There are eight million

comic book stories

in the naked city.

They all need an editor.

This is one comic book

editor’s secret handbook.

2
THE COMIC BOOK EDITOR
THE GREATEST JOB THAT NO ONE KNOWS ABOUT.
MASTER CONTROL OF THE CREATIVE UNIVERSE, I.E.,
WORDS AND PICTURES IN SEQUENCE (WHAT TO SAY VS.
WHAT TO SHOW). QUEEN OF PROBLEM SOLVING. THE
MANIPULATOR OF PROCESS AND SYSTEMS THAT TAKE
AN IDEA, OR GERM THEREOF, FROM THEORY TO EXECU-
TION. THE UNDERTAKER OF A BODY OF WORK THAT CAN
CHANGE THE WORLD AT LARGE OR ONE (VERY LUCKY)
INDIVIDUAL’S POINT OF VIEW. A MASTER OF DISGUISES,
A SHAPESHIFTER, A JILL OF ALL TRADES (WHAT YOU
DON’T KNOW YOU MUST FAKE!) INCLUDING, BUT NOT
LIMITED TO, FIRST READER, ARDENT FAN, PART-SCI-
ENTIST / ALCHEMIST / CHEMIST / ARCHAEOLOGIST,
EXPERT COMMUNICATOR IN THE WRITTEN AND SPOKEN
WORD / OVER THE PHONE / AT MEETINGS / IN PUBLIC.
GOOD COP / BAD COP. WILLING TO HIRE AND FIRE ON
DEMAND, COPYWRITER OF SOLICITATION INFORMATION
AND ADS, LETTER COLUMNS AND OCCASIONAL EDITO-
RIALS, ART DIRECTOR, COLOR THEORIST, IDEA PERSON,
GRAMMARIAN, SYNTAX STYLIST, LIBRARIAN, RESEARCH
ASSISTANT, TASKMASTER, EGO-TAMER, ENTHUSIAST,
CURATOR, PSYCHIATRIST, OPTIMIST, TRIAGE SURGEON
(IN TIMES OF GREAT DEADLINE DISTRESS), ENFORCER OF
DEADLINES GREAT AND SMALL, ABLE TO SPOT TALENT
AT FIFTY FEET, ABLE TO HONE AND DEVELOP TALENT
WITHOUT BREAKING BONES, LIFELINE, RESPECTED
COLLABORATOR AND ULTIMATE PARTNER-IN-CRIME.
RARE PERSON POSSESSES THE INNATE ABILITY TO
PROBLEM-SOLVE IN 60 SECONDS, LIFT UP DESPERATE
WRITER OR ARTIST BY THE COLLAR AS TEETH SCRAPE
AGAINST PAVEMENT. INSPIRE EXCELLENCE IN CREATIVE
ENDEAVORS, TO INNOVATE AND ELEVATE ART & DESIGN
AT ALL TIMES, TO CURATE, TO TRUST INSTINCTS AND
ABOVE ALL — EXHIBIT HEIGHTENED CAPACITY FOR
GLAMOUR AND GRAMMAR.

BY DEFINITION
THE COMIC BOOK EDITOR’S
(SECRET) HANDBOOK

by Shelly Bond
with Imogen Mangle,
Laura Hole & Sofie Dodgson
edited by William Potter
& Heather Goldberg
proofread by Arlene Lo
cover by Philip Bond
 FOR MICKEY,

CONTENTS
Proof of over three decades of a life well spent,
thanks to the man who leads (and lives large) by
example. AKA the greatest Dad to walk the earth
to his own (Big Band) beat.
And for everyone else who was not allowed to
be a quitter.

009 INTRODUCING THE BAND

010 CHAPTER 1: GET ORGANIZED!

028 CHAPTER 2: PITCH & CHARACTER

040 CHAPTER 3: SCRIPT FORMAT & AUTOPSY

064 CHAPTER 4: SCRIPT, ROUGHS & TRANSITIONS

084 CHAPTER 5: PENCILLING

104 CHAPTER 6: LETTERING

114 CHAPTER 7: INKING

I 136 CHAPTER 8: COLORING

148 CHAPTER 9: COVER & LOGO DESIGN

160 CHAPTER 10: LAST CALL

CREATION OF F&G 166 GLOSSARY
idea and pencils by Imogen Mangle
inks, lettering & color by Laura Hole 168 AFTERWORD & BIOS

174 SPECIAL THANKS

ISBN 979-8-9855622-2-4 softcover

The Sandman created by Neil Gaiman, Sam Kieth and Mike Dringenberg. © DC. All Rights Reserved. Used with Permission.
Shade, The Changing Man created by Steve Ditko. © DC. All Rights Reserved. Used with Permission.

Shelly Bond, CEO, Editor-in-Chief, Editor & Curator

Philip Bond, Chief Creative Officer, Logo Design & General Dogsbody
Spencer Bond, Percussion • Jane Heir, House Letterer
OFF REGISTER PRESS is a fully functioning comics & design lab based in Los Angeles.
Accept No Substitutes!

FILTH & GRAMMAR: The Comic Book Editor’s (Secret) Handbook. November 2022 Digital version.
© 2022 Off Register, LLC. All Rights Reserved. Know Your Rights! These Are Your Rights.
None of the contents of this publication may be reprinted without the permission of Off Register, LLC.
Printed in Canada. OFF REGISTER does not read or accept unsolicited submissions of ideas, stories, or artwork.
OFFREGFGD02
EDITING
COMICS,
I AM A
DJ.

Art by
TESS
FOWLER

EVERYTHING THAT INSPIRES ME mean it. A whip-smart, irreverent former

to make stuff and make stuff up started editor at Vertigo named Lou Stathis (R.I.P.)
with music—not comics. I learned about my taught me that, and it’s often the best advice
rights (with guitars!) from every album by I can impart.
The Clash. I discovered photographers and When comic book editing works best, it’s
film directors (Duffy, Mick Rock, Nic Roeg), urgent, loud, and messy—and surprises you
painters and novelists (Guy Peellaert, at every turn—whether you’re immersed
Edward Bell, William Blake, George Orwell) in a small-team project or collaborating
by absorbing every David Bowie album from with a large crew for a major publishing
1969-1980. I became hyper aware of graphic house. Editors curate ideas, hone them,
design thanks to Factory Records’ Joy help give them shape and form—and, this
Division and New Order covers by design one’s critical—get them finished! It’s never
savant Peter Saville. arbitrary. First and foremost, as cartoonist
Peter Gross affirms, “You need to tell a story
Editing comics is like being a DJ at the worth telling.”
coolest NYC club (early ’80s Peppermint
Lounge) or college radio circa The Cure’s Gilbert and Jaime Hernandez brought punk
“The Head on the Door.” As a DJ set needs rock to comic books and into my music-
rhythm, flow, a progression, and a pulse, so obsessed life via Love And Rockets in 1987.
too does the comic book. And you never It remains the pinnacle: one of the longest-
want dead air (or dead weight) in your set. running, consistently illuminating indie
comics of all time. I like to think that since
What you suggest at every stage of making that moment of discovery, I’ve been a part
a comic book is your editorial thumbprint. of their ink and sonic revolution, celebrating
And there are stages aplenty. It’s rarely the music and comics connection. Even
easy and never perfect. You need visual if my ink is red. I hope you find something
acuity, patience, and the ability to pivot. in the pages ahead that emboldens you to
When a team is firing on all cylinders, like change the world—one comic book panel at
the editor’s perfect dancefloor number, a time.
Roxy Music’s “ReMake/Remodel,” the best Viva Comics!
you can do is step back and dance like you

Shelly Bond
Los Angeles
October 23, 2021
9
chapter 1
GET ORGANIZED!

GET IT
TOGETHER.
The best editors
are organizational
masterminds. And they
know how to hustle.
The ultimate goal is to
get the best work out
of the creative team on
deadline. Or else...

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press > Digital Approval > ”Roll Press!”

10
THE EDITOR IN ACTION
1 LEFT. ASSEMBLING
5
The comic book
editor as imagined THE PERFECT
6
by artist Laura Hole.
TEAM is a key part of
the editor’s job. It’s important to
7 consider diversity in the stories
2 8
acquired and the creatives hired
to bring them to life on the page.
The goal for each project is to
innovate and elevate the artform.
Below are the jobs that need to be
filled. Every book is different. Some-
times they’ll be performed by one
person, AKA you.
3 PUBLISHER
EDITOR-IN-CHIEF
EDITOR**
9 ASSISTANT EDITOR
4
WRITER
PENCILLER
LETTERER
10 Just as in DJ-ing, you
INKER
COLORIST
CRITICAL NOTE: want there to be a
11 COVER ARTIST
When you’re working on continuous rhythm, even
if sometimes there are a LOGO DESIGNER
several projects, each will 12 PROOFREADER
be at a different stage in few discordant segues.
this process, all passing The comic book process, PRODUCTION ARTIST
through an editor’s hands like the perfect club mix, PRE-PRESS
simultaneously. 13 should be rolling and PRINTER
rollicking. INSPIRED READERS
14 **Worth their weight in blood.
Or paper. Or gold.

1. THE EDITOR as an idea generator or talent 5. The EDITOR takes up to a week to edit the lettering, and gives the PENCILLER art direction 12. When the comic is completely lettered, it’s
spotter. script. The rewrite for an average script is one or approval to go to full pencils. PROOFREAD by the EDITOR, the WRITER, and a
to two weeks. First-issue scripts take longer to PROOFREADER.
2. THE EDITOR reviews the idea and asks finalize. This is when the writer and editor can 9. The PENCILLER sends finished pages
questions, e.g., Is it truly unlike anything else in duke it out, but hopefully arrive at a place of
mutual admiration.
in small batches to the INKER, so the comic 13. The EDITOR oversees two to three rounds
the history of concepts? Why this story? Why remains in motion at all times. Inks are approved of corrections by a PRODUCTION ARTIST before
now? And what does the character do from page in batches. the book is approved to go to print, usually
to page, i.e., what exactly will the artist draw? 6. THE EDITOR marks up the script for the handled by a PRE-PRESS MANAGER.
entire team and sends it to the PENCILLER for 10. The LETTERER is responsible for dialogue,
3. THE EDITOR tasks the writer to condense the thumbnails or rough layouts. narration, sound effects, and title & credits 14. The EDITOR sees the comic one final time
story into a ONE-SHEET PITCH. It goes back and design. They can begin working at the roughs to approve the digital files from the PRINTER.
forth a few times and an artist is hired to create 7. At this time the script is also sent to the stage as long as the EDITOR has the final
a TURNAROUND SHEET of the main character. COVER ARTIST for sketches. The COVER is due lettering draft of the script and the balloon Please note: Regarding stages of development
approximately one month from the time the placements in order. from idea to execution, some exceptions and
4. Once approved, the WRITER writes the script script is received. numerous variables apply.
which includes creating compelling characters 11. The COLORIST can be working as soon as
and dramatic situations through deft dialogue, 8. THE EDITOR reviews the thumbnails the pages are scanned and inked.
narration, and art direction. and indicates rough balloon placements for 13
CRUSHING DEADLINES
THE BEST EDITORS keep the many STEP 4:
disparate collaborators moving forward FOLLOW UP/FOLLOW THROUGH.
with regular updates and enthusiastic, Reach out immediately if you don’t receive
constructive feedback. THE ULTIMATE the work as arranged. There’s someone
GOAL: Creating the best comic book else in the creative chain who’s expecting
story and getting it in front of discerning it and will have to make up for lost time.
eyeballs in a timely fashion. ANTICIPATE EVERYONE’S NEEDS and
get in front of them. It’s the editor’s fault if
STEP 1: the team falls down like dominoes.
SET CLEAR EXPECTATIONS at the start STEP 5:
of every project. That means for and from BE RELIABLE. BE CONSISTENT.
your talent. Ask them to list four of their Set up a regular deadline routine and
most important personal goals in writing. rhythm for your teams and yourself.
BE DIRECT. Communicate expectations No one likes to be bugged for things—
with the brevity and clarity you expect especially the intrepid editor. Accept few
from the writer who delivers the script. excuses. Reassign the work. You need to
And do so regularly by phone and email. hire talented people who are serious about
STEP 2: making comics. And that means people .
SHOW THEM THE GOODS. who meet deadlines.
Explain the parameters of the job they’re STEP 6:
accepting by providing a brief or summary TROUBLESHOOT. LEARN HOW TO
of the project, your budget, and the PIVOT. Be able to think fast on your feet
projected timeline. Determine page rates and have a Plan B and Plan C up your
and contracts up front, so there are no sleeve. If your talent is running more than
surprises. a week late, get them assistance.
STEP 3: STEP 7:
PUT DEADLINES IN WRITING. HIT PLAY. Don’t just hope for the best.
When they are blown, revise and repeat. MAKE IT SO.
Especially if that means weekly.

MB:
RULE OFoTrkHinUg on
If you’re w ries,
a monthly se ast
GREAT EXPECTATIONS: you need at leplete
3 issues com ing for
1-CONFIRM RECEIPT. An emoticon or before solicit
“Thanks” is a fine, instant reply. Follow publication.
up with a more detailed response within
24 hours.

2-HEAR ME OUT. The editor is many THE EDITOR AS A

things, but most important: a lifeline SURGEON access TRIAGE
and creative running mate. Listen first. work in order of imes the
If necessary, bring out the boxing gloves. Ask yourself: Wha portance.
shipping next and t’s
3-HIT YOUR DEADLINES. With a the hottest task , aninvolves
sledgehammer. Unless there’s a truly needs to be delega d what
Avoid catastrophe ted? ABOVE. The editor
legit reason. anticipating disast by answers the eons-old
be ready to strike wers and question, “How do you
4-LEAVE YOUR EGO AT THE DOOR. contingency plan. ith a know when to call a
Remember, you’re part of a creative
team. Collaborating often means happy page a finished page?”
SET LONG- AND SH
compromises. TERM GOALS. Alw ORT-
at the big and little ays look
picture. 15
CHEAT SHEETS
1. STATUS SHEET
Mine’s called “All Tomorrow’s

&
Parties...TODAY!” Update

TOOLS
weekly, section by the books
that ship next. I ask myself,
What’s in, what’s not, what’s

OF THE
next to meet or beat the
deadline? The goal is to keep
everyone on the team moving
at a good clip—not waiting

TRADE
Having everything at your fingertips is
for pages.
2. TRACKING DEVICE
A sheet that lists all the pages
by job and the date when the
essential when you’re juggling multiple work comes in.
projects—especially monthly comics. 3. BEAT SHEET
My surefire way to perform
a script autopsy to isolate
DELIVERY structural problems. See
page 48.
AVERAGES 4. SHOT SHEET
1 week to write a Handy guide like “Wally Wood’s
22-page script. 22 panels that Always Work” for
troubleshooting. See page 75.
4 weeks to pencil
3 weeks to ink 5. SCHEDULE BOOK
2 weeks to color Contains as many schedules
1 week to letter and lists as needed including
printer due dates, freelancer
3 weeks for cover art deadlines, projections for the
2 to 3 weeks to next 12 to 18 months, calendars
proofread and go for current year and the next,
through production. summaries of all titles, and
in-store dates. Update monthly.
For monthly writers: 6. BOOKMAP or FLATPLAN
Pick a number: 1 or 15. It’s The Be-All of the book world.
hard to forget it if a script Shows you at a glance what
deadline arrives on the pages sit where. Essential for
rhythm and flow.
same day.
7. DUMMY BOOK
Artists who pencil and A mock-up of each issue
ink should get two weekly stapled as it will print. It’s
deadline targets. Tuesdays critical from the layout stage
onward. You’ll refer to it
for roughs/Fridays for multiple times before publi-
finished pages. cation for balloon and lettering
placement, and to check
continuity.
8. CHECKLIST
Handy way to be sure you
aren’t missing the obvious in
each issue of your comic.
9. EDITOR’S LOG
A pocket memo book for all
your big ideas, especially during
boring meetings.
10. LITTLE BOOK OF VELLUM
Handy sheets of sheer paper at
. the aspect ratio of the standard
comic book page. Great for
revising page layouts.
READY, STEADY, GO! LET’S MAKE COMICS!
Not shown: VAT OF RED INK

16
TRUE EDITING CRIMES:

SCHEDULING
NOT HIRING THE RIGHT PEOPLE. You NOT KEEPING A DAILY “TO-DO LIST”
need to hire talented people who show up, IN THE ORDER OF WHEN BOOKS SHIP.
do the job, and are pleasant to work with. Cross out what’s done, and move what isn’t
NOT FIRING THE WRONG PEOPLE AS completed onto the next day’s schedule. It
SOON AS YOU REALIZE THE ERROR gives you a sense of accomplishment and
OF YOUR WAYS. Mess up/’fess up/Move sets you up for the following morning.
on! No one likes surprises or someone who NOT HIRING A GUEST ARTIST/FILL-IN
doesn’t take responsibility for ISSUE AT THE START OF THE
his/her/their actions. Action is PROJECT. When you plan your
character. (See stage right). storylines, always assume that
NOT ESTABLISHING FIRM you’ll lose time. Book someone
DEADLINES FROM THE GET- famous or give a break to a
GO. Long-term deadlines are newcomer who impressed you
in stone; printer due dates and from a portfolio review. This is
weekly deadlines are critical. also a good time to have two
Ask your talent if they have people collaborate to speed up
any scheduled vacations or the process. A lot is learned by
conventions in the next year. having a seasoned inker work
Respect holidays and be sure over a young penciller, or vice
to ask what and when they versa.
celebrate. NOT COMMUNICATING WITH
NOT IMMEDIATELY REVISING BLOWN YOUR TEAM. The good old-fashioned
DEADLINES. If an editor is not revising a phone or Zoom chat is critical. You need to
freelancer’s deadline at least once a week, look people in the eye and tell them what
that editor is watching too much Netflix you like about their work, what you need
during office hours. and when. I recommend a weekly live chat
and two email check-ins per week.

And now we begin the first in a

series of sequential interludes
based on actual events that
transpired in one comic book
editor’s daily routine.

