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1.  Most artists won’t work with authors that write worse than they do. When you post your job listing on a website like DeviantArt or LinkedIn, you will be judged on the quality of your writing.  I’d recommend proofreading it.  Also, try to cut out extraneous details that won’t matter to an artist.

2.  The more specific, the better. “John has adventures” says much less about the art you want than “Haxley is a barbarian that has to mangle his way to the throne.”   If you have a two-sentence synopsis, use it.  For more advice on doing two-sentence synopses, please see this.

3.  What exactly do you need from the artist? If you’re doing a color comic with just one illustrator, you need pencils, inks, colors and letters.   How many pages do you have in mind?  If you’re looking to put together a sample for publishers, you’ll probably want around 5 pages and possibly a cover.  Check the submissions guidelines for each publisher, of course.

4.  Describe the sorts of characters and creatures you’ll need illustrated. Just regular humans?  A superhero whose power sets him on fire?  Guys in Ironman-esque powersuits?  Fantastical creatures like griffins and dragons?  Werewolves and vampires?  Angels and demons?  Hydras and Zeus? Eldritch horrors?  Eldritch horrors tanning on the beach? Before you hire an artist, make sure he’s comfortable with every major character.

5.  Will you need unusual props? For example, if you’re writing military sci-fi set in the 23th century, your artist will need to do exotic vehicles and weaponry.  If you’re writing a romantic comedy starring me, probably not so much.   Except for the Pimpmobile.

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Check it out here!

What do you think?

Please see all five pages here.

When your team is putting together the comic book, you need to identify potential problems as soon as possible. If you decide that there’s a problem with the outlines but you’ve already gone to coloring, you’ll have to throw out some coloring work and probably some inking. Here are some problems that you need to spot early.

1. Check for continuity. Are the dimensions of the room consistent? Are the characters consistently portrayed? Are the characters as tall and wide as they’re supposed to be? Also, in the toning and coloring stages, please make sure that the lighting sources are consistent.

2. Character placement. Does the placement of the characters make sense? For example, if two characters are walking somewhere but only one of them knows the way, he should probably be in front. Does each character have enough space to perform his later actions? For example, we once had to redo a page because we were boxed in by the walls–it was impossible to have a superhero drop behind a character that was leaning against a wall.

3. Are the character expressions consistent with their lines of dialogue? One particularly tricky area here is when the character’s emotions change dramatically mid-panel. If your script goes something like this, you’re screwed.

Panel 1.
WIFE, annoyed: Your boss kept you late tonight. What gives?
HUSBAND: I got a promotion!
WIFE, excited: Hooray!

Since it’d be very difficult to show the wife being annoyed and excited at the same time, this panel is pretty much doomed.  This is a problem that you need to solve before the page goes to your artist.  For example, you could break this into two panels so that she can emote her annoyance and excitement separately.

4.  Is the amount of dialogue consistent with the panel’s pacing?  For example, if you’re doing an action panel of someone leaping at an enemy, giving them 25+ words of dialogue will damage the pace.  No one can plausibly say that many words in the span of a jump. Too many words will make the action feel slower and less exciting than it should be.   As a rule of thumb, the more intense and involved the action, the fewer words you should use.

5. If something changes, like a character drawing out a prop or something, is it clear where the change came from? For example, if John is unarmed in panel 1 and wielding a gun in the next, readers might wonder where the gun came from.   You could solve that by adding an intermediate panel of him reaching for the gun, or by using motion lines to show that his hand is moving from where his gun used to be.  Alternately, just show time passing or the scene changing.  For example, if panel 1 shows us a police officer driving with his gun holstered, it’ll make sense if his gun is drawn when he gets out to storm a building in panel 2.  We didn’t see him draw the gun, but the situation has changed–now he’s in a much more dangerous situation.

6. If a character has a prop or accessory, does it appear consistently? It’s really easy to lose track of what each character is holding.  Be careful.

Did this article help? If so, please submit it to Stumble!

Below the fold, I have uploaded Rebecca’s pencils for the five sample pages I’ll be submitting with my comic book script.  I really like how they’ve turned out!  What do you think?  (If you’d like to see the script for these pages, please see this comment).

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I’ve uploaded the thumbnail sketches for my five sample pages on Flickr.  If you hold your mouse over a panel, you can read the panel description from the script. What do you think?

