by that time, Kirby was his own editor. Marvel wanted him under the tent again, but, unfortunately, his sales couldn't justify his continuance. When he left comics to work in animation, his wealth increased and his stock in fandom did likewise. By the time of his death, Kirby had long since been re-elevated to legend status.

Stan Lee knew when to get off the stage. If Kirby didn't, he should have at least hired a good enough backup band. So much for that.

Prankster said...

Very true, and an important lesson for comics beginners to learn. There are way too many would-be comics writers who think that they'll be assigned a helper monkey who will realize their brilliant ideas without ego, and at the same time, step up to save them when they falter...and the final work will still be the writer's, first and foremost. "With art by this guy/these guys." I've actually noticed that the comics community has been tending to support this viewpoint, frequently focusing on the script rather than the art when reviewing or commenting on a comic. Of course, I remember back in the early 90s when it was all about the artists and the writer was seen as a hired hand, too. So it goes in cycles.

I do take a bit of an issue with the "collaborative medium" comment...of course it can be and usually is, but one of the neat things about comics is that it can support rugged individualists who do everything, write, draw, ink, letter, colour, edit, and even publish, and thus I feel it tends to be more personal than any other visual storytelling medium. Even if you're "only" writing, there seems to be greater freedom and more control than there would be on the stage or screen, which is probably why some writers become bullies in the first place.

As for something contentious...well, OK, here's something that bugs me in relation to your last column. I absolutely agree with everything you said, that some writers are in love with the sound of their own voice, that they waste panels and drag out a story for far too long, that they fall back on generic visuals. All very true.

But Mark, you're EIC of BOOM!, which published The Foundation. And The Foundation had all these problems in spades. It was an interesting story with a good concept, but it was MERCILESSLY dragged out, featured way way too much pontificating from the narrator, and had some of the most bland, generic visuals I've ever seen--lots and lots and LOTS of the "people in suits talking in a hallway" that you decry in that column. So what gives? Why didn't you follow your own advice on that one?

Mark Waid said...

"Why didn't you follow your own advice on that one?"

Fair question. The answer--and this is not a pass-the-buck answer, this is an honest reply--is that when I took the EIC gig, that project was already well under way, so any Heavy Hand I might have been inclined to impart would have been more disruptive than helpful at that stage. It's a judgment call, but sometimes it's better just to let inherited projects be What They Are rather than crash the party midway and risk breaking what IS working. (See also the forthcoming post, "Editors: Threat Or Menace?")

I think Kody Chamberlain's idea was nifty, writer John Rozum's execution of the approved-by-my-predecessor's pitch was quite skilled, and I L-O-V-E the artist, Chee. I would agree that, overall, THE FOUNDATION read too much like a movie pitch and not enough like a thrilling comic book, but I honestly do think it was, on the whole, a pretty good read (with more action that I think you're remembering).

Yes, there was a lot of urgent standing in that book. Had I been involved creatively from the start, I probably would have asked for more movement and fewer business suits, but you'll understand my reticence to throw one of our writers under a bus on my blog just to validate my 20/20 hindsight. Also, I wasn't privvy to any of the development meetings that dictated the style and shape of that series...so let's just call it a good story that didn't use the medium to its best advantage and vow to be more vigilant in the future.

Anonymous said...

That's totally fair and cool, unless the position of editor in chief comes with a time machine which you neglected to use.

Honestly, I didn't hate The Foundation. It was indeed a good premise and even pretty well executed, it just had...all the problems you mentioned. I do remember the action scenes, it's just that there was also a lot of drawn out, over-explanatory dialogue and narration, plus dull visuals much as you described. (Nothing against Chee's abilities as an artist, it just seemed like he didn't have much to work with.) But honestly, given what you just said, I'd be quite interested in reading a second series, if I knew that you were going to apply these criteria to it. I think that could be great.

Brian said...

Hey Mark,

Thanks a bunch for continuing to provide valuable perspective - I didn't even think about keeping my contact information on the first page, but I know I'd never keep an artist in the dark if I could get a reference shot or picture for them.

Outside of aiding with the visualization of panel construction and story progression on the writer's side (I like to come up with dialogue, location and situation first, then description), would you think drawing a mock-up of the issue's panel construction / content could be helpful for the artist?

I know they like to stretch their muscles, but to have descriptions like "Page 1 panel 2 : Change angle. People in car. They are talking. This is the largest panel of the page" wouldn't help me much.

And they're doing some major heavy lifting in terms of creativity, as you've said.

I figured, since it helps me in terms of writing and planning for a visual medium, it'd work as well for the artist, and they'd be able to take it or leave it as they want - but, ultimately, they'd have a starting point, which makes it easier for get going.

(And the easier it is for them to get started, the more time they can spend working miracles with pencils, right?)

Thanks again, I love being able to look forward to quality comic advice every week.

Cully Hamner said...

Actually, Brian, just my personal preference: I prefer it when writers stick to simply describing to me what's happening in the scene or panel. Tell me what the dramatic point of the scene is, give me the subtext, and the basic mechanics of what the characters are doing, saying, and thinking. Clue me in to what we're trying to accomplish from a storytelling perspective.

I don't, however, need to be told what the angle is, for example. I mean, yeah, obviously, a writer (these days, anyway) is going to break it down into separate panel descriptions, and that's perfectly valid, as a writer *should* be concerned with pacing. But I find that I, as a visual storyteller, am generally better-equipped to make decisions about where to put the camera. There's never really any need to tell me to change the angle, and I really wouldn't generally need any kind of sketch from a writer. There are always exceptions, of course, but I find that most experienced comic artists know what they need to do.