18
,
24
DECONSTRUCTION 2 3

“SO IN THE SCRIPT, that row is

written as three distinct panels:
stunned young Shelly, close-up of
tapping hand, talking classmate.
However, when I picture that series
of events in my head, they all take
place in such quick succession that
it all becomes just one moment.
Having gutters between those
panels to make them all distinct
seemed like it would break up the
flow too much. Nevertheless, both
to respect the script and to add a
little tool that’d help guide the eye
across the events of the panel, I put

KEY
that little white border around Will’s
hand—so even though it’s part of
the bigger picture, it simultaneously
gets to be its own close-up, its own
interruption to both Shelly’s train
1. Original thumbnails. of thought and the reader’s. I also
2. Ink lines. thought it would look cool!”
3. Monochromatic color
that’s strategic to nail
the full-color payoff.
4. Artist Imogen “Gen”
Mangle grabs the
editor’s trusty red pen
and explains it all. 5
5. Also looks amazing in
black and white.

CHAPTER RECAP:
Respect! Learn the
Parlance. Pay it Forward.
Print what’s cool.

26
chapter 2
PITCH & CHARACTER

HE Y, W
RI T E R S
T HI S C
H
You ne APTER’S FO
:
e R
within d to sell it to YOU.
t m
second he first three e
title. M s , starting wi
a t
your ch ke me love o h the
r
that I’l aracters so d loathe
l e
go to a quit my day j epl y
r o
bring t t school so I b and
h c
on pap e stor y to life an
er.

INTHIS
IN THISCHAPTERCHAPTER
idea > pitch > the one-sheet pitch > the turnaround
Get Organized!
sheet >outline >>The Pitchfirst
script, > Character > Outline
draft > edit > beat>
Script
sheet > Edit >rewrite
>script Rewrite> > Roughs/Layouts
script > Pencils
to penciller and cover
>artistwith
Lettering/Ballooning > Inksfor
deadlines > roughs > Coloring
approval >>correx
Cover>>
Logo
appro>vals
Backmatter
> script & > Proofreading
roughs in tandem>forProduction
ballooning>
Pre-Press > Digital
> final lettering Approval
draft, correx>to ”Roll Press!”
artist > lettering >
inker > colorist > editor > proofread > review notes
with writer > turn in to production > corrections
x3 rounds > pre-press > printer > digital approval
28
 THE ONE-SHEET PITCH YOU’RE A WRITER
with a comic book in your head just demanding to be set free. Whether you’re
execution
A Sample One-Sheet Pitch
PRO-TIP:
ADD A
HANDSOME
PIECE OF
ART!
pitching to an editor or self-publishing, you need to boil down your big idea by William Potter and Philip Bond.
into one clear, brief document.

The One-Sheet Pitch in THEORY:

TITLE: It must be original. It must intrigue, be easy to say, and easy on
the eye by way of logo design.

HIGH CONCEPT: Sell it in a sentence.

TALENT: Your name and credits.

THE STORY: What’s it all about? The main characters are key because
they drive the plot. What makes them tick? How are they different from
the standard, run-of-the-mill stock characters we see all the time?

THE TWIST: What makes the story unlike any other?

GENRE & TONE: Class or category of literary type, and intended age
range. See page 36 for examples of genre.

THEME & TAGLINE: Subject of discourse, dominant ideas.

LENGTH/FORMAT: Miniseries, monthly or graphic novel.

RELEVANCE: Why now? Is it the only story of its kind, or does it make a
shocking new statement about a familiar topic?

STRONG VISUALS: What’s on the cover and inside the first issue that
will captivate and provide context at a glance? If you can’t come up with
three key visuals to run for publicity, you’re probably not ready to pitch.
IN THIS CHAPTER...
FAN BASE: Demographic or fandom.

TITLE TIP: Make it memorable. Make it your own. THE REJECTS: Why not my pitch?
A lot is lost if you can’t pronounce it. Do you stutter when you say it? Is 1-Too long/no ending. 6-The creator is difficult.
it unwieldy or ubiquitous? If you Google it and 20 books, films or comics 2-No focus. 7-The attached art team is not to our satis-
come up, try again. Being original is coming at an idea or a piece of 3-Not original enough. faction—too green/not right for the subject
art from a unique angle. My favorite example is the name of the great 4-We have something like it being matter in our opinion.
published. 8-Just not a good fit at this time. For now.
Britpop band, Elastica. 5-We have something similar in the works.
30
Or ever.
CHARACTER CHARACTER ARCS INVOLVE
OBSTACLES AND GOALS.
when you read comics and books
and watch TV shows. What stands

EVOLUTION
Open a scene, establish a problem. out in the ones you binge-watch?
Characters need conflicts! Everything What stands out in the ones that
you have your characters do and don’t work? The first step is starting
say reveals something about them. with a wholly authentic character and
Characters need arcs or development throughout You build strong characters by throwing in trouble and desire so that
the story. The editor needs to know who they are showing the reader intimate things: the reader has empathy for or falls
and what they will become—and why. Captivating Where do they sleep? How do they deeply for that character. Devotion?
characters are not black and white, and these sleep? Marilyn Monroe was famous Check. Repulsion? Check. Your goal is
gray areas make us human. It’s important to know for saying that she went to bed to create characters the reader wants
who the characters are at the start of the story in nothing but Chanel No. 5. You to follow into a bubbling volcano. Or,
before we tear them down and build them up—or captivate with intriguing characters if that’s too hot and weird for you,
vice versa. and create a compelling story by PUT ME IN A TRANCE. I want to be
giving them situations to react to. desperate to spend time with your
SUBVERT EXPECTATIONS. And hopefully, you’re connecting with characters and escape with them to
What’s the worst thing that can happen to your the reader. Think about these things uncharted locales.
character? Now triple it. Make it the best outcome.
What’s the best thing that can happen to your
character? Now triple it. Make it the worst THINK ABOUT how you
outcome. Does your character do the want your reader to feel.
right thing for the wrong reason? Or the Energized? Empathetic?
wrong thing for the right reason? And what do you want
your characters to do?
PROTAGONIST vs. Start a revolution? Get
ANTAGONIST. retribution?
Think through what that
means. What’s their motive? MAKE IT PERSONAL.
What’s their goal? Is your
MAKE ME CARE.
protagonist a killer?
Is it for revenge or in 1. What’s on your bucket list that would shock
self-defense? Every even your close friends?
decision you make 2. What year in your life would you like to do
needs a reaction and over?
builds character.
3. What’s a misconception about you?
NARRATIVE 4. Favorite novel, album, film, or comic you

20
VOICE & can’t live without?
CADENCE. 5. Famous quote that explains your raisons
State your point of view. d’être?
Will you be using a first- 6. Your top tip for a budding young writer or
person internal narrative, or an
artist?
omniscient narrator? What about
considering an unreliable narrator? QUESTIONS 7. How do you know when to call a page a
finished page?
(See page 155 for an example.) How At this juncture it’s good to flesh
does your choice affect the tone of the Respond to the following:
out your main characters. If it’s an
story and the character’s plausibility? 8. I wanted to be
ensemble cast, there needs to be
9. I didn’t succeed at
EXPOSITION. an anchor. I like to see two to three
10. I suck at
Give it your all. Info and context is critical. characters fleshed out in a paragraph
Include conflicts that manifest on several 11. Trouble and desire
each at this stage.
levels and include B and C plots. Be sure to 12. I collect
have a clear beginning, a middle and, most 13. Music inspires me to
To really get into the hearts and minds
important, an ending. Make sure that you assure 14. At the end of it all
of your characters, I recommend
your writer that they don’t have to stick to it and 15. What do you find beautiful?
asking them 20 QUESTIONS.
that you’re fine with it changing organically once 16. What do you find repulsive?
the characters take over. But every story needs 17. Best career advice you were given?
goal posts. The idea is to have your writer answer
18. Worst career advice you were given?
from their point of view and the POV
PRO-TIP: Don’t save things for later. Put in as of the main characters. It’s how I get
19. Who wins in a fight, Godzilla or King Kong?
much as possible in the draft you’re writing now. 20. You can take a friend back to a seminal
to know new writers and distinguish
You’ll come up with new ideas tomorrow. concert that you missed. What’s the show
them from the characters they create.
and who’s your +1?
32 Mix and match or make up your own.
 THE TURNAROUND SHEET Create a Visual.
The Turnaround Sheet is similar to an animator’s model
sheet that’s designed to maintain a consistent look when
more than one artist works on a series.

What’s optimal: One full-figure shot and 4 to 5 headshots

from different angles with a variety of facial expressions
to show character and artistic range.

PET PEEVES

Props & char

SHELLY THEN by Laura Hole SHELLY NOW by Imogen Mangle that are wel acter traits
l worn and pu
me off: t

asthma inha
CONSIDER THE SILHOUETTE. INCLUDE 2 to 3 PROPS THAT TELL US ABOUT lers
Every character should be recognizable in a graphic shape or THE CHARACTER. nosebleeds
silhouette. It’s one of the reasons Batman is popular. Everyone Headphones and the editor’s weapon of choice, the tattoos or bi
rt
can draw his head with the instantly recognizable pointy ears. come to life hmarks that
mighty red pen, are critical. And a sturdy bag to hold the apocalypand/or predict
Also, see Charles M. Schulz’s Snoopy and Woodstock for great those unedited scripts (see heavy lifting). se
examples of character designs that work in color and in shadow. the city as na
rrator
34
THE OUTLINE THE WRITER’S JOB is
to write the story which
There are many resources that give you HERE’S A SMATTERING of genres, story includes a script composed
the basics on outlines. I care the most types and story spicers or drivers that of dialogue, narration, sound
about the Basic Setup, interesting I’ve come across. Try combining a few for effects, and art direction.
characters, their bizarre conflicts/dramas unexpected results or make up new ones.
and the ending. THE EDITOR discusses
GENRES: the idea for clarity and
Editors need 3 to 5 pages of EVOLUTION: Action: underdog, revenge, originality. Suggests a
The Story Beats, the Character Arc. Adventure: hunt, discover creative team and comes
2- to 3-sentence summaries of the Educational: lessons, empowerment to an agreement with the
First issue + First arc + Second arc + Comedy: satire, parody, farce, dark/black writer. Asks the writer to
Backstory + Supporting Cast + The humor, relationship deliver: The One-Sheet
Denouement + The Ending Crime Drama: mystery, police procedural, Pitch and an Outline.
—Why this story? Why now? What does detective Sets the Deadline.
the character want and why do we care? Horror: violence, psychological, body Confirms the script rate,
Memoir, Nonfiction sends a voucher and
BE CONSISTENT. Political Thriller/suspense reference.
Follow through on the storytelling seeds The Quest
you plant throughout the story and you’ll WHAT IF you don’t want
avoid unsightly plot holes in relation to STORY TYPES: to incorporate the editor’s
character, setting, and environment. Action, Biographical, Comedy, Coming-of- notes? Talk to your editor
Age, Climate Fiction, Crime, Cyberpunk, immediately. If you can’t
KNOW THE CANON AND THE Dystopian, Documentary, Fantasy, Heist, come up with happy
COMPETITION. Historical Fiction, Horror, Journey, Love, compromises, perhaps
If you pitch a mystery or sci-fi thriller, Magical Realism, Morality Tale, Mythic, you’re not a good fit.
state your influences but add something Political Satire, Psychodrama, Reality,
off-kilter to make it your own. Know the Redemption, Science Fiction, Social STORY BEATS AND
difference between homage, pastiche, Commentary, Social Satire, Spiritual, TRANSITIONS are
appropriation and swipe. There are legal Supernatural, Suspense, Tragedy, War important to nail at the
ramifications to consider. earliest stages. Decide
STORY SPICERS/PLOT DRIVERS: what to say vs. what to show
TONE Abduction/rescue/loss, Betrayal, vs. what to allow the reader
Is it serious or satire? What’s the target Birth/Death, Competition, Conspiracy, to deduce. Choose the
audience? State the intended age range. Crime/Vengeance, Daring Enterprise, approach that moves the
Deliverance, Disaster, Doubt, Escape/ story forward in the most
CRUSH ACCORDINGLY. Rescue, Fate, Fish out of water, Flight/ unexpected way.
If you don’t find it unsettling or Pursuit, Journey, Madness, Misfortune,
intoxicating, why should I? Obtaining/Letting go, Odd Couples/ WORLDBUILDING is
Buddy, Parallels, Point of View, Road only as interesting as
CLASSIC 3-ACT STRUCTURE Trip, Remorse, Revolt, Romance/Love, the characters within your
Self-sacrifice, Slice of Life environment. Favorite
ACT 1 examples of powerful world-
Inciting Incident-jumpstart CONFLICT: building in comics are Fables,
Character Development Relational, Situationist, Inner/Outer, The Sandman, and Lucifer.
Conflict Internal/External, Paranormal, Cosmic, In fiction, it’s George Orwell’s
Turning Point/New Direction/Reversal Social, Political, Danger, Confusion, 1984 and Michael Moorcock’s
(tend to be ironic or twists) Missing Info Cornelius Quartet. Whether
you create hard or soft magic,
CONSTRAINTS: always consider what the cost
ACT II Limited Resources/Excess, Timeline/ will be for your characters.
Develop complications Countdown As writer David F. Walker
Build drama and crisis once reminded me, world-
Key turning point/new direction/reversal ULTIMATE GOAL: building is not a substitute
Success/failure for character development
ACT III or storytelling.
Crisis moves towards climax (worst case/ Ultimately:
best case), gains momentum in the story, ONLY PITCH A STORY THAT YOU’RE P.S. WRITE EVERYDAY.
increases the odds against success, ups DYING TO TELL—the one that wakes Set a timer for 20 minutes if
the stakes you up—or keeps you up at night. you’re uninspired, and write
Resolves into denouement (resolution) anyway.
Connect w/the reader—what do we want
them to feel? Do we root for them?
 The first mainstream comics story I wrote that was
published was a Future Shock in 2000AD, and I
TRUE EDITING CRIMES:

WRITERS
proudly wrote a word balloon containing about 60
or 70 words in it. And John Hicklenton drew the
story and Tom Frame lettered it, and when I
saw it I realized that the rule of thumb that
a word balloon should have a maximum
of about 30 words in it was the truest ART DIRECTING A PENCILLER TO BEING ABLE TO REPLACE ONE
of rules. My huge word balloon was DRAW MORE THAN ONE ACTION PER PERSON’S DIALOGUE WITH ANOTHER
PANEL. This is the #1 amateur error of all PERSON’S DIALOGUE. That shows you’re
unreadable and took up an awful lot of time. Bill Willingham also pointed it out on not getting into character or differentiating
a panel, and it looked like I didn’t know page 96. Hey, Bill! If you’re reading this, one character from the next. See 20
how to write comics. After that, I’d have I may or may not have learned this from Questions on page 33.
a rule for myself—no more than 180 you three decades ago! See you in
words a page, which gives us 6 panels court! USING THE NAME TOSS.

pro-tip
at 30 words each. And I would change Establish the characters’ names
it around depending on panel size and TOO TOO MUCH MUCH within the first few pages, but don’t
number and what I was doing on the page, COPY COPY. Clarity, have one character repeat it when
but as a rule, it’s served me well for about 35 brevity and nuance are key. they reply to the character. Listen
Neil Gaiman years, and if I break it, I break it carefully, and I
NOT BOLDING OR
to your own conversations. It’s rare
to use someone’s name in casual
remember that first terrible panel all over again.
STRESSING A HANDFUL conversation, especially when we
OF WORDS ON A PAGE. know them.
NEIL GAIMAN will eventually grow up and get a real This is not only important for
job. Until then, he will keep making things up and writing emphasis, but bolding and NOT STATING TIME OF DAY AND WHAT

25
them down. italicizing words also help balance a large YOUR CHARACTERS ARE WEARING in
@neilhimself caption or word balloon, and differentiate the panel description. It tells your artists—
one person’s cadence from another and that includes the colorist—how to
person’s cadence. approach the page.
Did Grant
Q: Morrison
write THE
BREAKING THE RULES BEFORE YOU
ESTABLISH THEM. Or make them up, but
establish them and stick to them BEFORE
OVERWRITING. If you’re not moving the
story forward, evoking feeling, and creating
rhythm, leave it out.
INVISIBLES you start to break them.
in Invisible NOT CHANGING LOCATION. Remember
NOT USING COLLOQUIAL SPEECH OR to have a balance of interior and exterior
Ink? CONTRACTIONS. Dialect and parlance environments. Always ask yourself, why

A:
are critical to authentic dialogue. Most here/why now? Every decision you make
people don’t speak formally. affects the story and the characters.

Back in the ‘90s, many

writers would fax in their Dialogue is WHAT a character says, while voice is
scripts because it saved HOW they say it. When I’m writing dialogue, it’s
time. It could take a week important to me that my characters don’t all
for a FED EX package to “sound” the same, so I give a lot of thought to
arrive from overseas. When not just what a character is saying, but how
Grant wrote scripts for they are saying it. That said, I don’t initially
volumes two and three of worry about how dialogue sounds during
their magnum opus, THE my first draft. First draft is all about what
INVISIBLES, they would needs to be said in order to either move
often arrive with big chunks the story forward or build the character.
of dialogue or art direction After I’ve figured out WHAT needs to be
missing. Grant told me that said, I figure out HOW it needs to be said

pro-tip
when they began a new based on the character’s personality.
script, they would type the
PAGE # and PANEL ONE at DAVID F. WALKER is a filmmaker, a crime
the top of every page, so fighter and a co-creator/co-writer of the
they’d never have to stare at
a blank page or screen. What
David F. Walker multiple Eisner Award-winner BITTER ROOT.
@DavidWalker1201
fantastic advice!
chapter 3
SCRIPT FORMAT
& AUTOPSY

E I N W E
WHER ATE
ERADIC ELLING
STORY T MS .
PROBLE
a haz m at suit.
Wear
re w e pu t the
This is whe ilth & Grammar.
F
“FILTH” in

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline
> Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press > Digital Approval > ”Roll Press!”