• Page 27
• Page 28
• Page 29
• Page 30
• Page 31

I sent out my script to Rebecca for thumbnails tonight.  I’ll submit as soon as the five sample pages are fully inked, colored and lettered (preferably within 2-4 weeks).  Below, I’ve included the script for the five pages, 27-31.

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Characters doing a usual activity in a way or setting that is unexpected.

• For example, someone would look pretty mundane smoking a cigar, but what if he were smoking right next to a corpse?  Probably much more interesting.
• Holding an iPod is boring, but Thor holding an iPod raises an interesting contrast between tradition and modernity.
• Many badass detectives and criminals carry guns, but it’s distinctly more disturbing if it’s a kid holding a massive sniper rifle… with a Kennedy campaign button.
• A guy holding a briefcase is the epitome of dull.  But a guy handcuffed to a briefcase or a mutant alligator holding a briefcase is more striking.

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I’m a few days away from completing my first issue’s script and I’m gearing up to complete the art sample for publishers.  This is the sort of style I’m going for– realistic with mild stylization.  Phoenix Wright is another example of that. 

Unfortunately, the artist that did the coloring here (Rebecca) isn’t actually available to color the comic because it would take too much time and she’s already doing the comic’s inks.  So, barring some significant advancements in the field of cloning, I need to take on a colorer.  I posted on a few boards have gotten about 60 responses. 

In particular, I’m looking for…

• Quality– is the portfolio consistently clean and competent?
• Stylistic compatibility
• Non-creepiness–the publisher may invite my colorer to promotional events, so I need someone that will reflect well on us.  Relatedly, here’s a professional tip to the two artists that included Sonic fan-art in their portfolios: Don’t. 

I narrowed it down to seven applicants so far.  Here’s a sample work from each.  What do you think?

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Many first-time comic book writers mistakenly think that it’s okay to give their character bland costumes and let other factors make up for it. While other aspects contribute to the overall success of a superhero, the costume is critical because it’s the first thing a reader sees. Don’t blow your only chance at a first impression by making your hero look like a bum. Here are some tips to design effective and stylish costumes.

1. Keep it functional. When a costume doesn’t feel practical, it will probably make the character seem less realistic and/or competent. For example, if your hero wears a large cape, it’d be hard to believe that he never gets caught on anything. And if it doesn’t, the character may come off as a Mary Sue.

2. Be bold. Don’t be afraid to let your creativity flow when designing a costume. If you have a idea for something that could be interesting try to work it into the costume without compromising functionality. Personally, I prefer to start with an outrageous costume then take away until I find balance. Play with colors, patterns, styles, layers, and accessories until you find the perfect costume exhibiting style and functionality, but…

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Randy Stradley, one of Dark Horse’s editors, has some portfolio review tips here.

I’d like to add a few of my own.

1.  Include a good mix of regular people, cities, cars, and trees/plants/landscapes. Many artists focus on closeups of superheroes and, frankly, that’s only one part of the art that goes into a superhero comic book.

2.  Show that you have a well-rounded grasp of human anatomy. In particular, a lot of artists have trouble with legs and feet.  If an artist’s portfolio didn’t include any shots that showed at least a bit of human anatomy from the waist down, I’d assume that the artist wasn’t ready yet.  Backshots are also sometimes a problem.

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Joe Jusko did his best with a rather strange comic book cover.  Please describe what you think is happening in the issue.   Take as much space as you need.

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Check out these alternate covers for Savior 28. I’d like to know what you think.

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I’m very fond of Spiderman Loves Mary Jane, particularly the way it ends its issues. The last page of each issue wraps up the plot of that issue and foreshadows the next issue.  The cliffhangers are usually pretty strong and make the reader want to keep going.  For example, check out these sample concluding pages.

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When we last left off, we were working on a cover for the first issue of Superhero Nation.

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When we last left off, we were working on two main items…

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From Ultimate Spiderman #10.

Thanks, I’d really appreciate it.  Right now, the main thing I’m working on is character-design, specifically a mutant alligator that’s pretty much the Hobbes in a Calvin & Hobbes comic duo.

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I wish I were making this up.

This comic book artist gives writers a few suggestions about how to lay out the story.  I found it very useful.

Let’s see.  Right now I’m working on the cover of our first issue and a series logo.

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1.  The story fails to hook readers in the first three pages.
The easiest way to do this is to show a likable character facing a serious problem.  It doesn’t have to be a life-and-death threat, but that helps.  Another method is to establish that the writing style is particularly compelling.

