Devolution full format script

I want to dive in a little deeper on how things go from script to penciled pages.  Included below is the script of page 1 from the very first installment of Devolution.  I wanted an establishing shot of the Tennessee house location in the first image, then a close-up of protagonist Kristy Noble just as the security system comes alive.  The intent was she goes from darkness to light.  Here’s what penciler Jake Bilbao received:

 

PAGE ONE.
 

PANEL ONE – View from above Sycamore Drive

 

Big panel showing the dead-end street is surrounded by woods and there are only four houses on it.  One is at the end, the house belonging to Kristy and Rick Noble.  The other, to their left as they’re standing in their front yard, belongs to the owner.  Further down the street, near where it intersects with a country highway, are two houses opposite each other.  Most of the area is dominated by woods.  The country highway goes in either direction with no houses, stores or anything in sight.  It’s a good mile or two to the nearest gas station or sign of civilization.
 

CAPTION:  Today

 

CAPTION:  Tennessee

 

BANNER (KRISTY – with a distinctive border to indicate it’s Kristy’s thoughts):  What are we doing here?

 

BANNER (KRISTY):  A house at the end of a dead end street in a dead end town.

 

PANEL TWO – Close-up on Kristy’s face.  Although she’s pretty, shoulder-length brown hair, looking a bit like Rachel McAdams in the movie Red Eye, she appears tired here.  Her face lies in shadow. 

 

VOICE (REPAIRMAN – In small letters to indicate he’s far away):  I think that’s about got it. 

 

PANEL THREE – The same close-up but now her face is in light.  It’s the illumination of a row of video monitors from the security system in their walk-in closet (although we don’t see the monitors yet). 

 

VOICE (REPAIRMAN):  Yep, that should take care of at least that.

————–

 

Rather than leave Jake wondering about the exact layout of the street, I did a small God’s-eye view sketch of the street.  Once he had the script and the street layout, he did his own layout sketch, which I approved.  Sometimes Jake makes some changes from the details in the script; Jake has a great knack for making the action flow, so I trust his instincts on action scenes.  And sometimes I ask for a few changes after seeing his layouts; after all, I have a better picture of what’s coming down the road. 

 

This script page is an example of full script format, detailing each panel on each page.  When having the right artist (like Jake), the writer can allow some flexibility.  If the artist is new to you, you may want them to follow the script precisely to get the shot exactly the way you want it.  Then as you learn their strengths and weaknesses, you can open things up. 

 

Next week I’ll discuss more about the art process.  After all, it doesn’t end with pencils. 

 

You can find the Devolution comic installments at www.ComicCritique.com.  Thanks for reading, and feel free to comment at DevolutionComic@gmail.com.

Devolution script process

            I hope you learn a little about the process of the making of Devolution as these columns continue.  The first step is the story.  I decided to make Devolution a 4-issue miniseries, and since it’s released in weekly installments, I had to map out the story issue by issue, installment by installment.  Each 22-page issue contains 6 to 7 installments, and each installment runs 2 to 4 pages in length. 

            Once I have the each installment’s breakdown notes, I then write a few sentences on what happens on each page of that installment.  Finally, I either type up the script from that page’s notes or I do thumbnail sketches to indicate the layout of the page, then type the script. 

            The installments are written in full script format; full script describes each panel and all the dialogue.  The first few installments, unfortunately, were written using Microsoft Word, but that definitely does not lend itself to quick script writing.  Word is a great word processor but a lousy scriptwriting program.  Taking some cues from others, I bought Final Draft, a screenwriting software that’s made it a piece of cake to write scripts.  Now I can focus on writing and not on formatting. 

            When the script is finished, I print, review, make changes, and email it to Jake.  He has some idea where things are headed in the story down the road, but not the finer details.  Sometimes I give Jake a lot of description, knowing that I need to stage something in a room for later use by one of the characters.  Sometimes I’ll be more open with my description, even asking Jake to increase or decrease the number of panels as needed to make the action flow better.  I trust him enough to know that he’ll give me something great.  And I can always go back and shift the dialogue to match his pencils. 

            Next week I’ll talk about how Jake breaks down the pages and the back and forth exchanges we have. 