40
 THE EDITOR’S
BIG DECISIONS EDITING SCRIPTS
Here are some of the key editing decisions you need to
JOB is to hire the
right talent for the
project and motivate
consider when assessing a script. them to deliver their
best work on time.
IS IT ORIGINAL? Confirms page rate
Is it unlike anything else I’ve ever encountered? and sends voucher.
Be selective. Make it worthy of your imprimatur. Assembles a team
The competition is fierce in the pop culture that will complement
landscape. Challenge your writers to think the story. And also to
beyond their first instincts. Send them articles innovate and instigate
that they wouldn't normally read to give a and change the world
familiar story a twist. I favor strange phobias or through an astound-
warped romantic entanglements. ing collaboration of
words and pictures.
IS IT EXHILARATING?
Does it leave me breathless and will it also THE WRITER
connect with the target reader? Does it expose DELIVERS THE
our existential fears?tIt should contain SCRIPT in a timely
a mix of intriguing, complicated characters, manner in an easy-to-
and be chock-full of gravitas and panache. read format. Takes
48 hours to a week to
WHAT DOES THE CHARACTER edit and requires
as many rewrites as
DO FROM PAGE TO PAGE/ necessary for it to be
SCENE TO SCENE? the greatest script the
Many comics suffer because the writer can’t writer has ever com-
answer this question. Your lead character needs mitted to paper.
a mission and they need to succeed and fail.
Again and again. ALWAYS make sure
your writer sends
IS IT VISUALLY DYNAMIC? in the script in an
Will we become immersed in exciting locales editable format. The
with a balance of action and intimate scenes for letterer doesn’t retype
the art team to illustrate? There needs to be a the script; rather, they
range to keep it frenetic and interesting. cut and paste the text,
usually into Adobe
HAVE THE RULES OF THE GAME Illustrator.
BEEN ESTABLISHED?
You can’t break the rules if you don’t understand CALL YOUR
them. You're more likely to lose the reader if you WRITER as soon
don't know the parameters before you finalize as you complete the
your first script draft. first step of the editing
process. Put them
WHY COMICS? out of their misery!
What makes it essential for this story to come to They’re anxious to get
life on paper first, rather than on televsion, film your feedback. Always
or as prose? be honest. When it
comes to cutting, be
UNIVERSAL CONNECTIONS. ruthless. Most scripts
Think about the positive ramifications you have are overwritten and
at your fingertips. Diversity and inclusion have stilted in the first
always been a part of my editing repertoire. draft. It’s YOUR job to
Champion comics that reflect or complement encourage changes
your own sensibilities and stay away from that propel the story
anything you find distasteful. Make and edit forward.
42 comics you want to read!
 BEFORE WE GET INTO THE NITTY-GRITTY of dissecting
A SONG FOR SAN DIEGO COMIC-CON a script, here’s a look at my preferred format utilizing “A Song
for San Diego Comic-Con," a 3-page story that artist Mark
Buckingham will bring to life before your eyes in the following
1
2

chapters. Like a film script, it includes panel descriptions/art

direction, narration, dialogue, and sound effects. Screenplays 3
and comic book scripts have similar aspects, but they’re very
different disciplines.

1. PICK A FONT THAT’S EASY 7. ADD COLOR NOTES.

4 cap C
/
TO READ. Highlight and notate for the 5
I appropriated Cambria from colorist.
Bill Willingham after editing 150
Fables scripts in that font. 8. BOLD & ITALIC EMPHASIS. 7
V
Your first draft should include any
2. DATE YOUR WORK.
stressed words with bold and/or
Do this at the top of the first page,
italics that will differentiate your
at each stage. You’ll be surprised
characters’ speech patterns, and
at how time flies. -
give the words you're putting into V
their mouths a cadence. Your final
3. WRITE A BRIEF WELCOME
lettering draft must include them.
NOTE.
If I don’t see any words indicated
It’s a nice, personal way to begin
on a page, I’ll think the writer is
a project.
lazy, forgot, or both. Anywhere

S
4. PAGE #s & PANEL #s. from one to four is ideal—just tr. voila!
Number the comic book story don’t overdo it, or everyone will
pages and panels in bold, ALL appear to be yelling. Unless, of 6
CAPS. course, the scene takes place in
5. ART DIRECTION. a mosh pit.
The panel description should 9. SCRIPT PAGE #s.
include location, time of day, Always include the script page
clothing requirements, and numbers at the bottom of the 7
environment—AKA what the page. Average script length for
artist needs to draw in each a single issue of a comic book
panel. Keep in mind that one should match the number of
character can only perform one pages in a comic, give or take
action per panel—and that the a few.
lettering will take up far more
space than you could ever
10. MY GRID. 8
I jot down a thumbnail of how I
imagine. Shocking, but true.
see the page in my head on a tiny
We’ll get into this in chapters
sheet of vellum. It helps you get
4 and 6.
used to seeing how the panels
6. FORMAT & SPACING. and pages will interact in the 9
Some writers follow a traditional published comic. I always start a
screenplay format. I don’t mind story with page 1 as a right-hand
something that differs as long as page. TRUTH HOUR: I wrote this 10
it’s easy on the eye. What you’re story as a 4-pager, but Bucky
looking at is what I’ve developed preferred to make it into three
for myself over a period of many story pages, and it's a much
years of reading different writers’ stronger story for it.
YOUR FIRST SCRIPT DRAFT
approaches. I double-space is you telling yourself the story.
between the panel description OF NOTE: As a hands-on editor,
and the dialogue and indent a tab I like to use pens and markers YOUR SECOND SCRIPT DRAFT is
for the actual dialogue, using ALL to physically alter the script in
CAPS to denote a caption or the conjunction with the computer. you actually understanding the
name of the speaker. It helps me to focus. You might story you’re trying to tell.
find working digitally is easier.
Do what works best for you.
 THE EDIT:
THE FIRST READ SCRIPT AUTOPSY
Minimum of 3 reads.
1. FIRST BLUSH. Your instant
reaction in a few words. How
do you feel? Excited? Irritated?
TOOLS: lined notebook paper, Unable to stop yourself from
red pen, black pen, ruler, white retrieving the red pen? These
notecard, total concentration. are good things. You want to feel
On the lined paper, write down something, anything. Deeply.
the title of the issue at the top and
date your work. 2. THREE FAVORITES. List three
specific examples from the script
Number the story pages down the that work for you. Highlight your
left-hand side. favorite moments of dialogue,
art direction, or character arc
THE EDIT, PART ONE: building. I love to quote money
lines and favorite phrases directly
FIRST READ/NO RED from the script and send them in
PEN. a quick email to a writer before I
actually start the full edit. In truth,
Put the red pen down and away there's no greater feeling than a
from easy access. Keep a black compulsion to immediately pick
pen handy. up the phone to give a writer my
initial gut reaction. Those first
Read the script straight through phone calls mean everything.
for pleasure. Sit on your hands if
necessary so you don't jot notes. 3. FAST REPLY. Get back to the
It should be captivating from writer within 24 hours with the
start to finish. If you find yourself feedback above. Yes, sometimes
craving a coffee, thinking about that means taking work home.
the weather, scrambling for the But if you’re not inspired to read it,
red pen—or any writing tool and proffer constructive feedback,
(pokes a stick in her eye)—you and you’re getting paid to read it,
have your work cut out for you. who will want to buy it?
But, hey—that’s the gig.

you
C T: H a lf the wordst on
FUN FA never see prin
IN ART WE TRUST: As you write will book page. That’sr
become comfortable the comica comic book write
working with your artist, because t wordsmith and e
write one fewer page, and is one parart director, so th
give it to your artist one part inker, letterer, andze
as an extra page to penciller, now how to visuali
extend a scene of their colorist k on paper.
choice. It's a gesture of the story
trust that goes a long way.

THIS IS
What ISN’T s WHAT THE
aid
sometimes m is
EDITORSEES
WHEN SHE'S
or
important th e
READING.
an
the dialogue
you
write. Art-dir
ect
accordingly.

47
 1
THE EDIT, PART TWO: SECOND READ,
THE BEAT SHEET BEAT SHEET/EDITORIAL AUTOPSY.
If you’re confused about the script 4
you’ve just read or are just bored
stupid, no worries. Structural
problems are easier to spot once you
3
deconstruct the script.

Enter THE BEAT SHEET. Think of it

as the coroner’s report, but heavy on
the blocking/rhythm/pacing rather
than the blood and body parts. 6
You’re dissecting the script from
every angle to see what went wrong/
is missing/isn’t working. And also
what makes the script amazing.
Sometimes, it’s just one continuous
scene with people talking that
lasts for six pages. Sometimes the 5
writer does double duty and has the
characters say and show the same
things. Often, it sounds and might
look a lot like everything else on the
shelves or screen.

Here's a sample Beat Sheet for the

script to GEEZER #1.

1. Now’s your chance to fill in THE

BEAT SHEET with PPP: PANELS PER
PAGE. Go through the script and write
down the number of panels on each 2
page.
Better yet: Ask your writers to tally
up their panel counts per page and
list it at the top of the script next to
the page number. This saves you and
your artists time, and it's a polite way
of reminding a writer of their own
half the issue has ten pages with six
tendency to err on the side of too
or more panels, you need to remind
many 6- or 7-panel pages.
your writer that five panels per page
is the industry average. I encourage
2. Double-check it. Make sure the
writers to plan for double-page
number of story pages is exact. Isolate
spreads and/or splash pages in every
them in boxes, draw a line to denote
issue, or approximately every 20
a new page, and circle the number questions/comments in red to the writer. But never pander to or underestimate your
pages in a longer work.
of panels on the script to make sure Include positive reactions with YES! or YES, writer or your audience. If you aren’t moving
there are no mistakes. Every artist has AND for things that work or need further the story forward and adding to the visual
4. Read each page and state the
a horror story (or ten) about 23-page embellishment. Use COULD/SHOULD for tapestry, you risk losing them.
character and action in the space
scripts that were meant to be 22... things that might advance the plot/story/
allotted on one line. Highlight the
verb. ACTION IS CHARACTER. character development or enhance the visual At the end of each comic it’s important to know
3. Isolate each scene with a bracket dynamic. If your scene is longer than 4-5 pages what the action item is for the reader. If it’s an
on the left side of the page. Count the without major contextual shifts, consider ongoing series it should say "To be continued..."
5. Note interior vs. exterior locations.
number of pages in the scene and combining a page or cutting to another scene. If it’s the final issue of a series, it should say
List main character(s) in scene.
circle the number next to the bracket. So many stories sag from being bogged down "Fin." or "The End." If it’s an ongoing series
An average of four to five scenes with details that don’t aid in the character’s that begins a new arc or a stand-alone issue,
6. Check for title & credits. If they’re
make up a balanced 20-22 pages plight or detract from the plot for no apparent it could state END and NEXT. There's nothing
missing, add them! Indicate Splash
of story. If you have two scenes in reason. worse than an editor forgetting the final beat
pages and Double-Page Spreads
the issue, or, worse, one continuous of a story. And that should be a reason to come
(DPS). You’re basically writing a cheat
scene, you need to talk to your writer Always think about what to say vs. what to back for more.
sheet for the script and making it
about scene cuts and story beats. If show vs. what you want the reader to deduce.
48 fit onto one page. Write the notes/
 THE EDIT, PART THREE/GENERAL
THE EDIT NOTES & SPECIFIC CONCERNS.
Third time's the charm, right? It's provide just enough information
your third read of the script. I like to keep the reader intrigued.
to use a ruler to section off the
pages and write personal notes SPECIFICS.
in red at this stage, too. You •Type out a list of the problems
might prefer to use the virtual that you encounterd. Anything
note feature on the computer. that pulls you out of the story
Do what's best for you and your should be noted, however small
team. it seems.
So it should be pretty clear at •Direct the writer to the problem
this point: The good, the bad, and areas immediately. Cite the page
the truly hideous! It’s your job to numbers and panels so they
make everyone on the team look can quickly revisit the areas in
their best, so you can’t be shy question.
or lazy. You are good cop AND If you're not truly desperate to
bad cop. Be direct and get it over read the next issue of a comic,
with. The sooner you state your you need to keep editing.
concerns, the sooner the writer
can revisit the work. Time delays CORRECT GRAMMAR AND
ruin monthly schedules. Writers SYNTAX ERRORS.
are usually just relieved that you Look for repetition and obliterate.
like something about the work Draft the notes in an email
they’ve spent the past few weeks but also scan and send the
immersed in, so start with the script so they can actually see
positive and then state the facts. emphatic notes in red pen in your
If you can’t deliver the notes handwriting—good and bad. It’s a
clearly and succinctly, you’re in personal touch that matters.
the wrong profession.
SUMMARIZE FOR PROMOTION.
GENERALS. At this stage, I write the
•What works? solicitation/sales copy for the
These are broad strokes. issue and often ideas for an ad
My favorites include: or social media campaign. Write
"The character is equal parts it now while it's fresh. Always
ruthless and fascinating and run anything you write by your
I’m hooked." "The pacing is writer for approval. I live by the
relentless. Every time I think I "No Surprises" edict. Treat your
know what’s going to happen, it talent this way, respectfully, and
doesn’t!” "The narrative doesn’t hopefully it will apply to the way
reiterate what we see— they do business too. i
it contradicts it."
•What’s missing? THE BEST EDITORS ASK THE
Many big reveals need earlier RIGHT QUESTIONS—ON THE
setup. Characters need time PHONE OR FACE TO FACE.
alone. Sometimes full issues So much is misconstrued in
devoted to a pivotal moment in a email correspondence. Review
character's life do the trick. Often major edits on the phone or video
the first few drafts amount to the calls before sending the notes
best conversations you have with in full. Ask additional questions.
the writer, where you remake/ If you’re confused, it’s likely the
remodel the storyline and plot reader will be. Making comics is
new paths. Often, there's a lack of complicated, but the best thing
genuine action. So many stories you can do is push your talent
are boring to look at because the forward with positivity. Failure is
scenes take place in visually dull usually not communicating with
places: a car, a room that doesn't your readers.
have character, etc. It's the
writer's job to set the scene and And the editor is the first reader.
51
 GRAMMAR e.g. (exempli gra- Assure/makes a Disinterested/ Oxford Comma Semicolon/joins
CRIB SHEET tis) for the sake of promise impartial always comes be- related clauses

Q:
example Ensure/makes Uninterested/ fore a coordinat- that can stand
NB nota bene/ certain indifferent ing conjunction alone
note well
WHAT’S THE DIFFERENCE BETWEEN Sic [sic] so or thus
Irregardless is not
a word.
Insure/financial
context Comprised/
(e.g., and, but,
so) that follows a The four seasons
Use Regardless. consists of list of otherwise are never capital-
AN EDITOR AND A PROOFREADER? Text quoted ver-
batim that marks Affect/influence
Peruse/To read
quickly and
Never comprised
of
comma-separated
items.
ized. Except when
referring to the
a grammatical or Effect/oppositive deeply band or the hotel
spelling error. of cause Tragedy/situation Colons/introduce chain.

A:
Important/not of sadness or define info
COMMON i.e. vs. e.g.
IT’S BEEN SAID ONCE PROOFREADER'S i.e. (id est) that is
Connote/imply
Denote/define
Importantly Travesty/false
representation
to say
OR TWICE throughout this MARKS
handbook, that the editor has LINE BREAK
of
her eye on every element the TRUE EDITING CRIMES:
comic, and is tasked with crushing deadlines,
editing script and art, and making everyone
on the team look good The proofreader makes
A
INSERT A WORD/LETTER

STET (LET IT STAND)

GRAMMAR
BETWEEN YOU AND ME. Always put others each case to slightly different effect. The em-
the editor look great, catching grammer, / first. The trick for determining subject/object dash is often used to set off parenthetical
pronouns: Do them one at a time. Between information and it’s the width of a capital M.
syntax or legal concerns that the editor may DELETE & CLOSE UP SPACE me. "Me" is the object of the preposition. The en-dash joins numbers.
miss. The percentage of errror is so great at R YOU’RE vs. YOUR, IT’S vs. ITS
SPLIT INFINITIVE. An infinitive is the form
every stage of making a comic that the editor Contractions vs. Possessive. Contractions
of a verb that begins with "to:" to write," to
INSERT PERIOD are short for "you are "and "it is." Ownership
must be thorough. Of course that means when ink. If you insert a word between “to” and
pronouns indicate possession.
the infinitive, you’re splitting the infinitive.
you read something many times, your eyes can LIE vs. LAY. Instead, put the adverb on the other side of
INSERT COMMA "Lie" means to rest/recline. Principal parts of the infinitive. As per our proofreader Arlene,
play tricks on you. The proofreader's greatest a Star Trek fan, "'To boldly go'" sounds more
lie are lie, lay, lying, lain. "Lay" always takes
contribution in addition to her pedantic nature an object and means to put down or place. dramatic than "'To go boldly.'" Yet we should
is a stone-cold read. Over the duration of
the project, you’re duty-bound to find new
# INSERT SPACE Ask yourself, “Lay what?” If there’s no answer,
use lie. The principal parts for lay are lay, laid,
laying, laid. If you can substitute put, use lay.
never say things like "to never be seen again"
but rather "never to be seen again" and avoid
"would have never" at all costs.
#
areas to alter or emphasize.Sometimes it’s CAPITALIZE
FARTHER vs. FURTHER WHO vs. WHOM. "Who" is the subject of a
because the penciller did an exceptional Farther is for physical distance. The closest verb. "Whom" is never the subject of a verb.
#
jobrepresenting the character’s reaction that lower case
record shop to the DC office was farther than
I could get to during a typical dash-and-back
Try to use she or her, them or their. If "she" fits,
use "who." If "her" fits, use "whom." Who is a
lunch break. Editor William Potter notes that subject pronoun; whom is an object pronoun.
no dialogue is necessary. Sometimes you miss in the U.K., the words are interchangeable,
a needless Adverb or notice what appears to BOLDFACE with “further” most common as an adverb for MISPRONOUNCING IMPORTANT NAMES.
greater distance. Not necessarily grammar, but so much is
be two thumbs on the same hand in the inks.
lost when you refer to a person by the wrong
Or hands that resemble a bunch of bananas, INSERT EM-DASH INFER vs. IMPLY name.
Infer = draw a conclusion or make a Some of the greats in comics who deserve
rather than fingers and a thumb. Ultimately, deduction. Imply = hint, rather than state your full attention:
the editor makes the decision final whether directly. BILL SIENKIEWICZ sounds like sin-KEV-itch.
SPELLING ERROR
BRIAN BOLLAND sounds like BAHL-end.
to implement the proofreader’s suggestions, USING A HYPHEN vs. AN EM-DASH or CHRIS BACHALO sounds like ba-CHELL-o.
which are discussed with the writer and often an EN-DASH. A hyphen is a punctuation GLENN FABRY sounds like FAY-bree.
FLUSH LEFT mark used to join a compound adjective (the STEVE LEIALOHA is composed of the two
the artist before implementing. It certainly blue-black forest). The em-dash is the most most popular Hawaiian words, LEI + ALOHA.
versatile punctuation mark. It’s emphatic!
helps when an ace proofreader has your back. Depending on the context, it can take the
TRANSPOSE
I don’t go to press without one. place of commas, parentheses, or colons—in

PRO-TIP FROM OUR PROOFREADER ARLENE LO: Ask the editor about style preferences PRO-TIP: Proofread with two index cards, isolating
and take notes during the proofreading process to ensure consistency. Sheets of 8-1/2 x 11 paper the lines above and below the sentence. Sound it out.
folded in quarters, each quarter for one letter of the alphabet or other category, are the simplest Say it aloud if you stumble. Don't look at the clock;
way to keep track. For example, “A” could include noting pages where “alright” is used and must it takes as long as it takes. After you proofread each
be corrected, and “N” might be the spot for how to handle numbers and numerals. page, run the index card around each panel. Note
any stray pencil, ink, or color lines and remove them.
 DO NOT FEAR THE RED PEN! It can seem overwhelming when an
editor has SO MANY NOTES! Over time, I have learned that the notes that
an editor gives are points where they were brought out of the
story, and that sometimes the thing you need to fix isn’t
the page that has all the red pen; it might be two pages
earlier or later. The editor is trying to make the story
better, asking questions that bring the story into
focus. As writers, we are in conversation with
the red pen. Sometimes the editor is right,
and sometimes they are wrong. But as a
writer, I try to be really honest with myself
about why I think something should stay as
is. So I usually address all the notes that I
think have a good point or that don’t cost

pro-tip
me much emotionally. And believe it or not,
a lot of times, doing those changes helps
the whole thing. Your editor is your safety
net, so that you, wire word-walker that you are,
Cecil Castellucci can do daring tricks with your story. Your editor
has got your back. Embrace the red pen.