2. The plot lacks urgency.

A character walking from his door to his car is not very interesting. Running to his car to make it to work on time is better. Running to his car to avoid gunshots? Even better. To make the plot more urgent, I recommend making giving the characters goals that are time-sensitive and high-stakes. If John doesn’t make it to work in ten minutes, he will be fired. If Captain Carnage can’t find and defuse the bomb in ten minutes, the building will explode. Etc.  The goal doesn’t have to be life or death, but it helps.

3.  The writers rely too much on exposition (particularly narration and dialogue) to tell the story.

Try not to tell your audience things that they should be able to see in the picture. For example, check out these two versions of one of our panels.

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Superhero Nation is slightly eccentric and wacky, so I kind of want an eye-catching cover that conveys that.  Here are a few of my latest ideas for our first cover.

1.  This cover shows a desk with a careful array of US presidential bobbleheads.  (It’s Agent Orange’s desk, so this should look a bit wacky).  At the front of the desk would be bobbleheads of Agent Black, Agent Orange and their boss.  In the background, we’d place a motivational poster for humorous flavor.  (Maybe “Human Resources:  Killer Service Every Time.”)

ALTERNATIVE:  The desk still has presidential bobbleheads, but the bobbleheads of the cast are gone.  Agent Orange is behind the desk in a surly boss pose and Agent Black is staring at him dumbfounded.  As before, there’s a motivational poster for humor.  (Hat-tip to Brett).

2.  Agent Black is getting chewed out in an over-the-top manner by Agent Orange.  I’d probably frame it like a scene between Peter Parker and JJ Jameson.  I’m relying on the “what the hell?” factor of having a mutant alligator as the boss to make this eye-catching and appealing.  I’d probably give Agent Orange a business prop like a wacky chart or graph in lieu of the motivational poster.

3.    Agent Black is in a mock Rambo pose, ineptly wielding a machine gun on a firing range.  All of his bullets are wildly off his target.  (The bulletholes may spell out the Superhero Nation logo).  Agent Orange is looking on exasperatedly with a hand on his forehead.  He’s shaking his head.  This is probably better-suited for the second issue than the first.

We’re compiling a list of common mistakes of first-time comic book teams. I’ve got 40 so far, but I’d love to know what you would come up with.

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Only a few weeks ago, Dark Horse required writers to have artists on-board before their stories could be considered.  However, according to Dark Horse’s Submissions page, it seems like Dark Horse has nixed that requirement.  In the miscellaneous notes, it says that “If a submitted project has an artist collaborator, samples of the artist’s continuity work must be included.”  That suggests that DH will consider submitted projects that don’t yet have an artist.  That should make it much cheaper for writers to prepare a script for DH.

However, if you’re applying to DH, I would really recommend getting an artist anyway even though it’s not required. Preparing a sample of 5 pages and a cover will probably set you back $400-500 (colored) or maybe $250-350 (inked). That’s a major investment.  However, if you’re serious about your application, having art accompany your writing could really help you.  Providing pages that have been inked (preferably colored) will make it very easy for the editors to decide if you’re worth hiring.  If all you have is your script, it won’t be nearly as clear whether your team has the style and skill to convey the story on the page. Remember, businesses hate risks. When they put money down, they want to know they’re getting quality.

War Heroes held a contest where fans could pick the cover they’d end up using.  Many of the submissions were quite good.

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PAGE ONE (five panels)
Panel 1. Establishing shot. This is a large panel that shows a spooky castle and a bit of the surrounding world. There are sinister mountains and dark clouds and lightning behind the castle. The castle should have a large base and two towers. Colorwise, the castle is half-shrouded in darkness and the rest of the shot should be dominated by grey and black.

CAP: On a far-away planet…

Panel 2. This is a small panel showing SILENCE, the main protagonist, cleaning as a prisoner.

CAP: This mute girl is a prisoner.

Panel 3. This is a small panel with two ogres, HACK and STAB, talking in the background. Hack is sneering. Both ogres have grey skin and empty, evil-looking eye. There’s a metal on his back without spikes.

HACK: Terrible job as always, Silence.

Panel 4. This is a small panel zooming in on Silence’s big, pleading eyes as she telepathically begs Hack not to hurt her.

SILENCE (telepathically): Please, I will do better.

Panel 5. A small panel of her and Stab. Stab looks like Hack, except he has a scar on the side of his face.

STAB: A worthless thing like you can never do better!

PAGE TWO (six panels).