You can find the Devolution comic installments at www.ComicCritique.com.  Thanks for reading, and feel free to comment at DevolutionComic@gmail.com.

Devolution – Finding the Talent

One of the things important to me when I first started Devolution was to find professional-level talent that would make the book look as good as possible.  If I wanted the story to shine, it needed to look amazing.

Thanks to www.digitalwebbing.com, I found that talent.  I discovered my penciler, Jake Bilbao, in somewhat a roundabout way than the standard method on digitalwebbing.com.  On the homepage, I went to the Forums sections and then went to the Sequential Art Showcase.  The Artist Showcase is a great way to view artists, but I wanted to see if someone could tell a story through their art, not just draw a pin-up.  After finding some incredible sequentials from Jake, I emailed and asked if he’d be interested in working on Devolution.  We worked out an agreement, and things have been incredible in every way working with Jake.  I have no doubt that Jake Bilbao will end up on the Wizard Top Ten artists page someday – he’s that good.  His work ethic is second to none, and he brings a realism and level of detail to his work you’d only see from Bryan Hitch.  You can check out more of Jake’s work in my links section on the right side of MattYocumComics.com.

Next stop was to find an inker.  Jake’s thoroughly detailed pencils needed someone extremely skilled as an inker.  I followed the conventional route for digitalwebbing.com, posting an ad, and I found several talented inkers.  The trick was to find just the right one for Jake’s pencils.  After reviewing their work, I couldn’t escape that Ignacio Calero was the perfect inker for this.  Ignacio adds a lot of grit and reality to the work, and the world of Devolution becomes darker thanks to him.  He gives it weight. 

I again used the digitalwebbing site and posted an ad for a letterer.  Schedules didn’t work out with my original letterer Brant Fowler, whose tremendous work you can see at http://www.brantfowler.com.  Following this I spoke to Chris Studabaker, and I cannot be happier.  Chris, whose work is seen at http://www.chrisstudabaker.com, brings to life the words.  When I get the completed work back from Chris and the pages are complete, I feel the story becoming real to me.  He adds such an incredible dynamic.  For those who are doing or thinking of doing an independent comic, let me say that having a professional letterer really goes a long way to making the work a quality comic.  I’ve seen so many indy comics out there that look horrible and could have been fixed simply by having a professional letterer. 

I chose not to have it colored mostly for schedule reasons.  It would have been a nice dynamic, but my day job (learn more at www.MattYocum.com) can be quite busy, so I wanted to minimize the creative team and keep this comic moving.  My biggest hope, realized so far, has been to make each 22-page cumulative issue’s installments weekly with a month to month and a half between issues. 

I hope you’re enjoying the story so far.  You have Jake, Ignacio, and Chris to thank for the quality look of Devolution.  My hats off to them.  I’m always excited to see what they send next. 

The second installment of Devolution can now be found at www.ComicCritique.com. 

Marvel story update – 3 April 07

Not much news to tell on my Spider-Man “Memorial Day” story for Marvel.  It was supposed to come out in the first issue of an ongoing series called Avengers Unleashed, with each issue having a lead story by writer Sean McKeever followed by a 10-page backup story by new talent.  My story was to be in the first issue, however the series was cancelled before it even started when Sean signed a one-year exclusive contract with DC Comics. 

My editor at Marvel Comics, John Barber, said they’re still trying to find a home for the story, possibly in a one-shot anthology, and that he needs to find a writer to write a framing story that would link all the smaller stories such as mine.  I was also told that Paul Neary, currently inking The Ultimates, would be the penciler for the “Memorial Day” story, which has me tremendously excited. 

We’ll see how it all turns out.  Things move slowly, and then when they do move, they move very quickly.  More, hopefully positive news to come.

Devolution rising

Devolution is almost here.  It’s been a lot of work, but I think that within the next week or two (hopefully by Wednesday, 4 April, the same day new comics are released) we’ll see the birth of my first independent comic.  The creative team – Jake Bilbao on pencils, Ignacio Calero on inks, and Chris Studabaker on letters – has been fantastic.  The highly professional quality of the art will definitely come through.  In the next several weeks, I’ll take you through the formation of the creative team, how I found them, and how we’ve gone through the process of creating this series. 

 More to come.  Get ready for a fun ride.