CECIL CASTELLUCCI writes comics, novels & librettos.

@misscecil

WHEN I’M SCRIPTING A COMIC, I DRAW IT FIRST.

I do this even though I can’t actually draw. Nobody gets to
see my pathetic stick-figure doodles except me. So what are
they for? In comics, as in any visual format, pictures lead
and words follow. But a lot of writers will start with the
words because that’s their comfort zone. If you’re not
careful, you can end up writing an illustrated prose
story rather than an actual comic. You can crowd
a page out with images that are jostling each
other for space or with excessive verbiage
that chokes and impairs the art. Sketching
out the pages ensures that I think about
the visual flow first and foremost. But
that’s not all it does. When I throw down
my crude doodles, I’m already making
decisions about pacing, framing,
and page turns. I’m mapping my way
through the story, handling most of the

pro-tip
key creative decisions in a way that feels
really organic and unforced. I’m pre-
scripting, essentially. Sometimes I’ll start
to add dialogue at this stage, scribbling
in lines of speech and captions off to one Mike Carey
side of the sketch. The words are keying off
the images, which is the right way around. The
beauty of this approach is that it makes the actual
scripting, when you get to it, almost effortless. You already
know where you’re going, and you’ve got a map to take you
there.
MIKE CAREY is a novelist, comic book writer, and a
screenwriter. @michaelcarey191
DECONSTRUCTION 1

2 3

“IN PANEL 4 on the final page, there was originally

no reaction to the declarative statement, which was a
payoff. In fairness, we had to break this story into two
parts, so it wasn’t until the inks were done that Gen
and I had a “eureka” moment. We could have added
an inset panel with an extreme close-up shot, which
is one of my favorite “fast fixes” because it’s always
good to reinforce a main character to reconnect with
the reader—especially if they’re reacting to a joke,
or an attempt thereof... The only problem? Gen’s
background details are so amazing I didn’t want to
cover them up. Also, the balloon tail would need to
stretch around Mr. Milligan’s trousers...so there’s
that. Gen’s love and respect for Manga inspired the
perfect solution to show what Milligan’s character
would be seeing. Of course Gen perfectly captured a
young editor’s face about to explode in laughter. Or
toothpaste. Or both.”

KEY
1. Gen’s art blown out in
Ben-Day dots! Who can
resist? See GLOSSARY
for more info.
2. Gen’s original panel 4.
3. Reaction shot and
longer hair added in the
lettering stage.
4. A bit of Gen’s inks
for page 3. We gave
the “fist meets alarm
clock” moment to Jill 4
Thompson so someone
could do it justice. Me?
Still not a morning
62 person...
chapter 4
SCRIPT, ROUGHS &
TRANSITIONS

EDITORS NEED
A STRONG
VISUAL ACUITY
because they’re also art
directors. It’s critical to nail
the major story beats as you
work the eye towards the
page turn.

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press > Digital Approval > ”Roll Press!”

64
 ROUGHS &
THE EDITOR’S JOB
BIG DECISIONS Discusses the project and
the brief with the roughs/

LAYOUTS
Once the script is approved, it’s shared with the
layout artist who is usually
the penciller and sends:
The One-Sheet Pitch and
the Outline so they can
penciller and the cover artist. The penciller can establish the characters for
now start roughing out the art. Here are some The Turnaround Sheet.
of the key actions and decisions to consider. The Final Script
The Deadline (usually one
THUMBNAILS vs. ROUGHS vs. week for roughs per issue).
LAYOUTS. THUMBNAILS, or “thumbs,” as The editor reviews the
they’re affectionately called, are the first stage of thumbnails/roughs/lay-
storytelling, often drawn on the side of the script. outs with the script for
Think shapes and graphic composition. ROUGHS clarity. This is one of the
include more detailed figures with suggested most important stages of
backgrounds and are drawn closer to print size. sequential storytelling. Iron
LAYOUTS are “almost pencils,” and characters out any problems here, or
have their expressions and settings defined. you’ll pay for it in time and
They’re drawn directly onto the art board, and money later.
usually sent to an experienced inker who is called
a FINISHER to complete them. THE LAYOUT
ARTIST’S JOB is to
provide the initial frame-
ENLARGE THE ROUGHS. This is the work or the bones of the
perfect time to build your DUMMY BOOK. As each page and how the char-
stage develops, you’ll update your story pages. acters make their way
This is when I do rough balloon placements with through it.
the script to check for clear storytelling and that
the dialogue fits. Encourage your pencillers to OF NOTE:
rough in the lettering in ALL CAPS. In most cases, The penciller usually
they don’t leave enough room, especially above provides this part of the
process. But sometimes a
the figures. Editors should do this too, and trim or different artist is hired if the
art direct as needed. Economy of space matters. penciller is new and needs
help with sequentials, or if
HIERARCHY. Set the scene with an there’s a deadline crunch.
ESTABLISHING SHOT. It’s critical to show the
reader where we are and who we’re with. It’s COMPOSITION &
usually a wide or a long shot, and it’s often the first PAGE BALANCE.
shot on the page, but it doesn’t have to be. Also There should be a strong,
graphic balance of positive
choose the most important panel on the page and and negative/black and
make sure it stands out in size and emphasis. white areas on the page
and in each panel with
PACING & FLOW. Unless a variation of camera
you’re working on a book that angles and figure sizes. Be
utilizes the right-to-left reading aware of the proximity of
order, your first character to speak the characters within the
scene.
should always be on the left-hand
side of the panel. Always work P.S. If you’re working on
toward the page turn to guide the a monthly series, look for
reader across and down the page variation in the opening
from left to right, top to bottom. and closing pages from the
month before, unless it’s a
leitmotif by design.
NEAR RIGHT. Mark
Buckingham’s thumbnails.
FAR RIGHT. Layouts with
66
lettering roughed in.
WRITER’S THE EDITOR AS INSTIGATOR. that was a dare. I knew I’d have Laura SHELLY: The first thing I noted about
draw at least one short story to prove Laura’s work: She spent too much time
BLOCK One of my favorite aspects of being an editor is getting creatives
that she had the storytelling chops. on the thumbnails. An editor looks for
to work out of their comfort zones. Early on in the project, Gen
shapes and reading order/direction, and
and Laura made it clear that Gen was perfectly happy to illustrate
Here’s what happened on paper with Laura’s pages are too detailed, closer
all the “Day in the Life” sequentials, because Laura was much
“Writer’s Block,” as we walk through a to rough pencils. To an editor this says
more comfortable with spot illustrations. To an editor like me,
page from script to color. you’re less likely to want to change them.

Script. First roughs. Revised as thumbnails. Final Roughs.

SHELLY: On page 2, Laura’s first layout proximity between the two characters LAURA: I drew my very rough
is a tough one. The eye tends to go left and pick a big panel to establish the main thumbnails in pen so I couldn’t
to right, so readers might not follow the character in the story. As you can see, erase anything; that forced me to
page in the intended order. There’s no she nailed it when she applied the art just draw shapes. I also didn’t get
real establishing shot to set the scene, direction. too bogged down in drawing faces.
and most of the shots are direct shots The expressions and body language
from the same angle, which is often the LAURA: My initial instinct is to make were honed when I went to final
first instinct when conceptualizing a page. everything look beautiful first time roughs. I used the pop of red in the
We see the Shelly Then character from round. (I’m a lazy illustrator and hate to final roughs to find balance—notice
the left side three times on the layout. So have to redraw things a million times.) how Shelly Then is facing in three
Laura needs to vary the figure sizes and Shelly was mean and made me draw different directions, drawing the eye
camera angles. Since page 2 will follow tiny shapes on actual paper and you down the page.
a page turn, Laura should maximize her know what? It did the trick.
space better. She needs to reinforce the
 HERE’S THE COMPLETE STORY.
SHELLY: On page 3, there’s a nice variation in figure sizes. I suggested
progression from panel 1 to panel 2. The enlarging it by 50% so the figure takes up
over-the-shoulder shot reinforces the more space within the panel. Laura added
distance between the two characters. a great graphic in the thought balloon.
However, in panel 2, there’s no need for
the figure to be so small. There’s not a lot
of dialogue and it’s best to have a greater

BELOW.
First roughs.

SHELLY: The action in panels 5 and 6 is

disorienting because Laura didn’t move the
camera and the figure is jumping towards the
left, and not leading the reader to the page Laura,
turn. I suggested that she try a different angle Can you put the
and flip the image so the action leads us to tap shoe next to
not only turn the page, but encourages the
reader to turn the page quickly to see if the the plant?
character sticks the landing.

LAURA: In the initial thumbnails, I had

forgotten that we were leading to a page
turn—a major rule in any sequential book-
based illustration. And so the revised
thumbnails were changed to reflect the
art direction. You can see it made a huge
difference. ABOVE TOP. Original roughs and ALLER ANFANG
revised as thumbnails beneath them.
70
74 155
TRANSITIONS ASPECT-TO-ASPECT
They will make or break you. They might And here’s where comics differ so eloquently
appear non-existent, because perhaps from other forms of media/entertainment.
you’ve been reading comics that have a They don’t require an audio soundtrack, or a
great editor attached. But you definitely sweeping camera trucking into the shot, or
know when they’re not there because panning from left to right, or tilting from top
to bottom.
they’re sorely missed...and might even
make you wince. They are transitions. So much of what we do in comics is magick
And they are critical to comics. that requires a leap of logic—and a leap of
faith in the storytelling team.
Transitions are defined as a change or
shift from one place or subject to the next.
The nature of comics is to keep the reader Here are the common transitions
immersed in the story, so understanding that Scott McCloud covers in great
the seven main types of transitions is detail in his series of books that
integral to reading comics. begins with Understanding Comics: BYPASSING TIME, the aspect-to-aspect transition presumes that the reader will accept a leap
Transitions from scene-to-scene can occur of logic. Mark Buckingham’s art, above, illustrates one of the frequent sartorial transformations
with art, dialogue, and/or narration, color or ASPECT-TO-ASPECT necessary for the intrepid editor at a busy comic book convention. In the original script, I gave
all of these. We’ll start with visual transitions, MOMENT-TO-MOMENT Bucky two suggestions to consider:
and save the verbal transitions for later in ACTION-TO-ACTION “This could be me pushing through or stag-leaping over the crowd. If you go this route, I remem-
this section. SCENE-TO-SCENE ber artist Celia Calle gave me a beautiful poster that I rolled up and put in my bag. As I made my
SUBJECT-TO-SUBJECT way through the crowd, being as respectful as possible, someone nabbed it! The other idea I had
Panel-to-panel transitions are part of the is to use two stationary shots: an image of me completely haggard from working nonstop at the
invisible language of comics. Some require
VERBAL show with bags under my eyes, and messy hair, stepping into a Futurist Mod Capsule for an instant
more work or reader interaction than others. NON SEQUITUR makeover. The next panel I’d look fresh and glamorous as I exit the pod, ready to host a dinner
party.”
Bucky chose to do a variation on both ideas, and, per usual, made it into high art.

MOMENT-TO-MOMENT ONE OF THE MOST COMMON transitions in comics, a moment-to-moment

transition, is often shown utilizing a stationary camera shot. The camera
remains in a locked position, and the figure takes care of the beat or the
action, however subtle or grand.

In the example below, the expansion of the character’s eyeballs and mouth
provide the necessary drama.

GEN’S ARTISTIC TIMING is exceptional in this two-panel sequence. Both figures,

76 with an emphasis on the dripping toothpaste, provide a hilarious payoff. 77
ACTION-TO-ACTION
ALSO COMMON is a
transition for a single
subject within the
same scene. Action-
to-action shows
cause and effect. We
see/hear the alarm
clock beeping as a
hand comes in from
off panel to give it a
proper bashing.
The comic book falls
onto the floor (we
imagine), and in the
panel that follows,
we see the image
of the exhausted
assistant editor fast
asleep. When we
turn the page, the
comatose editor
is revealed in her IN GEEZER, the
real-world environ- action-to-action
ment. If you don’t takes place on is
believe me, go back even more power-
to the full story on ful because it takes IN GEEZER, above, the action-to-action is powerful
pages 58 and 59. place on the page because it takes place on the page turn.
turn.

SCENE-TO-SCENE
IN THE EXAMPLE BELOW, you’ll see a combination of transitions used effectively.
SUBJECT-TO-SUBJECT A SUBJECT-TO-SUBJECT
GEEZER co-creator/artist Philip Bond chose to use the music magazine to provide transition expects more
a visual link from subject-to-subject which also transitions from scene-to-scene. from the reader. In panel 3,
The narrative caption at the top of the second page reinforces the context. the cutaway from the office
interior shows the wide
reach of a typical delivery of
art boards onto my desk at
DC Comics. It was often so
substantial it rocked the DC
Comics skyscraper, as evi-
denced by a startled raven.
When we move back into
the office in panel 4, we’re
not only showing the room
from a different angle; Gen
made sure the impact of
the THUD SFX in panel 2
resonates throughout the
page by showing colored
comic book pages falling off
the desk. This example also
illustrates action-to-action,
proving that a combination
of transitions effectively
guides the reader from left
to right, top to bottom and
onto the page turn. Yes, I
wasn’t kidding when I said
comics are magick.
78 79
 1

VERBAL
NON SEQUITUR
BY DEFINITION, a non sequitur is a
VERBAL TRANSITIONS are a great way statement, or in this case, a panel or
to maintain the pace and often serve as a scene transition that does not logically
last-minute fix when a visual transition didn’t follow what comes before. This causes
work out, or may have been overlooked. It’s the reader to be surprised or pulled out
one of the many reasons why it’s critical for of the story, as it disrupts the visual
an editor to evaluate the script and the art at flow. But sometimes it’s necessary
every stage of making comics. and quite effective—especially when
there’s an important story or character
1. In this example from GEEZER, co-creator/ shift to be noted.
writer William Potter chose to use a visual
cue, or a subject-to-subject transition, by
utilizing a tissue. Both characters could
use one for different reasons in these two
environments, and you could agree that it’s BOTTOM OF PAGE 23 TOP OF PAGE 24
effective as a scene-to-scene transition too.

2. Moving part of one character’s dialogue

from the bottom of a page to the top of the
"...D'YER 'AVE
next page, particularly if it’s a scene change, A TISSUE?"
is a simple and effective way to bridge a
scene. In this case, it’s customary to put the
2
character’s dialogue into a caption rather
than a word balloon, and add quotation
marks around the copy to denote that it’s
coming from the former speaker. I’ve added
an ellipsis to continue the second part of the
character’s request for a tissue.

ANOTHER OPTION that would eliminate

the need for verbal repetition from tissue to
X

tissue, would be to allow the first character

to request the tissue, and cut to the action
on the following page, as the female charac-
ter hands a tissue to the person requesting
it in the panel. Of course, this would require
an art change at this stage, and it’s not that
important. As you can see, there are so
many opportunities to alter the storytelling
in comics, which makes it such a dynamic
and expansive medium. Just remember to be
selective, and let your writers and artists in
on the decisions you make. Regular commu-
nication with your team is everything.

