the writer vis-a-vis the artist

 I know you are both, but some of us have limited superpowers. Here is what I have learned from the process that could help writers new to collaborating with an artist on comics or graphic novels:

Provide url photo references whenever possible and always over-describe in excruciating detail, because it is not fair to assume anything will be drawn as you see it in your head or believe it "should" be drawn based on your script. Provide as much art direction as you possibly can, including panel size, style, layout, camera angle and depth, facial expressions, body language, clothing, lighting, architecture, backgrounds, everything.

Begin your direct rapport with the artist immediately and do not allow even the most trustworthy editor to be your go-between. Risk annoying your editor by having direct communication with the artist on everything that matters to you. Insist on seeing ALL layouts (early sketches) to ensure the pencils will track with your vision. Then insist on seeing ALL pencils within plenty of time to ask for fixes and re-draws. Do not allow for "in-house" art fixes by nameless artists who are not officially on the book--you need your artist to do them for them to be done properly and to get done on time or done at all.

Inks and color, as well as lettering, are also important and can make or break the book, so don't think it's over with the pencils. Further, the cover art can be very far off from the vision because the cover artist is working in a vacuum...make sure you proactively seek out an artist whose work you like and take a firm stand against anyone whose work you don't like--you won't like their work on your book, either, and the cover represents the book.

As for how much contact I have with my artist, in my case, I was afraid at first to "bother" my artist (the penciler) but once I got up the nerve to communicate with him directly, I found he was friendly, supportive, accommodating, and a true pleasure to work with. Now we communicate constantly about the book (via email...he lives in Brazil) as I am right now finishing up script 6 of 6. I can't wait to work with him on our next project now that we have such an incredible rapport. Not all artists are so accommodating, so make "friendly and helpful" part of what you're looking for in an artist, right after "tremendous talent."

For example, I just wrote a scene this past week in which Catwoman is smoking a cigarette, and when I saw the pencils (after approving the layouts, then he draws and sends the pencils), I asked Cliff, my artist, to remove her hand from the cigarette, so the cigarette is just hanging out of her mouth while she's talking. That's how detailed we get. I wish I could draw, but even if I could, it wouldn't be as good as Cliff's drawing, so I'm very happy working with him as a team. Also, while I complain to my editor about some of the art fixes that she didn't make happen, the story is much stronger because of her editorial talent, which was significant, and without her greenlight, there would be no book. So, overall, because it was a team effort, it is far better than what I could accomplish myself.

That's all the procrastinating I can afford right now...need to finish the script by midnight!

Ivory Madison
Founder and CEO, redroom.com