Panel 1. This is a large panel showing Stab punting Silence into a cage a few feet away. He’s wearing a brown boot. Silence is surprised.

STAB: Back in your cage, Silence.

Panel 2. A small panel showing Hack and Stab bowing in fear in the background. Their attention has shifted away from Silence, but we can’t see what they are bowing to. We can, however, see the sinister shadow it is casting over them. (We’re getting this shot from Silence’s limited perspective, so we can’t see that the shadow is being cast by Silence’s father, VOLKRIG, who is off-camera).

VOLKRIG, in a sinister font: You idiots. Apparently you don’t understand the concept of a sacrifice ritual. I can’t sacrifice her if she’s already dead! Nor can I sacrifice you oafs. [Small text:] Not that I haven’t looked into it.

HACK (in a wavering balloon): Yes, master.

Panel 3: This is a small panel that’s a closeup on Silence’s face. Her expression is very frightened. To help make this picture look more askew, three strands of hair come over her eyes and rest on the tip of her nose.

SILENCE (thought bubble): Sacrifice?

Panel 4: Hack and Stab are standing up and looking warily away down the corridor. The reader should get the impression that the frightening speaker (Volkrig) has left.

HACK: How’d he know we were playing around with her?

STAB: You dummy! Don’t ask those kind of things. You know what happened to Clobber.

HACK, in small text: I miss Clobber.

Panel 5: Hack and Stab are still talking. Hack convinces Stab to come out with him to Earth.

HACK, who has now cheered up a bit: I bet he’s asleep already.
STAB: Doubt it.
HACK: Too bad. I doubt you could be having fun on Earth, kicking puppies around. I’ll let you know how it went.

PANEL 6: Hack has turned away from Stab and is starting to march away. Stab looks very surprised, like he’s about to miss out on a fun trip to Earth. Stab follows after him.

STAB: Hey, wait up!

PAGE THREE (six panels).
Panel 1. Silence hears “Earth” and begins to imagine herself there. She’s never been to Earth, so make this daydream seem very fantastical and not particularly well-informed. Since the only thing she knows on Earth is what the ogre just mentioned (that there are puppies to kick) this daydream should have a lot of puppies in it.   Go crazy with this. In contrast to the first two pages, this fantasy should be bright and cheerful.

SILENCE, in a thought-bubble: Earth? There’s another world?

Panel 2. An alien bird drops onto the sill of a window that is high above her cage. She stares at it. (This should remind us how far away she is from freedom). Silence decides to break out here, so what we can see of the side of her face should be a bit harder and more resolute than what we had seen in the previous shots.

SILENCE, in a thought-bubble: I’ve got to escape!

Panel 3: She glances over at the hallway. Hack and Stab are gone. She smiles.

SILENCE, in a thought-bubble: Perfect.

Panel 4. This is a small panel that shows Silence exiting her cell.

Panel 5. This is a closeup of Silence’s bare foot pressing down on a stone button. She looks down at the trap trigger, worried.

Panel 6: This is the biggest panel on this page. A huge blade slams down right in front of her.

PAGE FOUR (five panels).

Panel 1. This is a small panel showing the blade rising. Silence breathes a sigh of relief.

Panel 2. Silence stands at an open door showing a mostly empty room with a purple portal in the middle. Two stone statues face the portal.

Panel 3. In the foreground, Silence stands in front of the portal, looking deep in thought and biting her bottom lip. She should look like she’s having some second thoughts. The portal is in the background, bathing her in a purple glow.

Panel 4. Silence is half-way in the portal.

Panel 5. Silence is tumbling through the portal.

PAGE FIVE (two panels).

Panel 1. Silence crashes to the ground as the portal closes behind her.

Panel 2. This panel should take up most of the page. Silence is surrounded by long distances of sand, rocks and desert.

PAGE SIX (five panels)

Panel 1. The camera has zoomed in on Silence’s hand picking up sand.

Panel 2. The sand runs through her fingers.

Panel 3. Silence looks up at the sun, squinting. She fans herself. Little drops of sweat are rolling down her cheek. In the background, we see a cloudless sky with a bird far off.

Panel 4. Silence has her eyes closed. She looks uncomfortable and her hair changes from blue and dirty to a clean and braided blonde. Red markings appear on both eyes.

CAP: Silence’s sudden freedom allowed her powers to manifest.

Panel 5 shows a shocked-looking Silence holding her hair out in front of her. Her skin is also clean.