80 81
 OVER THE YEARS, I’ve developed my personal philosophy of how to
construct a comic page. It’s what works for me—your own mileage may vary. ONE THING I LEARNED working with Shelly:
Communication is vital. We communicated
1. The whole page should (I think it is also possible to do
every week—new pages, feedback, often
have a composition that a page where every moment a phone call. This close and regular
makes it work as a is of equal importance— communication helped to keep me
stand-alone piece probably by making all on a steady schedule. As a young
of art. The main the panels equal size.) cartoonist, it helped me avoid the
elements and the emotional highs and lows that
panel composi- 4. Within all the other
tions throughout panels, make sure cartoonists experience when
are pleasing to that the elements we stay in our heads too long
look at in their also reinforce and without human contact. And
entirety. Avoid emphasize the Big when I did struggle, it was
pages that are Moment that is easy and comfortable to turn
just panel after elsewhere on the

pro-tip
to Shelly and tell her what

pro-tip
panel with no page. This can be
thought of how it perspective lines lead- was going on because she
all works together. ing toward (good) or had established steady, regular
Try tracing the away from (bad) that big communications. The first time I
panel borders sans Peter Gross moment. Or maybe the Jim Rugg drew thumbnails/roughs/layouts
art on some pages you direction a character faces was for each page of THE PLAIN
love and you’ll see how has the same effect. It’s often
the pages look great even hard to find how to reinforce the big JANES, edited by Shelly and written
without the artwork drawn. (See below.) moment, but it’s easier to see where it by Cecil Castellucci. I have drawn
hurts it. Try flipping the art in a panel thumbnails/layouts/roughs for every comic
2. The individual panels that make up to see instantly what helps and what book I’ve drawn since then.
your well-composed page are also hurts. I used to do that by tracing the
self-contained works rough composition and JIM RUGG is the co-creator of
of art with a pleasing checking with a light Cartoonist Kayfabe and Street Angel.
composition that table, or in a mirror. But
aids the whole it’s easily done digitally @jimruggart
page and furthers by
your storytelling. In flipping the panels.
essence, a comic
page is a single work 5. Be sure the panel THINK OF STORYTELLING like a great
of art composed of composition also piece of music. Do what you can to make the
smaller works of art. reinforces the flow of most of the quieter moments. They aren’t
the page from panel to just dull bits before the exciting stuff
3. The page has panel. Always make it happens. If everything is played the
one Big Moment. clear where the reader
Figure out what’s should look next. same, it becomes monotonous.
the most important Lead the eye across Changes in mood and pace
story moment on the page, down to the don’t have to be big either. The
your page and make next tier of panels, and more subtle your technique,
sure it is reinforced even up to the first the greater the emotional
visually and not panel on the next page.
diminished by other Again, flipping panels range you can achieve. The
elements on the is a great way to see same applies to drawing
page. In general, the what works and what the fantastic. The better you

pro-tip
Big Moment is also doesn’t. can represent normal life
the biggest panel on and real people, the more
the page—the read- magical it’ll be when you get
er’s eye is always
going to be drawn to the largest panel, PETER GROSS is a cartoonist to open your bag of tricks.
so placing the Big Moment elsewhere and comics writer best known
for his art on Lucifer, The Books DUNCAN FEGREDO is the
Duncan Fegredo
on the page is counter-productive.
of Magic, and The Unwritten. artist of Enigma, Girl, Hellboy,
He’s the freelancer most likely and many other amazing comic
to be hired to do roughs or books.
thumbnails for one of my new @duncanfegredo
artists. @PeterGrossArt
82 83
chapter 5
PENCILLING

H E Y , E R S !
C I LL
PEurNsublime stoourl of
y tel l i ng
Yo e s th es Y ou
p tu r rg e .
ca r y a t la a wing
s to la t d r
the o e x c e t h e
d t
nee nments a n d
o o ti o n —
envi r in m e so
f o rm b
humanntiall y. And hrough
seque hat I’ll run t re you
good t of fire to hi ok .
o
sheets a comic b
w
to dra

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press> Digital Approval > ”Roll Press!”

84
 PENCILLING
THE EDITOR’S JOB
BIG DECISIONS The roughs are appproved, and it’s
Discusses the project and
the brief with the penciller.
Sends:
time for the penciller to pull off some The One-Sheet Pitch and
serious magick. Here are some of the key the Outline, so they can
decisions you need to consider when begin to establish the
assessing a page. characters for
The Turnaround Sheet
The Final Script
COMPOSITION. The Deadline (usually 4 to 5
Make sure there’s a strong, graphic page weeks per issue) Pages are
balance with positive and negative areas. sent in batches to the inker
Be mindful of how each page interacts with to keep the story in motion.
its facing page, and how the panels work Confirms page rate, sends
separately and in conjunction with the a voucher, and supplies
other panels. Light sources are placed, and reference.
perspective, horizon lines and vanishing
points figure accordingly. THE PENCILLER’S
JOB is the heart of the
VARIATION. visual storytelling. They
IN CAMERA ANGLES AND FIGURE draw the characters and
SIZES. Be sure there’s a good balance their environments in a way
including establishing shots that are long, that’s clear and visually
wide or aerial to set the scene. Use close- dynamic.
ups and profile shots for moments that
matter, including character’s pithy retorts or ALWAYS deliver what
silent beats that reveal an intimate reaction. was asked for first. That’s
what the editor is expecting.
And also deliver a few more
IN LINE WEIGHTS & LIGHT inventive images if you’ve
SOURCES got ‘em.
Be sure there’s a clear differentiation in
the pencil lines for the inker, who will be NEVER assume there
interpreting the line weights, from using won’t be corrections. Each
“XXX” to denote dense areas for solid stage of the process is a
blacks (See facing page, lower right), to chance to elevate the story.
fine lines and traditional techniques like
cross-hatching or stippling (see Chapter 8 NEVER assume your
for more examples). editor is a mindreader. I
mean, I might be, but you
PACING & FLOW. never know. Or do you...?
Unless you’re working on a book that utilizes
the right-to-left reading order, the first MAKE SURE to include
character to speak should always be on the a solid range of character
left-hand side of the panel. Guide the eye from close-ups and profile
left to right, top to bottom, across and down shots. The reader needs to
the page towards the page turn. Anything that connect with the charac-
disrupts the flow might disorient the reader. ter every few pages.

SPOT & RESOLVE WHAT IF you don’t want

CONTINUITY ERRORS. to incorporate the notes?
Talk to your editor immedi-
As you study the story and art, you may catch
a few mistakes. Resolve them immediately or ately. If you can’t come up
you might forget. with happy compromises,
perhaps you’re not a good
creative fit.
86
 We return to see Bucky’s roughs turn

A SONG FOR SAN DIEGO COMIC-CON into pencils...

with Mark Buckingham

FUN FACT: I’ve edited more pages pen- long as the music lasts. When the music
cilled, inked or written by Mark “Bucky” stops, I move on to another page in the pile
Buckingham than anyone in my three and repeat the process. It keeps me fresh,
decades in comics. So, it was critical to focused, and fast. It’s a great way to avoid
invite him along to aid and abet my pro- getting stuck on a page if something is
cess notes, because he taught me so much proving a struggle. Usually, by the time the
about storytelling for over twenty years— page comes around again I have solved the
on a daily basis. Here, he goes into detail problem in my head while keeping busy on
on pencilling as we explore the decisions other things.
the artist and editor make throughout the
creative process. SHELLY: That’s a great method that I’m sure
helps you stay on top of deadlilnes.
BUCKY: First, I consider the comic book or
short story as a whole. Often there are bits BUCKY: That’s right. The key thing is
in the book that I need to nail down first; always the reading experience. Most comic
the flow and the repetition and if there is readers, the first thing they do is consume
mirroring going on. Maybe there’s some- the story and then go back and revisit the
thing at the end of the book that I want art. What is so important is that first run-
to mirror at the beginning. I need to know through. You need the person reading the
what is happening at the end of the story, book to get it, and not be jarred by things
before I start on page one. That’s why I that make them lose their place in the story.
develop my musical chairs approach on an
issue. It allows me to have focused chunks SHELLY: Exactly! “When in doubt, leave it
of time on each page and build up a sense out” applies to creating comics. The per-
of the issue as a whole. I tend to work to centage of error is so great at all times. And
music, and usually listen to whole albums that’s very much the editor’s job—create a
at a time. Every time I change the album, smooth, solid reading experience with no
I grab a new page from the pile of pages interruptions of any kind. Comics, not unlike
that I have ruled out and ready to roll next comic book editors, are always in motion.
to my drawing board, or works in progress, We’re creating an illusion of motion on a
and focus attention on that page for as page, and we don’t want it to stop.

KEY
1. Since Bucky is inking himself, his pencils are
quite loose. If he was handing the page to an inker,
the lines would be much tighter.
2 2. Note the time spent drawing a page to gauge
your speed/progress. 89
 A SONG FOR SAN DIEGO COMIC-CON BUCKY: I wanted there to be a moment
where we had a nice shot of Neil; he was
BUCKY’S PENC
ILLING TIP:
If you’re going
always in shades back then. And I thought character mor to draw a
we would see your reflection in Neil’s make a little m e than once,
glasses. That’s a beautiful way of doing a for yourself thodel sheet
little two-shot in one. how their head at shows
different angl will look from
three-quarter,es: frontal,
from behind. profile, and

BUCKY: After that you’ve got the SHELLY: Suddenly we were trans- when we worked on Fables. I like the have with a regimented structure. If it’s
big image of the two of you in that ported out of the Hyatt Hotel lobby widescreen, expansive nature of it; the fact like fence posts, it’s a little bit mundane—
circle in the center of the hotel and into outer space. I loved that that it’s a cinematic sweep, that you are especially with a fantasy sequence like
lobby. Then the magic can start. I because when you go to busy just flowing through the sequence without this—you want it to feel expansive. You
liked that structure. It allowed me conventions like San Diego Comic- having to work your way up and down and don’t want the reader to feel that there are
to match the large establishing Con, you need those moments, around the page—you’re just going with limitations. It also echoes the rhythm of
shot of Neil in the first panel with however brief, where you can that flow. At the same time I didn’t want it the circles and the curves within the Hyatt
a nice shot of you as a counterpart physically and mentally escape. to just be regimented panel borders. The lobby décor as they ripple out, so it’s all in
at the end of that sequence. It And it was a nice nod to the movie beauty of having something fluid like this is, keeping with the environment.
felt like there was a nice balance. “La La Land.” That definitely came to the reader’s eye, there almost aren’t any
I wanted you to spin around in through. The way you move the panel borders. You get lost in the action. SHELLY: And clearly environment is not
space. I liked the idea that the floor camera around and have such a silent partner when you’re in charge of
and the ceilings would effectively a great variation and balance of SHELLY: And it gives you a lot of structural bringing a story to life.
disappear. I was conscious of the figures in motion. Your choice to flexibility.
fact that I didn’t want it to look separate the panels in a curved
heavy or overly busy, and I wanted shape added to the rhythm of the BUCKY: Yes, because it means that you
all the other attendees of the dance, as it were. can open up or shrink elements within
convention to sort of melt away. the spread, in a way that allows you not to
So, I ended up going for the open BUCKY: I started playing with lose too much of any particular shot that’s
line shapes. page-height, vertical panels run- important to you; space that you wouldn’t
ning across a double-page spread
90 TO BE CONTINUED in Chapter 6...
FROM ROUGHS TO FINISHES.
WHEN YOU’RE WORKING WITH A NEW ARTIST, ALWAYS ASK FOR MORE THAN
ONE THUMBNAIL OR ROUGH LAYOUT TO SEE THEIR SCOPE.

I thought it would be fun to have a story featuring Grant Morrison, because when I started
working with them as the editor on The Invisibles vol. 2, I had heard they lived in a castle in
Glasgow, and that they were quite fond of cats. This was the first sequential script I gave
to Laura, so I asked her for two roughs. I chose the one directly below, because I wanted
a direct wide shot of Grant in their element, so they’re instantly recognizable.

TWO KEY THINGS WERE

MISSING. In panels 1 and 2,
we needed to focus on the light
source in one of the windows
to denote that there was some-
one inside the castle. And once
inside, we needed to direct the
eye to where Grant was located.
I suggested using one of the cats
to guide us from panel 2 to panel
3 through the archway, and for
Laura to establish the archway
in panel 3 on the left side of the
panel.

Laura drew a pencil between

Grant’s teeth, and when I showed
the image to Grant, they thought
it was a cigarette and reminded
me that they were never a ciga-
rette smoker. Laura revised it to
clearly look like a pencil, but we
later removed it in the color just
to be sure. (See page 139).

OF NOTE: Grant publicly revealed

their gender orientation. So when I
reached out to them to make sure
I could use this story in this hand-
book, I was clear that they would
see the finished version before it
went to press, to approve both the
story and the way in which I used
their pronoun. This kind of commu-
nication is an essential part of the
editor’s job, so everyone’s expec-
tations are clear and there are no
RIGHT. surprises when they see the book
Laura’s second in print.
rough layout.
TO BE CONTINUED in Chapter 8...
 TRUE EDITING CRIMES:

PENCILLERS
OVERDOING IT. Too much detail that will CROPPING ON BODY PARTS, especially
be covered up with word balloons and heads, hands and feet. It’s best to establish
captions. a full figure before cutting away to close-
ups.
ANATOMY PROBLEMS. Spend a half
hour 2 to 3 times a week practicing life NOT ENOUGH VARIATION in figure sizes
drawing, preferably people in motion. and camera angles. Avoid too many direct
medium shots, or the same two shots.
NOT ENOUGH VARIATION IN
CHARACTERS. CHARACTER MOUTHS OPEN all the
Study skull shapes/individual facial time whether they’re talking or not.
features/body types.
CHARACTER MOUTHS OPEN at the
OUTDATED CLOTHING, BUILDINGS, same width when they’re talking (or not).
TECHNOLOGY. Research is critical, and
while it’s technically the writer’s job to
provide links and examples, give yourself
a few days at the start of the project to do
background checks so you can contribute
to the overall style and mood.

CHARACTERS TALKING AND KISSING

simultaneously. No, seriously. This drives
me nuts.

NO ESTABLISHING SHOT. Somewhere

on the page.

Make it your business to learn and understand the “180-Degree

Rule” so that if you “cross the line,” it’s because you’re doing it
on purpose. (See stage right.) And you should have a good
reason for doing that.
Learn to draw people sat round a table eating
breakfast—but in a way where it’s clear exactly
what emotions the characters are experiencing
without using word balloons or captions. If I
were to see that in someone’s portfolio, I’d
find it much more impressive and engaging
than a load of splash page action spreads.
And if you could show a good example of
that to a decent editor,
I bet they’d hire you on the spot.

Look at what people actually wear. Think

pro-tip
about how you can use “costume” to say
something about your character’s color,
silhouette, style, etc. It should all be in service
to the story you’re telling.
Glyn Dillon GLYN DILLON is a British artist and Costume
Designer, who’s worked on the recent “Star Wars” films,
and most recently designed Robert Pattinson’s Batsuit
for “The Batman.” His graphic novel “The Nao of Brown” won
94
numerous awards. @glyn_dillon
 COMMUNICATE WITH FEELING, STYLE AND CLARITY.
One important takeaway from my time going through the
illustration program at California State University, Long
Beach—and what I keep in mind each time I approach
a picture or story—is that art is communication,
and what makes us unique as artists is HOW
and WHAT we communicate. Drawing a
representational object isn’t enough.
The difference between average and
.

interesting lies in the voice of the

creator, the clarity of their message
and in the style in which they
communicate. Does it evoke an
emotional response—tap into a
feeling? Does it tell a story? Is the

pro-tip
style appropriate for the subject?
Is it pleasing to the eye? The
journey to becoming an interesting
and successful artist is finding your
Chris Bachalo voice and using it to communicate
with feeling, style and clarity in the
most interesting way possible. It is an
evolutionary process that with patience,
hard work and study takes time to discover.
Godspeed.
CHRIS BACHALO is the artist on Non-Stop
Spider-Man. He also illustrated Shade, the Changing Man among
other amazing comic books. @ShadeX6

DRAW THE FIRST PERSON TO SPEAK in a given

panel on the left-hand side of the panel. There
may be a reasonable exception to this
rule, but I’ve never seen it. Draw each
character to be distinct from every
other character. Remember, you
are the story’s exposition. If a
reader can’t tell the characters
apart at a glance, the story is
broken.
And a tip for writers: Don’t try
to save room in the script by
calling for multiple actions

pro-tip
from the same character(s)
in one panel. That’s always
at least two separate panels,
no matter how you wish it
weren’t so. Bill Willingham
BILL WILLINGHAM is the creator,
writer, and sometimes artist of the
award-winning series Fables and
other fine comic books.
@BillWillingham
 1

DECONSTRUCTION
“GETTING EDITED isn’t
necessarily just about doing
what you’re told! Shelly and
I collaborated massively
on changing, tweaking and
fixing this one, especially
when we decided to lop it in
2 half. It took SO much back
and forth to figure out the
way forward at every step,
and to be honest it was kind
of great. Truly made me
feel involved as a creative
contributor .”

KEY
1. Gen’s color roughs.
2. A selection of ink lines.
3. Neil’s new socks.

3
chapter 6
LETTERING

SOUNDS
G O OD ON
PAPER!
Letterin g is all about
graphic design
solutions . Kee
p it
simple, balanc
ed
consistent. You ,
’r
the unsung he e
ro/
artist in the co
mic
book , and with
ou
you the stor y is t
nothing.

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press> Digital Approval > ”Roll Press!”

XX
104
 BIG DECISIONS LETTERING
Here are some of the key lettering
THE EDITOR’S JOB
Discusses the project
and sends:
decisions you need to consider The One-Sheet Pitch
when assessing a page. The Turnaround Sheet
The Final Script
The Deadline (one to
SETTING A STYLE. two weeks per issue)
FONT. Ask your letterer for a few different Confirms page rate
choices of fonts and leading. The lettering and sends voucher.
style you’re using for the characters’
dialogue should look different from the THE LETTERER’S
narrative captions. This could mean upper JOB
or lowercase or changing the caption Turns script into
shape or color or both. dialogue, captions,
USAGE ON BOLD AND ITALICS. sound effects, and
Emphasis is critical in comics to denote designs title/credits.
parlance and change in character status. Helps guide the story
For dialogue, most letterers use bold/italic by artfully arranging
and sometimes enlarge the emphatic word the words to move the
or add an embellishment with a border eye.
shape to fill with a bright color. The letterer
is usually asked to design sound effects, NEVER forget to ask
indicated as SFX, unless the penciller or the writer to bold and/
inker elects to do so. or italicize words
before the book is
BALLOON SHAPES, BORDER & lettered.
TAIL WIDTHS. From organic to elliptical,
ask for samples but keep them consistent. NEVER assume there
There’s nothing worse than too many won’t be corrections.
shapes to distract a reader from following Each stage of the
the story. process is a chance to
elevate the story.
TITLE/CREDIT DESIGN. Provide a
visual sample of what you have in mind. ALWAYS print out
Include a favorite design from a comic or the lettering samples
a magazine or sketch it out yourself. But to be sure they’re
be open to other ideas. The letterer is also readable at print size.
an artist and is an important contributor to At this stage, the
the overall look. editor knows the story
inside and out. Give
SCRIPT & BALLOON the lettered pages to
PLACEMENTS. a few friends to be
These are the editor’s roadmap for the sure they’re easy on
letterer to consider. Some might say this is different sets of eyes.
the most important part of the editor’s job. If
the penciller didn’t leave enough room for the MAKE SURE your
copy, the editor needs to adjust. writer sends in the
script in an editable
HIRE A PROFESSIONAL. format. The letterer
Bad lettering disrupts the narrative, and great doesn’t retype the
art cannot save it. Most comics look 100% script; rather, they cut
better lettered by someone who knows the and paste the text,
craft, which includes a keen eye for graphic usually into Adobe
design, and how to move the eye across and Illustrator.
down the page.
106
 We return to see script and balloon

A SONG FOR SAN DIEGO COMIC-CON placements for the letterer...