The inexperienced ones are learning, just like you are. Including them in the process and welcoming their input can only make them--and your partnership-- better.

Frankly, I miss the days of what they called "Marvel-style"-- a writer would give the artist a basic synopsis of the story. This could be as short as a page or two, or it might be broken down into 22 pages. The artist would take that and break it down into panels, having much greater control over pacing and visual narrative, and the writer would script to fit the art. This approach is heaven for the visual storyteller, but it's just not done anymore, unfortunately. The format is much stricter these days. So, given that, I do prefer being left to make as much of the visual decisions myself as possible.

Brian said...

Hey Cully - Thanks a bunch for the artist's perspective!

It's definitely some more food for thought for me, and I really appreciate the professional advice.

Thanks again!

Anonymous said...

The "Marvel method" sounds cool and might be a fun thing to try, and there are probably artist/writer teams that would find it to be their best working method, but I suspect it's not for everyone. I think Cully just likes it 'cause it gives more power to the artist!

It's hard to imagine something like Watchmen being produced via the Marvel method, for instance--the interplay of imagery and words and compositions had to be worked out very carefully. I suppose Dave Gibbons could have done it from a bunch of vague suggestions from Alan Moore, but that whole aspect of comics writing seems to stem more from a writer's mentality than artist's. Moore clearly has a very strong visual sense, and Gibbons is clearly a good storyteller who contributed a lot of ideas of his own, but I think a dense script was the only way that project would have come into being in its current form.

That said, something like Hellboy is just as obviously a story told by an artist, and probably wouldn't have been the same if it had begun life as a script either.

I guess the rule would be for a writer to admit when he's not particularly clear on the visuals and get out of the way of the artist. I'm not a professional, but I've worked with artists and written scripts for them where some pages were carefully detailed, and others were a bit vague and depended heavily on input from the artist. Hmmm...maybe it's fair to say that world-building (at least at the conceptual stage) is something that the writer should have a heavy hand in, but action and character interaction is where the artist should have more say.

Cully Hamner said...

Like I said, there are always exceptions, and the Marvel method may not be for everyone. Some artists have a real head for story, some don't, just as there are writers with a well-developed sense of sequential imagery.

I'd take issue with the idea that the method give "more" power to the artist; I think it evens things up more than anything. It makes it much more of a collaboration to me.

Even on a standard script, I reserve the right to make a change here and there to try to make the storytelling better, if I think it's not working as well as it could. As long as I preserve the writer's *intent*, I find that most writers I know appreciate it, providing I talk with them about it. Storytelling collaboration requires flexibility of approach and openness to opinion.

Marty Nozz said...

I'm really glad the point was hammered home that once the script goes to an artist it becomes their story too. I try to talk at least once a week with the artist I collaborate with about the pages he's working on. I always look forward to seeing what he does with the scripts I've given him and he's always managed to surprise me. Often the story has ended up evolving due to what he's added to it. Things that I hadn't really paid any mind to end up becoming more important. Characters become more defined.

Being lucky enough to work with someone who's work I greatly appreciate has probably saved me from micro-managing. Chris (my tag team partner) has had experiences where he's gotten a script, drawn the page and then the writer comes back later and tells him to change things. Chris didn't deviate from the script or take any unwarranted "artistic licenses". If a writer is particular about how he wants a page to look, he better have a damned detailed script.

John Rozum said...

To address some of the issues people had with "The Foundation," and not to pass the buck either, but I think it came out pretty well considering the scheduling pressure that Chee and I were placed under.

Given the nature of the premise, this is the sort of project I'd have ideally preferred to have had some lead time to research, and to have had time to at least outline a full story, so that all the necessary props, red herrings and so forth could be placed in where they needed to be so that they could be suitably utilized when they served the story best.

There was no lead time. From the minute I accepted the job the book was months behind schedule. I think I had about 5 weeks to write the entire thing including fleshing the entire organization of the Foundation itself from its basic premise. Chee was drawing it just as fast. There wasn't much room for planning ahead, or trying to work necessary exposition in more smoothly and naturally. This was really a make it up as you go kind of thing. I had a basic plot and created the characters based on the artwork from the cover to issue #1. I simply tried to tell a good story with at least one big action scene and a good cliffhanger in each issue. Beyond that I simply tried to flesh out the characters as much as possible while explaining what the Foundation was. I also went out of my way to make it possible for anyone who came in to write future Foundation stories, who wasn't me, to be able to start from scratch and ignore what I did. If better ideas came along as I went, it was too bad, there was no going back to work them in earlier issues.

I remember a phone meeting I had with Paramount Pictures when the movie rights were being sold. I'd written two issues at that point and when asked where the story was going, I had to make up the rest on the spot. This is how fast things moved.

There was no opportunity to do second drafts except for the isolated line tweak.

Would I have done things differently if I'd had more time? Yes. Are there problems with the series. Yes. Are most of them my fault. Yes.

Having said that, I would never deny that I'm a writer who tends to be dialogue heavy, probably because I'm more character oriented than plot oriented.

I think that by the time Mark came onboard at Boom! "The Foundation" was pretty much finished.
"The Foundation" isn't even close to being the work that I'm proudest of, but it did receive a generally good reception. As I said, given the obstacles that Chee and I had to face, I think we did a good job.

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