—
—

3
KEY 4
1. Edited Lettering Draft. At
this stage there’s still plenty
of fancy footwork. Copy
is moved to best direct
the eye across the page.
Repetition is obliterated.
2. Balloon Placements are
numbered and correlate
with the script. I like using
a thick black marker.
3. Naked Lettering from
Adobe Illustrator.
4. Remember that missing
handbag? Clearly I needed
to go back to my room for
the company credit card, or
I might still be doing dishes
at that restaurant...

108
TO BE CONTINUED in Chapter 7...
DamagedGOODS
or 20 REASONS TO SALUTE YOUR EDITOR!
It’s fair to say that lettering can
make or break a comic. On our
first attempt to design the perfect
F&G team album cover, we got it
all wrong. How wrong, you ponder?
We dare you to find every error. No
cheating until you turn the page to
where we’ve listed 20+ things that
should never have seen print!
 1. The first person to speak should be on the left-hand side of the panel.
2. First balloon can be edited because it repeats what’s in the header.
3. Never cross tails. PLEASE. For the love of comics!

KEY
DamagedGOODS
4. Avoid the nametoss!
5. Correct typos!
6. Too much air around the lettering in the balloon.
7. There are no BOLD words on the page. There should be.
8. Tails should point to mouths, not other body parts.
9. Balloon and tail for robot baby’s voice is missing.
10. Incorrect prop. There’s no electricity deep in the woods.
11. Establish your main font and be consistent.
12. Guitar has no strings. Which is good, because I suck at playing guitar!
13. The letter “I” should only have cross bars when it’s used as a
personal pronoun.
14. Tame all tangents!
15. Leading is inconsistent.
16. Sloppy letterer leaves random balloon tail for print.
17. Add a singing fish.
18. Look! In the trees! “Lorem ipsum” is placeholder text, also called
“greeking.” Sloppy letterer strikes again.
19. Laura had the incorrect lettering. She’s actually a fishing enthusiast.
20. Does anyone even know how to play a musical instrument?

11 13 11
6 1 5
2 14 7
O OO


15


 4  8
15
3
19

12
14 17

20
14

7 

10 9
8 16

14

18

112
chapter 7
INKING

N K E R S !
HE Y , I O T
U A R E N
Y O R S .
TR’rA E
C sts of high
Youe arti being
i t by
P r ove
caliber. ul of the lines
f d
respect orking over. Ad ere
h
you’re w phasis onl y w .
s
ex tra em ated or matter
c
it ’s indi o the stor y and
t
Be true l the need to
e
don’t fe ellish.
b
overem
IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press> Digital Approval > ”Roll Press!”

114
 BIG DECISIONS INKING
The pencils are appproved, the
THE EDITOR’S JOB
Discusses the project
and the brief. Sends:
lettering is under way, so the inking The One-Sheet Pitch, the
is next. Here are some of the key Outline, The Turnaround
decisions you need to consider Sheet, and the Deadline.
when assessing a page. Confirms page rate,
sends a voucher, and
READING THE PENCIL supplies reference.
LINES. Once the inks are ap-
A variation of different pencil line proved, the pages are
weights from fine to thick should be sent in batches to the
clear. Make sure that you understand colorist and letterer to
what the penciller is asking for on keep the comic in motion.
the page. A lot is lost if you can’t
differentiate between the characters, THE INKER’S JOB
or where the midground ends and To embellish the pencils
the background begins. If you spot with ink lines of various
an error in anatomy, perspective, or weights and to bring
continuity, check in with your editor or characters and settings
the penciller to communicate solutions to life in a way that’s
before making a dramatic change. clear, dynamic and
visually compelling.
STRIKE A BALANCE.
Black and white are the most import- ALWAYS deliver what
ant colors on the page, so there needs was asked for first. That’s
to be a strong balance of positive and what the editor and the
negative areas. Print out your work penciller are expecting.
at comic size and turn it upside down
to see where you may have over ren- NEVER assume there
dered. Color can’t save a weak page. won’t be corrections.
Each stage of the process
KEEP YOUR EYE ON THE is a chance to elevate the
LIGHT SOURCE. story.
The lighting in each scene dictates
how much shading and contrast is WHAT IF you don’t
needed. want to incorporate the
notes? Talk to your editor
SPECIAL EFFECTS. immediately. If you can’t
There are many traditional techniques come up with happy
such as stippling, cross-hatching and compromises, perhaps
feathering, that can add an exquisite you’re not a good fit.
touch to a figure or background. Just
don’t overdo it. It’s easy to get lost in I SPY. I recommend
fussy details that might get covered inking the eyes first.
up with lettering. Too many lines on Many a reader has been
characters’ faces can age or distort put off by the unintended
them. Be selective where you add a crossed eye. The fix is
personal flourish. usually a very slight shift
in an eyeball, away from
SAMPLE IT.
Make sure you, your penciller,
and editor agree on a style and
CREEP! the nose, or by adding
more white. Copy the
pages at print size and
submit a few sample pages to turn them upside down
determine whether it’s rough, slick to see if the eyes read as
or clean or somewhere in between. intended.
116
 We return to see Bucky’s inks in action...
A SONG FOR SAN DIEGO COMIC-CON

1
with Mark Buckingham
SHELLY: And so we meet again, that first panel in the spread
Bucky. Tell me, did the inking go on pages two and three. That
according to plan? was because I was in a different
mindset when I was working on
BUCKY: Actually, it changed a it. And I do have the tendency to
little bit en route. My original sometimes put too many lines
intention was to have it more on faces. I always add some
elaborate and with a few more sort of weight and shape, but a
textures. But then I studied lot of the time it’s really unnec-
one of the first images I inked essary. The positioning is more
of you on the last page; I really important in terms of texture in
liked it. There was a simplicity conveying what you want to say
2 and an elegance that reminded with the inks.
me of Jaime Hernandez’s work
on Love And Rockets, and I SHELLY: You had a challenge in
just thought, I like that look, I the beginning with such a busy
like that feel. I want it to have a hotel lobby on page one—full of
simplicity that would allow me people and a very decorative,
to work with quite bold blocks marbled interior design. And
when it came to digital color then on the double-page spread,
and not make it over-elaborate. you decide to integrate the solar
system! It’s what makes you so
So I went back and started amazing. You know I’m a huge
reducing some of the textures fan of the high contrast, so I’m
in other parts of the story. It glad we have the opportunity to
was interesting that one of your deconstruct the page and cele-
editorial notes was the fact that brate the power of line art.
I over-rendered Neil’s face in

KEY
1. True story! One of my posters was pinched as
I raced back to my hotel room.

2. Spotting dense black areas is critical for

balancing the page.
119
 A SONG FOR SAN DIEGO COMIC-CON BUCKY: There was a sense of
magic and wonder about this
story that I wanted to convey.
ing Tip:
Bucky’s Ink
your light
Think about
keep it
source and adows ground
Sh
consistent. to
, add weight
your scene e lp
, and can h
characters ry.
w of the sto
with the flo

BUCKY: I took elements like SHELLY: Did you use a brush, a SHELLY: There’s such a solid balance of because there’s a certain part of me that
the stars from the floor pattern. pen, or both? positive and negative areas on the page. likes a little bit of imperfection. I just
I wanted it to have that flow, want to tell a good story. I’m not
that sense of the Hyatt being BUCKY: It’s mostly inked with a BUCKY: Actually, I had to tidy trying to be a perfectionist anymore.
transformed, rather than the brush: Winsor & Newton Series everything up because it was looking What matters to me is the overall
figures going to a different place. 7 number 3, which I’ve always too loose and I wanted precision and impact.
As if the whole environment used from my first Hellblazer a really clean, strong line throughout. I
has melted into a new form and issue for DC Comics in 1988. Not went back in and took lines out. As I’ve SHELLY: Impact? In spades! You
then reassembled in that parting the same one, of course, but I’ve been doing more digital color, I relish captured every nuance.
moment. I really liked that aspect always used that particular brush. the fact that I get the opportunity to
of it. And Faber-Castell Artists pens revisit the inks and tidy up as I go. The
because it’s quite nice to have a end result needs a balance. I’m less
range of brush and line pens that worried about the quality of the drawing,
120 you can play with. TO BE CONTINUED in Chapter 8...
 inks & answers by of the lines define the form. Inking is also
Sequential stylist CRAIG HAMILTON where the light and shadow of a piece is
IMOGEN MANGLE brought out.
has been inking her own pristine pencil We found out before this handbook went WHY COMICS? Inking Gen’s pencils was fun and different
lines since she started making comics in to press. Communication is critical at While I inked some of my own work here
2015. We invited four seasoned inkers to every stage of making comics—especially and there, my first inking job came when for me. I lightboxed a copy print of the
deliver their take on her line work, to show this one! Sometimes the team that clicks Steve Leialoha needed a pinch hitter on pencils to square up the album boxes and
the importance of finding the right match in theory in your head doesn’t translate issue 5 of Fables. It worked out very well nail down the symmetry of the overall
for the style and subject matter. onto the page. and I was able to return to inking Lan picture a bit. I added a drop shadow to
Medina for several more issues later on. the album squares to give a bit of depth
and some spot black areas to the piece.
THE QUESTION LOOMS: Will Gen be PRO TIP: Editors can only fully evaluate TOP TIP? TOOL OF THE TRADE?
delighted with the results, or smash the an inker’s skill when they can compare/ I think an inker’s job is to make every
nearest window when she sees what contrast the inked page with the original line count and look as neat and clean as I used Prismacolor Premier 005 fine line
happened to her fine digital lines? pencils. Remember to always credit your possible. I pay a lot of attention to line marker.
collaborators! Go to offregister.press for weight, letting the thickness and thinness
additional portfolio tips.

122 123
inks & answers by SIDE NOTE:
inks & answers by
SHAWN McMANUS SEAN PHILLIPS Sean Phillips chose to
add drop shadows to the
WHY COMICS? WHY COMICS? album frames, some subtle
Comic books seemed like the I’ve been drawing comics professionally for background texture, and
perfect fit for me because I loved over 40 years since I was still at school. I met not-so-subtle red ink to the
looking at the pictures in comics someone who drew comics back then and editor’s arms and hands,
and trying to figure out what tool became his assistant, going on to draw my which was a color note in
an artist used to ink a page. own stuff after a couple of years. the original brief. Shawn
McManus stayed very
TOP TIP? FAVORITE TOOLS? close to Imogen’s lines,
Experiment with different tools: This was inked with a Pentel Colorbrush and just adding weight where
pens, ink, paper, brushes (different a Tombow pen over a blue-line printout of the necessary. Also note how
sizes and shapes), dip pens (pen pencils on smooth Bristol board. each inker took a different
nibs with fat or thin tips). Practice, approach to the title on the
Practice, Practice! TOP TIP? giant pen.
Inking is drawing too.
 inks & answers by TECHNIQUE: INKING the ink is running out and
STEVE LEIALOHA you keep going anyway,
Working on a blue-line print
of the pencils on Bristol art
STYLES is a useful variation for a
WHY COMICS? paper, I started with simple soft-edge look.
Simply put: it’s fun telling stories in 1.FEATHERING. The
outlines or edges of figures thick to thin lines, as seen 4. VARYING LINE
words and pictures (comics!), whether and objects with a pen. The
doing it all myself or collaborating with on the middle figure’s hair, WEIGHTS. In general
others. Inking has been a nice way to foreground things are first, like going from black to white, used to differentiate
work with so many different artists the hands/fingers holding the and the skirt edge where rounded edges or light
over the years. The wide variety of pencil and the stylus. I used it’s also been combined and dark edges as in the
styles and approaches always keeps it Copic markers for the “dead with... first square, or square
interesting. Since I was a kid I’ve loved weight” outline of the pen and two, to give a different
drawing and loved comics! I’ve been the panel borders. The flexible 2.CROSS-HATCHING. look to the clothes and
fortunate to make a living doing just As in the background of background burst.
crow quill is particularly
that (more or less). Still love it! the third square.
good for hair and the more
demanding areas like the 5. NOT OUTLINING
TOOLS: 3.TEXTURING. Random- can also add to the variety
faces. I then worked outward looking gestural moments as on the seated figure’s
Pens: Both crow quill (Hunt #102) and from the faces adding details,
various black Copic Multiliner (Pigment in the background with striped sleeves and the
Ink, Water & Copic Proof) markers. then switching to a brush for pen and brush using both edge of her boots.
STEVE: Brush: Raphael 8404 #4 with India ink. heavier shading on the clothes black and white. This dry
And Pro White Opaque Watercolor. and those classic bursts. brush technique, where
As I’m working
I don’t worry about STEVE: And
mistakes or lines going of course, one
off in the wrong place or advantage of working
re-inking something. I with digital files is I
know it can be fixed can print up more to try
with a little Pro an entirely different
approach. Which
White.
we did.
128
NO--STOP! YOUNG BRITISH ARTISTS
>snort!< I CAN’T GLYN DILLON AND PHILIP
HAHAHA! BREATHE! BOND WERE FLATMATES
AND THE COOLEST ARTISTS
IN COMICS.

THEY SENT IN THEIR

PAGES FOR A FILL-IN
ISSUE OF SHADE, THE
CHANGING MAN.

I LOST MY
TINY MIND!

F@#K THE
DEADLINE,
PHILIP. WE’LL HAVE
TWO PINTS OF
LONG ISLAND
ICED TEA,
PA-LEEASE .

I WANTED TO HIRE YOU

THEM TO DRAW EVERY COMING,
BOOK I WOULD EDIT. SHELL?
YOU ARE
NOT GONNA
LET’S JUST SAY THEY BELIEVE
LIKED TO DRAW. JUST THIS EPIC
NOT...EVERY DAY... ART...
1

KEY
1. Note the borderless
balloons and the clipped tail.
Gen and I loved this look but
decided to keep the black
borders to remain consistent
with the lettering throughout
the book.
2. A reconstruction of a
classic Philip Bond invoice
circa 1993.
3. Tom gets the Benjamin
Henry Day Jr. treatment.

3
chapter 8
COLORING

HE Y,
COLORIST S!
I’m not looking for rainbows
and fireworks on ever y
page. Black and white are
critical colors! Bring on
sublime hues and palette
changes from scene to
scene to instantly connote
mood or temperature
shifts. And spare use of
special FX—think neon at
a blacklight rave. Less is
always more.
IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press> Digital Approval > ”Roll Press!”

136
 BIG DECISIONS COLORING
Here are some of the key coloring
THE EDITOR’S JOB
Discusses the project
and sends:
decisions you need to consider when The One-Sheet Pitch
assessing a page. The Turnaround Sheet
The Final Script
AMBIENCE & LIGHTING. Find The Deadline (usually
the direction from which the dominant light two weeks)
source originates, and you’ll see where to Confirms page rate,
add the HIGHLIGHTS (the brightest areas of sends a voucher and
the lightest value) and the SHADOWS (the reference.
dark values). A CAST SHADOW falls from a
figure or an object and reveals the direction of THE COLORIST
adds depth, dimension
the light source. The time of day should also and mood to the story.
be indicated in the script. This page featuring
writer Grant Morrison is a night scene evident STRIKE A
by the window light and ominous sky, the BALANCE on the
interior light fixures, and the fireplace in panel page and in each
2. In panel 3, the computer is the light source panel. Black and white
reflecting up on Grant and their cat clan. are important colors.

CONTRAST. Print out black and white DRAMATIC HUES

copies of the coloring and evaluate the areas Consider two-color or
where the gray tones blend together. You may spot color choices for
need to heighten the tonal contrast or adjust flashbacks or flash-for-
wards. Color, not unlike
the opacity. Contrast makes your art more music, sets the tone or
three-dimensional by accentuating light mood, so choose wisely.
and shadows. Extreme values create HIGH
CONTRAST. Light and middle values create NEVER assume there
LOW CONTRAST. won’t be corrections.
Each stage of the
MODELING. HARD-EDGE CUTS (see process is a chance
the highlight on the tan cat beneath Grant’s to elevate the story. We
right foot) vs. AIRBRUSH GRADS (the soft- sent Grant the pencil
edge glow around the light fixtures in panel 2) rough, and they sent us
vs. COLOR HOLDS. In a color hold, the black a reference photo from
line or holding line is held in a color other than the early ‘90s, which
black. This effect is abundant in Laura’s art, resulted in important
as she often uses an indigo blue as her base sartorial changes.
color. The extra white line effects on Grant’s WHAT IF you don’t
pants and on the couch are another of Laura’s want to incorporate
illustrative signatures that adds a finishing the notes? Talk to your
touch. editor immediately. If
you can’t come up with
COLOR TEMPERATURE, TIME happy compromises,
SHIFTS & SCENE CHANGES. perhaps you’re not a
Put your color printouts in sequential order good fit.
on the floor. As you study them from a stand-
ing position, the scene changes should be P.S. Color needs to
quite obvious. If not, revisit with your artist to aid and abet the
explore more disparate hues. Otherwise, you story, not complicate
risk monotony and the reader might get bored or overpower. If you
or confused, assuming it’s one continuous think there’s too much
scene. color, there definitely is.
138
 We return to see Bucky’s color in action...
A SONG FOR SAN DIEGO COMIC-CON

1
with Mark Buckingham
SHELLY: Here it is—the final the choice of adding white with
stage—with alacrity! I love the the pale gray and pale blue tone
choice of primary colors with dot pattern allows the lighting to
black and white to anchor the give the dress an added dose of
story. Your interpretation of the shimmer and shine.
mod changing pod is so perfect.
I love how you’ve created motion BUCKY: I wasn’t 100% sure
with the way the clothes are what I was going to do with
being discarded. the color when I started. But
as I worked on it, I wanted to
BUCKY: I purposefully went be playful with quite a strict
for a limited palette based on a palette, and so I basically
combination of the mod target limited it to the red, white and
blue of the mod target, because
red and blue with the colors
I felt that was really important
of the Hyatt lobby, and you, with conveying you in this story.
all sparkly and silver dancing
2 through it all.
The only other colors I used
were the colors in the Hyatt
lobby.
SHELLY: The circular shapes
create a graphic leitmotif with
the other elements on the page
and throughout the story. And

KEY
1. Editor William Potter’s Note: The mod target is
actually borrowed from the RAF roundel.

2. The soundtrack in my head is Elastica’s

All Nighter to give me strength for the endless
convention day-for-night! 141
 BUCKY: I made a purposeful decision that those were the colors I SHELLY: I love how the hatching worked out on Neil’s closeup. The subtle gray shadow
A SONG FOR SAN DIEGO COMIC-CON wanted to play with and I had a lot of fun with the colors in the sparkle
of your dress, doing a little Pointillist thing with the circles.
makes it perfectly balanced. Also of note: In panel 2, on the far right, you’ve colored the
hint of the window with a pale blue sky, so by the time we reach the end of the story,
time has elapsed. And the figures remain the focal point because you’ve retained such
a solid balance of positive and negative space. In two words: That’s Talent!
TRUE
TRUE EDITING
EDITING CRIMES:
CRIMES:

COLORISTS
LEFT: I reached out
to one of my early
mentors, former
Comico art director/
colorist Rick Taylor, to
TOO TOO many many NOT USING ENOUGH color Gen and Shawn
colors colors. WHITE, especially in whites McManus’s F&G
of eyes. In dark scenes with album cover like it’s
ARBITRARY LIGHTING low-key lighting, use off-white 1988. In those halcyon
days, black-and-white
CHOICES. Locate the light as the contrast instead of line art was reduced
source and make sure there’s white, which is too jarring. at 64% and Xeroxed
a distinctive change in palette onto linen Strathmore
or art if you flash back or TOO MUCH MODELLING. paper. Colorists were
required not only to
forward in time. Keep it subtle. If it’s the first paint the guides using
thing that jumps off the page, brushes and Dr. Ph.
OVERSATURATION. tone it down or remove it. Martin Water Dyes, but
It happens when too many also color-code them.
dark values are used together, NOT UNDERSTANDING Editorial assistants
would double-check
and often prints the color of RGB VS. CMYK. What looks the codes to make
a rancid, purple mud, AKA great on screen will not print sure everything was
the color my hair is about to the same way on paper. indicated correctly for
become. (See stage right, the color separator.
and thanks so much, Laura!) NOT VARYING SKIN TONES It was quite the
crash course in color
on your characters in realistic, theory and I loved
representative ways. every minute of it!
For instance, B70 is
70% cyan/blue, K10
is 10% gray (the K
is for K-tone). If you
add ink to the editor’s
arms and hands, it’s
YR = Y100% + R100%
or M100 Y100. Yes, I
could go on...

Working in the physical watercolor medium? Work

background to foreground. Also, don’t be afraid to
be bold! Being tentative with watercolor can lead to
your painting becoming muddy or overworked. It’s
happened to me. Be as direct as possible. Don’t
use black to “darken” your color. Your best
darks and shadows really have so much color
in them. A limited palette is oftentimes more
effective than “all the colors.” Use the white
of the paper as your brightest white. Make
sure each panel has a focal point. Each
panel is a composition inside a larger
composition. And don’t be afraid to start

pro-tip
over. There have been plenty of times I
have worked on something all day, and it’s
a struggle. The best thing I did at that point
was tear it up and start again!
Jill Thompson JILL THOMPSON is the creator of Scary
Godmother and many other comics & books.
@thejillthompson

144
 COLOR SCHEMES FLATTING

COLOR
When choosing a color scheme, it’s best Flatters are the unsung heroes of comics.
to avoid using just pure hues of red, yellow Not every colorist uses a flatter, but they are
and blue, as it looks a little boring and lacks an incredibly useful way of speeding things
variation. Make sure to use a mixture of hue, up. A flatter creates precise, flat areas of
tint, tone, and shade color that fit perfectly
is a powerful and emotive tool for interest. under the linework
used in comics to convey emotion, drama and setting. using arbitrary colors,
Color can rescue a bad illustration or completely A monochromatic which then allows the
destroy a great piece of artwork. Be careful! color scheme uses colorist to select and
by SOFIE DODGSON variations of the recolor quickly. They
same hue to set the keep us coloring in
scene. the lines! Credit your
flatters!
STORYTELLING WITH COLOR In programs like Photoshop and Procreate, A complementary
Coloring is a way of aiding the storytelling of the color wheel is usually accompanied by a color can be used RGB and CMYK
a comic—immediately indicating things like color square that further breaks down color as a pop or highlight These are the two main
mood, time of day, and location. into tint, tone, and shade. Lots of people to add interest. For color modes used, and
use the terms color, tint, tone and shade example—a dark, it’s vital editors and
I like to make a color map before I start work interchangeably, but it’s useful to appreciate moody alleyway in their colorists know the
on a comic. Either using the artist’s roughs the differences. blues with a pop difference.
or finished artwork, I place thumbnails of orange from a
of every page onto a blank canvas, open HUE is essentially pure color—the origins of streetlight or the RGB stands for Red,
the script alongside and scribble notes all colors we can see, and can be found in moon. Green and Blue and
from it about time of day, the top right of color squares is the way colors are
costume, mood, etc., and in programs like Photoshop COMPLEMENTARY displayed digitally on
then splash flat colors down or Procreate. COLORS are colors screen using light. RGB
very rapidly and messily that are opposite is great for webcomics
with a large brush, without A TINT is a hue with white each other on and websites as it can
being precious at all. I can mixed in—sometimes called the color wheel— display very vibrant neon colors.
then look at the color story pastels, and is a paler yellow and purple, and blue and orange,
overall at a very early stage version of the original color. for example. Complementaries can form CMYK is the color mode used for anything
in the process and check In painting this would mean the basis of a great color scheme. To keep that will be printed, i.e., traditional comics!
that all changes of location, adding white pigment to things interesting, try to avoid just using It can’t recreate the brilliance of RGB colors
time and mood are distinct. your paint, and digitally this pure hues, and which are backlit
Share this with your artist normally means moving mix and match pixels, so be
and editor so they can add leftwards along the top edge tones, tints and careful with your
their thoughts (or point out of the color square. shades instead. color choices.
where you were planning a Make 100% sure
sunset when it’s meant to be the middle of TONE is color with gray mixed in, and SPLIT TRIADIC that if your comic
the day.) represents moving diagonally through the COLOR is being printed
color square, making colors duller. SCHEMES use it is in CMYK
A COLOR PRIMER colors from three mode. Some
There is so much to cover for color theory, SHADE is the addition of black to a hue,and equal points of colorists prefer
so here is a crash course in the lingo and moves downwards along the right-hand the color wheel to work in CMYK
basic techniques. edge of the color square towards pure black. and can create from the start
really vibrant as they can see
Primary colors are red, yellow and blue. VALUE is a term used to represent the looks. Tetradic
lightness and darkness of colors, and is an most accurately
Secondary colors are combinations of colors use colors what the printed
these, for example red+yellow=orange, important way of separating elements on a from four equal
page. Make sure your colorist hasn’t made page will look
blue+yellow=green, and red+blue=purple. points of the color like. I prefer to
everything equally dark or light or the page wheel. Again,
won’t read well and could be too murky or work in RGB
The color wheel is a handy configuration remember not
indistinguishable. as I then have
of colors in a circle, that helps show the to just use pure vibrant images
relationships between each other. You hues to keep things interesting.
INTENSITY is a way of describing a that can be used online or in eBooks, and
may have colors like red, orange and pink
color’s purity or saturation. Hues are 100% then save CMYK versions at the end for
referred to as warm colors, and green, blue ANALOGOUS COLOR SCHEMES use
saturated and intense, whereas when white, print, individually tweaking colors where
and purple as cool colors—these represent colors that are adjacent to each other
gray or black is mixed with the hue we necessary once converted. Editors—make
the two hemispheres of the color wheel on the color wheel, and are useful for
reduce saturation/intensity/purity. sure your colorist hasn’t used hues that
and are sometimes referred to as color harmonious and rich looks. are too dark (mixed with too much black
temperature. A page should include a mixture of or gray) as they will print muddily. CMYK is
intensities for clarity, and to direct the eye not kind! Once you know the rules, you can
through the story. break ‘em! Enjoy!
chapter 9
COVER & LOGO DESIGN

COVER S
A RT I S T
& L O G O
I G N E R S !
E S
D ’re on display. Youate
You ntl y c a ptiv
ta
must ins ue. Make me
g
and intri tracks to
y
stop in m awaits inside.
at
read wh

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press> Digital Approval > ”Roll Press!”

148
 BIG DECISIONS COVERS
Here are some of the key art & design
THE EDITOR‘S JOB
Discusses the project
and sends:
decisions you need to consider when The One-Sheet Pitch
assessing a cover and logo. The Turnaround Sheet
The Final Script
LOGO DESIGN. The Deadline (one to two
weeks for three sketches,
READABILITY. It’s critical at a glance. Put two to three weeks for
it on the cover or on a sample of art with a the cover and logo
similar style, and tape it to your wall or bring design)
it up at print size on your computer screen. Confirms page rate,
Stand 12 feet away. If you can’t read it, revisit. sends reference and
voucher.
SIMPLICITY. If you’re not sure what you’re THE COVER
looking at—or what you’re looking at first (the ARTIST’S JOB
logo), you probably need to simplify. Cover up Deliver 3 sketches and
or remove some unessential elements. Is the a final cover.
logo itself too busy? Are there too many fonts
or colors? No depth of field? Neutralize with THE LOGO
white, gray or black. Adjust any tangents. DESIGNER’S JOB
Deliver 3 sketches and
MULTIPLE APPLICATIONS. I expect a a final logo design with
logo designer to give me two to three options, multiple applications.
from an outline and dropshadow, to something
completely unique. ALWAYS send the logo
designer the cover art so
COVER ART. they design a logo that
works in conjunction
CAPTIVATE. Does it instantly command with it. If the cover isn’t
attention? Does it convey a mood, and tease ready, send existing art
or foreshadow the story within? in the same style from
the cover artist. Tell your
logo designer to show
INNOVATE. On a monthly series, is it you all logo sketches
noticeably different from the art and palette placed directly on the art.
that was published the prior month? Make
sure to vary your camera angle, figure sizes NEVER approve a logo
and approach. One of the best reasons to sketch on screen or from
have a cover wall near your workspace is to evaluating as a black
be checking for these common elements and image against a white
diversify when you’re thinking through background. Almost
a storyline. everything is readable
when presented this way.
TRADE DRESS. This includes the logo,
credits, issue number and often the UPC code, BE PREPARED. Once
price and appropriate age demographic. On I confer with the creative
softcovers or hardcovers, the latter information team on the concept,
is usually placed on the back cover. I ask the talent for one
specific approach for
RIGHT. My office at DC/Vertigo, circa 2000, with a both cover and logo that
cover wall behind me. Covers at the top should be I want to see, allowing
the most recent issues in print; beneath them, each
cover month is in progress, updated with sketches, the cover artist and logo
inks, and finals. It’s the easiest way to keep an eye designer to come up with
on the great and small picture, and avoid repetition two of the approaches on
on your titles from month to month. their own.
150
 Here’s a look at Philip Bond’s cover and
logo designs...
2
1 2

5 4

KEY
1. Full-color cover. I knew
I wanted a black, white,
red and process blue cover,
but Philip gave me another
option.

2. First cover rough at scale.

3. Elaborated sketches to
articulate the perspective.

4. The Rejects! Logos that

didn’t work for me. The one
I liked the most was close to
Laura’s handwritten logo, so
Philip made it work with his
cover.

5. Option to revise a word

balloon to suit whims of the
editor? Cue red thumbprint!
152
YES. NO. WOW!
THANK YOU, MILTON GLASER.
American artist and graphic designer extraordinaire Milton
Glaser, best known for his “I ♥ NY” design and the longest
active (and best in this editor’s opinion) DC Comics “bullet”
logo, proffered sage advice that I apply to comic book cov-
ers and most things in life: Your instant reaction to a piece
of art is: Yes, No, or Wow!. A “Wow” is the only sketch you
should commission. Editors: Art direct until you get there.

GEN WAS ASKED to submit All three covers had “Wow!” figure makes eye contact with
3 rough sketches for the F&G potential. Each one has a the reader, delivering big on
Eponymous Album Cover as strong composition and nar- the moxie-front.
an exercise in how a cover rative, and with more specific
artist works with an editor. comics-related props could PRO-TIP: When making a
have worked. book about creating com-
THE BRIEF: Feature our ics, maximize your art. This
quartet of comic book makers The first one was chosen cover image has been utilized
working in tandem to create a because it clearly featured throughout the book to illus-
concept album representative the team and their respective trate the power of collabora-
of all the filth & grammar in job responsibilities. While the tion. Gen and Laura are new to
this handbook. Each sketch other covers were clever, the comics and usually work solo.
required a different composi- figures were quite small, and I wanted to show them what
tion with a variation in figure the first cover seemed poised can happen when you trust
sizes, camera angles, and for a debut album, which is a someone else—including your
graphic impact. statement of intent. The main editor—with your artwork.

TRUE EDITING CRIMES:

UNREADABLE, busy,
COVERS THE UBIQUITOUS TEAM
fussy, or tiny logo that SHOT. Try something original.
probably needs more
contrast. EVERYTHING FIGHTING for
attention, including the charac-
NOT SUGGESTING ters.
A NARRATIVE. Tease
what’s inside. NOT SUBMITTING THREE
SKETCHES THAT YOU
NOT CONVEYING A ACTUALLY WANT TO DRAW.
MOOD. How do you want Murphy’s Law says that the
the reader to instantly one you dislike the most is the
feel? one your editor will ask you to
illustrate.
155
 DECONSTRUCTION
3

1
2

KEY
1. Hey! You almost made it
through this handbook. Cheers!
2. Gen says, “The script
surprised me by calling for a
monkey in Texas, so I looked it
up. Turns out there IS a large
population of Japanese Snow
Monkeys there! Really cool! So
knowing that, why did I choose
to draw this generic cartoon
monkey? Well, because I
thought it would be funny.”
3. Milligan’s unedited script.
4. No one got the 1989
Depeche Mode 101 Tour joke
either...

158
chapter 10
LAST CALL

T H I N G
E VE ER Y
& TH HEN SIrN K
I T C
K at you inc ment the
lu d e h e e
Wh c o m ple o ur
u l d o f y
sho th e me
o n e a n d
. I t ’s the
t f w ork l e!
d y o e o p
bo
e m e nt, P
!
denou ing counts
th
Ever y

IN THIS CHAPTER
Get Organized! > The Pitch > Character > Outline >
Script > Edit > Rewrite > Roughs/Layouts > Pencils
> Lettering/Ballooning > Inks > Coloring > Cover >
Logo > Backmatter > Proofreading > Production >
Pre-Press> Digital Approval > ”Roll Press!”

160
 BIG DECISIONS LAST CALL
The entire comic is written, pencilled, lettered, inked,
colored, and edited. Here’s what happens next. WHAT DO
YOU CALL ONE
OF THESE
PRODUCTION & PROOFREADING. PRE-PRESS. ROUND THINGS
WITH A TAIL?
The penultimate stage of the
INTERIOR ART/STORY PAGES. process happens when a Pre-
The editor proofreads the comic and sends a copy to the writer to Press Manager (sometimes
confer about corrections. The editor marks up the copy and turns it that’s you or me!) prepares the
in to production, or a freelance proofreader if you’re self-publishing. digital files for the printer. The
The editor shares the proofreader’s notes with the writer and artist, editor sees the comic one final
which include inconsistencies, non-standard expressions, poor time in digital form to approve
word choices, and bad breaks. The editor marks up the corrections the final files. Pre-Press man-
to be implemented by a production artist, the letterer, or the jill of all ager Cherie King is helping us
trades, meaning me. Or you. prep this handbook for your
THE COVER. reading and editing pleasure,
In a publishing house, there’s usually a cover editor to traffic your and proffers some insight.
cover art and add the trade dress, which includes the logo, credits,
pricing, age-appropriate label, UPC code, and any cover copy
intended. The editor double-checks all of the above and also revisits
PRO-TIPS
the logo to be sure it stands out and varies from the month before if 1. With the inked copy of the
the comic is part of a series. comic on your left, made into a
dummy book AKA a copy of the WORD
BALLOON
vs. SPEECH
BUBBLE
BACKMATTER. issue stapled together with all
Everything that follows the story pages is part of the curatorial the extras (ads, letter columns,
aspect of editing. The letter column is probably the most beloved editorials, essays in the back, WHICH SIDE ARE YOU ON?
regular feature that falls under the editor’s or writer’s purview. etc.), check the pagination first.
I’ve written my share over time, and couldn’t resist using one as a The GREAT EDITORIAL DEBATE that was to see
2. Check to be sure any final resolution in these pages has been removed
catchall for final info to impart. (See page 164.) Essays, editorials, due to lack of space and fragile egos.
ads (real or fake!), and process pages are common, but on projects double-page spreads are not
with my imprimatur, they’re never arbitrary. Curating comic book broken up. Count captions and It must be noted that the three British artists
backmatter is another way to pay it forward. It should complement word balloons to be sure they’re involved with this publication have made it
or be a counterpoint to the subject or theme of the story you’ve just all there. abundantly clear that their preference—now
and forever—is SPEECH BUBBLE.
read. It’s your chance to show behind-the-scenes art and design, or
bring new, disparate viewpoints into the mix. Broaden your scope 3. Read through it cold. Only
by approaching writers and artists from different backgrounds/ egregious errors are corrected
arenas/disciplines and ask them to contribute to the comics canon. at this stage. It is costly to fix. YOU’VE
GOT TO BE
There’s power in a print message, and bringing more awareness to KIDDING
ME!
critical and cultural topics helps unite us on a global level. Or record 4. Make sure the files work and
WHAT
reviews. We desperately need those, too. conform to printing standards: THE--?! AT LEAST SHE
SWOP, Specification for ACKNOWLEDGED
SOCIAL MEDIA Web Offset Publication. Files
OUR STANCE.
should be the correct size
BE CONSISTENT. specifications and in the correct
Post 2 to 3 times per day and make it fun. Don’t always go for the resolution, usually 300-450 dpi
hard-sell. Rather, let your personality come forward. TIFFS. Whether they’re PDF
files or high-resolution TIFFS,
DESIGN TEMPLATES. pre-flighting and troubleshoot-
Simple and graphic 4 x 4 grids can be updated with new copy, pull ing must be performed on the
quotes and art. files before they
go to the printer.
TAKE A BREATH.
Before posting, a deep dose of O2 calms and centers you. And it
allows you a moment to proofread your impending post, and crush
those annoying typos.
162 163
 PEOPLE!
TRUE EDITING CRIMES:

PORTFOLIOS
IT’S CALLED
A WORD
BALLOON!

Hey, Gobby! the things that empower you,

I heard that comic book editors add sweat, and step up. Finally, NOT PUTTING YOUR BEST WORK at inking is to ink over a variety of estab-
rewrite comic scripts—like writers my third excuse: The double FIRST, which is usually your newest work, lished pencillers. Start a polite dialogue
not even knowing how badly their dare. Anthologies have a bad but not always. Be very selective. with someone who evolved from inking to
dialogue has been butchered rep. People complain that they’re pencilling, and ask them for sample pencil
until they see the comic in print. uneven and not worth the financial NOT BEING CLEAN, POLITE, AND
That seems...unethical! Surely it’s risk. So I take that as a challenge: PROFESSIONAL. The work needs to pages to compare with your own samples.
an urban myth. How do I find the to bring a mix of the neophyte, speak for itself, but you need to make a HAVING TO EXPLAIN ANYTHING,
perfect editor for my project? the famous and the outrageous in good impression, too. Messy people = AKA MAKING EXCUSES. Never include

HEY,
Yours, one volume for the greater good messy pages. anything that prompts you to say, “I’m still
Surly Smith of comics as an industry. The key working on this...” or “I hate this panel...”
Sarasota Springs, UT is in the planning. Start early. NOT RESEARCHING YOUR POTENT-
TIAL EDITOR. Know their career history, Anything that’s unfinished that has to be

GOBBY!
Reach out to talents you admire
Dear Surly, and stay on their radar. Aim to and read their comics. You won’t need to justified doesn’t belong in your portfolio.
I’m afraid those rumors are true. finish at least 2/3 of your stories sound fake or lie if you actually prepare for NOT LEAVING A SAMPLE or a business
There are comic book editors who before you Kickstart or pitch to the interview. card with your name and contact informa-
wield the power of the red pen Hey, Gobba Gabba, a publisher. Many projects look tion clearly labelled.
to do the unthinkable. Most of Why in the world do you make so rushed because they are. If you’re NOT OPENING AND
the time, those belligerent paper many anthologies? a new editor, start small and set CLOSING THE PORT- NOT MAKING YOURSELF
pushers don’t know the definition Tell Me Why, reasonable monthly targets so FOLIO with something AVAILABLE WHEN OF-
of “comic book editor” (see page 2 Lebanon, PA you launch strong.
memorable/eyecatching. FERED A JOB. If you get a
of this handbook), and actually just
want to be writers. The best advice Dear TMW, Dear Gobby, NOT USING ESTAB- X lucky break when someone
else lets an editor down, accept
I can give you: Steer clear of them! Great question! I love them for I love my editor to bits. In fact, we LISHING SHOTS. Proxim- the job and meet the deadline.
Keep an eye on the editing credits many reasons, but for now I’ll give just had a great edit session at the ity is everything. The editor
in the comics you enjoy reading.
Like-minded creatives tend to
you three: Theme, Diversity, and
the Double Dare.
beach. It was a blast—we talked
shop and even took turns on a
needs to know where they X If you don’t take the opportuni-
ty, ten people behind you will.
are, and whom they’re with
stick together. The assistant or Anthologies give you the chance surfboard. Here’s the problem: My
associate editors who work with to focus on subject matter that’s editor has quotes from famous
on the page at a glance. BEING ANNOYING OR
editors you admire are the best often overlooked in pop culture. writers and editors tattooed on NOT SHOWING ANY SE- HIGH-MAINTENANCE.
first port of call. They probably For instance, “Hey, Amateur!” their body. I mean, it’s cool, right? QUENTIAL WORK. If you Never send gifts of any kind,
have more time to answer your is a salute to the 9-panel grid in But do I need to be the one to want to draw comics, you stop by an editor’s office
questions than the in-demand comics, à la how to do anything tell them that there’s a typo on must be skilled in many ar- without an invite, or bug/tweet
editor. Cultivating relationships in 9-panels. Over the years, their back? What’s worse: It’s on people on social media. You
in comics is an important part of Stephen King’s great advice,“The
eas of storytelling, not just
anthologies have been my can be talented and timely, but
breaking in and staying relevant. personal call to action; a response road to hell is paved with adverbs.” anatomy. You need to un-
Good luck! Help! derstand and show samples that include if you need contsant attentnion of any
to vitriol on social media when
political (Femme Magnifique: Tattoo You perspective, graphic design, environments, kind, you will be an editor’s worst night-
Hey, Shelly! 50 Magnificent Women Who Philadelphia, PA a variety of people in action and at rest. mare: a liability.
Who’s your favorite freelancer of all Changed The World) or pandemic Dear Tattoo, You must show that you understand how
time? (Insider Art) situations seem R U Kidding me? I love your to vary camera angles and figure sizes, NOT MAKING YOUR OWN OPPOR-
We know you have one! unjust, immoral, or simply wrong. favorite editor. They sound solid! and show a strong understanding of how TUNITIES. Even if you aren’t chosen
San Diego, CA The best defense to negativity There are so many great quotes by to guide the reader’s eye across the page. for a portfolio review, go to a convention
is action! Rally your troops from famous writer/editor types, and Remember: You usually get ten minutes anyway. It’s your chance to speak directly
Dear FF, around the globe. Diversity in putting ink into skin shows serious to creatives who were once in your shoes.
Uh, thanks for asking. If you dedication to editing as craft. My
with an editor. They won’t have time to
comics has always been important They can offer advice, and in turn, you can
consider that in 2000, I married to me, from learning about favorite King quote is “To write is read a complete story, so your sequential
my favorite artist, Philip Bond (see human. To edit is divine.” As for my samples need to be clear, dynamic, and support their work.
different cultures through working
page 133 for the moment I first set with artists and writers from other advice, I guess it depends on how interesting.
eyes on his art), you have your regions, to cold-calling people much you value your relationship. NOT STAYING ON AN EDITOR’S
NOT INCLUDING YOUR PENCILS RADAR. Send updates 4X per year, once
answer. However, for the room, from different disciplines who If the tattoo artist is your editor’s IF YOU WANT YOUR INKING WORK
this is the question that gets me have a story that can be told via BFF, perhaps a quiet word over a season, or when you have a major piece
into the most trouble when I’m sequentials, and introducing them cocktails would be appropriate. If
EVALUATED. Place them side-by-side in of work published.
running a convention panel or to the craft. Disparate couplings the tattoo artist is wanted in four your portfolio. The best way to get great
appearing on a wordballoon.com are the backbone of BLACK states for murder, I have no idea
podcast. Truth be told, I have more CROWN, the indie imprint that my how to answer this question, and
than one, but less than three. husband Philip and I created for I’m running out of room so gotta FOR WRITERS, EDITORS, COLORISTS & LETTERERS: Get Visible.
And it really depends on which IDW which celebrates music and go!!!
freelancer is on the receiving end —Shelly
Procure a website or a landing page and see above. Put your URL on a sticker and hand
comics by pairing veteran talents
of the phone or email. To play with newcomers. Each creative it out as your business card. I like to use a one-liner that shows off my personality and my
it safe and not make enemies, I brought the goods and rubbed credentials in 50 words or less. Here’s my latest: SEE MY NAME IN THE CREDITS of The
use the salutation “Dear Favorite off on each other in unexpected Sandman, The Invisibles, Filth & Grammar: The Comic Book Editor’s (Secret) Handbook,
Freelancer” whenever I write a ways. An inspired editor doesn’t among others. Over thirty years of taming typos and smashing deadlines. Skills: Editing,
note en masse. entertain anything random. Take Art Directing, Writing, Curating. Adobe Creative Cloud proficient. Portfolio on request.
 APPROPRIATION. Taking DOPPELGÄNGER. OCCAM’S RAZOR. Also TAUTOLOGY. Phrase or
GLOSSARY something for one’s own use,
usually without permission.
A double or an apparition.

DOUBLE ENTENDRE.
known as the law of
parsimony, it’s the problem-
solving idea that “entities
expression that states the
same thing more than once,
often in a different way. Can
ALLEGORY. Wherein actions, Two meanings. should not be multiplied appear redundant, unclear,
characters, settings or objects beyond necessity.” repetitious and monotonous.
represent abstract ideas that GEEZER. A mildly negative
have greater value than what’s slang term for an old man. OPACITY. Solid color, Lacking TOTH, ALEX. A favorite
on the surface. transparency or translucence. American cartoonist and
GOBBY. Crass, cheeky, sassy, animator known for his work
ANTAGONIST. Rival, appears churlish. PARODY. Imitates manner, on Hanna-Barbera cartoons.
to be the foil, can also exist style or characteristics of a
within the mind of the GRAWLIX. A string of literary work. Meant as mimic/ VANISHING POINT. The
protagonist. typographical symbols ridicule. direction point or spot on
(%@$&!) used to replace an the horizon line to which
ANTHROPOMORPHIC. obscenity. PASTICHE. An artistic work in the receding paralled lines
Non-humans that have human a style that imitates that of diminish.
characteristics. GUTTERS. The area another work, artist, or period.
between the panel borders Celebrates the work VERISIMILITUDE.
BACON, FRANCIS. Irish-born that encourages audience in question. Appearance of being true
British figurative painter know participation. Transitions from or real.
for his raw, unsettling imagery. panel to panel via action-to- PERSPECTIVE. The art of
action, or moment-to-moment, drawing solid objects on a WELLER, PAUL. English
BREAKING THE FOURTH allow the story to progress. two-dimensional surface to singer-songwriter and
WALL. When the character give the impression of their musician of The Jam (1972-
addresses the reader directly, HOMAGE. Special honor or height, width, depth, and 1982), The Style Council
removing the suspension of respect shown publicly. On the position in relation to each (1983-1989) and solo
disbelief. See Grant Morrison’s cover of Shade, The Changing other. ventures since 1992.
classic Animal Man run. Man #35, Chris Bachalo pays
homage to the artist Magritte. POINTILLISM. Revolutionary ZEITGEIST. Spirit of a
BEN-DAY DOTS. Est. 1879. art technique pioneered by particular period in history.
Named after illustrator and HORIZON LINE. Also called Georges Seurat and Paul
printer Benjamin Henry Day eye level, where the earth Signac in mid-1800s Paris.
Jr., this printing and photo meets the sky. Meticulously placed dots of
engraving technique was pure, unmixed color form a
popularized in the 1960s. HUBRIS. Excessive ego, often larger tapestry.
a tragic flaw.
CARTOONIST. A storyteller RAISON d’ÊTRE. Reason for
who writes and draws their INCITING INCIDENT. The being. Music and Comics.
own work. event that sets the main
character(s) in motion. REID, JAMIE. English artist
C05 M05 Y25. 5% cyan, whose work utilizing cut-up
5% magenta, 25% yellow is IN MEDIAS RES. Latin: “in the newspaper headlines defined
the color code for beige, my midst of things” A great way to part of the ‘70s punk scene.
go-to neutral when assigning begin a story. See page 155.
caption colors. See Milligan’s RULE OF THIRDS & ODDS.
narrative captions on pages MCKEAN, DAVE. Revitalized Divide into 3 rows/3 panels
155-158. ‘80s/’90s comic book cover where vertical and horizontal
design through postmodern lines meet. Keep odd number
CONFLICT. The basic element art, design and photography, of elements in the foreground.
of any plot. most notable on The Sandman
covers. SATIRE. Social commentary
CUT-UP TECHNIQUE. through humor, irony,
In which written text is cut NEMESIS. Indomitable rival or exaggeration or ridicule to
up and rearranged to create situation that causes misery expose and criticize stupidity
new text. Began in the 1920s or death. or vices, esp. politics. Relies
by Dadaists, Burroughs on audience recognition.
popularized it in the ‘50s, and NON-REPRO BLUE. In the Further recommended reading: Further recommended listening:
Bowie used it in his seminal days before digital, a light SLAB. Also called Egyptian Screenplay by Syd Field TOP 10 Bands (in no particular order):
1976 album, “StationtoStation.” (process) blue non- font, it’s a thick, block variant Comics & Sequential Art by Will Eisner
reproduction pencil was used
SHELLY: Roxy Music, David Bowie, The Clash,
of serif. Roboto, Nexa, and
DENOUEMENT. The final to mark up art corrections Metronic are examples.
Making Comics by Scott McCloud The Jam, Elastica, Moloko, Suede, Gang of Four,
part of a narrative where directly onto the art boards ABC of Typography by David Rault Echo & The Bunnymen, and Cud.
everything is resolved. for a production artist to fix STRUMMER, JOE. The The Essential Guide to Comic Book Lettering
for print. See page 84. greatest frontman in the GEN: Cardiacs, Lost Crowns, Aldous Harding,
by Nate Piekos Cate Le Bon, Envelopes, Akiko Yano, Deerhoof,
DEUS EX MACHINA. history of music, according
The Elements of Style by William Strunk Jr.
Latin: “god from the machine.” NON SEQUITUR. Doesn’t to Shelly Bond. Social Spiders, Grizzly Bear, and especially
A person or thing introduced follow reason or logic to The Elements of Grammar by Margaret Shertzer
Charlie Cawood.
into a situation suddenly to the point of confusion or 1000 Record Covers by Michael Ochs
resolve an entanglement. uncertainty. Sixties Design by Phillipe Garner LAURA: King Gizzard & the Lizard Wizard,
Go: A Kidd’s Guide to Graphic Design by Chip Kidd Gorky’s Zygotic Mynci, Jack Stauber, Haunt the
99 Ways to Tell a Story: Exercises in Style Woods, Violent Femmes, Cate Le Bon, Aldous
by Matt Madden Harding, Grace Lightman, The Velvet
Underground, and T. Rex.
 AFTERWORD & BIOS “There it went, baby’s first professional
project. I didn’t do as well as I’d hoped,
but ideally that isn’t obvious to the reader.
2

What a pleasure to work with such an all-

star gang though! I hate to make such a
generic statement, but this team made the
whole experience shine. Special thanks to
Charlie for getting me through it.”
3

“This was such a fun and

enriching project. The
whole thing was a huge For more Filth & Grammar go to:
learning curve for me,

offregister.press
and I feel super lucky to
have been a part of it.
Shelly has such a wealth
of knowledge and exper-
tise (she’s technically
paying me to write this— Special thanks to our 2,375
and I’m writing! Haha!), original Kickstarter backers.
and it feels like a huge
privilege to get to illus-
trate the shit out of it.”

KEY “Massive thanks to the

amazing art trio above
who made a bossy,
1. IMOGEN MANGLE is an illustrator old-school editor look
and comics artist based in Devon, U.K. so good. And it must
@imogen.mangle // imogenmangle.co.uk be documented that
// linktr.ee/imogenmangle // the moment Sofie intro-
5 duced me to Gen and
2. LAURA HOLE is a comic maker,
illustrator, and librarian from Devon, U.K. Laura’s incredible work,
@lauraholeillus // laurahole.com // F&G officially began to
lauraholeillustration come to life before my
eyes.“
3. SOFIE DODGSON is a comic book 4
colorist and costume & set designer from
Margate, U.K.
@sofiedodgson // @diemortal //
sofiedodgson.com

4. SHELLY BOND lives and eats comic

books in Los Angeles.
@sxbond // offregister.press

5. Social media graphic for the F&G

Kickstarter campaign. The tagline was an
ART BY IMOGEN MANGLE

homage to an ad for The Sandman comic,

which used a quote from The Waste Land
by T.S. Eliot.

6. I, Doppelgänger. w/♥ to Charles M.

Schulz.
7 6
7. A panel from Gen’s webcomic for the
168 F&G Kickstarter campaign. I , DOPPELGÄNGER
THE EDITOR ON DEMAND
NOW THAT YOU’VE MADE IT THROUGH THIS HANDBOOK, you’ll note that,
depending on the length and breadth of the project, a comic book editor works
independently with each member of the creative team more than once, and
holds everyone to the highest standards. As the arbiter among the writer, art-
ists, and publisher, the comic book editor must maintain harmony behind the
panel borders. It’s a job for people with agency and integrity, who can multi-
task and keep a level head. Above all, the editor is working for you, the reader,
keeping the story front and center, above anything or anyone else. So, what
makes the best creative team? It’s actually “who”— an editor who assembles
the right mix of collaborators who become one magnificent storytelling engine.

EDITOR

ACCOUNTING
WRITER ARTIST LETTERER COLORIST PROOFREADER & LEGAL

PENCILLER INKER FLATTER WRITER MARKETING

PRODUCTION
LAYOUT
ARTIST
BACKGROUND
INKER
LETTERER & PRE-PRESS
WRITER
ARTIST
LOGO
DESIGNER
COVER
ARTIST
ARTIST
COLORIST

PITCH SCRIPT PENCILED INKED LETTERED COLORED CORREX

PAGE PAGE PAGE PAGE

170 171
174 175
GO FORTH
A N D MA K E
COMICS!
 Find out the answers to these
questions and more in
FILTH & GRAMMAR:
The Comic Book Editor’s
(Secret) Handbook.

front cover by PHILIP BOND

WWW.OFFREGISTER.PRESS back cover by IMOGEN MANGLE