Catching a Vision 011
Breaking Comics Out: Teamwork
Catching a Vision, the (sorta, kinda) weekly column on Comic Related from C. Edward Sellner, Founder and Creative Director of Visionary Comics Studio. CAV provides practical guidance on how to break into the comics industry, as well as insights into this medium we all love. With resources you can order online, interviews and debates with comic professionals, and online workshops, this is your best introduction into the wonders of creating comics!
First up, a big round of thanks to Jacob Bascle, our ace Production Chief for Visionary. He designed the new logo gracing the column as of this week. My old one needed serious help, and, to role model being a team player, I realized it was time to look to someone with far more graphics talent then me. Thanks JB!
So, last week, we talked about building your team, or things to look for in joining a team. This week, let's talk about how to work together as a team.
One of the joys, and one of the challenges of comics is that it is a collaborative medium (again, unless you're that writer-penciler-inker-colorist kind of guy). It lies somewhere between prose writing, where the author may shape the story all alone, or have minimal input from others, to a movie, that usually has umpteen million people adding their two cents worth before it's done. Most comics are the collaborative effort of a small handful of folks and that makes it both more challenging and more rewarding.
So, what are those challenges? What are the tools to overcome them? And what are the rewards for making it work? Let's look at each.
The Challenges...
Recognize!
First and foremost, anyone who wants to create comics needs to recognize the nature of the beast and come in WANTING to collaborate. Most creators are just that...creators, not production machines. In other words, when they join a project, they want to contribute, add their own touch and nuance, tweak and help improve it. In essence, they want to make their mark on it.
If you come into a project with such a myopic vision of what you want to do, but need others to make it reality, you're most likely going to be quickly disappointed. Because as soon as you hand it to someone else to script, pencil, ink, color, or even letter it, it grows beyond a single vision, into a team vision. This is hard for some people to do.
I remember back when Shadowline ran their Create a Super-heroine contest. One aspiring writer came on the boards fuming about having to share ownership of THEIR property with a lowly artist. I've known writers like that, who sour relationships with artists because they are so over-demanding on doing it their way, and yes, even a few artists who feel they can take over a project they come on board with and make it fully their own.
That's not how it happens folks, it's a team effort.
Respect!
Beyond recognizing the reality of what collaborative means, there is the fine line we all must draw in respecting that collaboration and the contributions that come from it. What do I mean here?
I'm primarily a writer, but I'm also an artist. Naturally, when I conceive a project, being a very visual person, I tend to give a good deal of thought to the visuals of the characters, the world, even the flow of the story. It's natural. Now, when I hand that project over to another artist, they often do their creative thing and want to change some things, try other ideas, etc. If I'm totally honest, I would have to admit that at times when something about the art 'bothers' me, it's quite likely because it's not how I would have done it, not necessarily because it's bad.
This is one reason I always prefer to work with a good editor, to help make those distinctions for me.
Your team won't last long if the other creators in the process feel stifled. So, it's important that you use good techniques and skills in working together to make things happen.
The Tools...
Be Open-Minded
This ties into my point above, but is worth re-stating. A project isn't in its finished form until it's out and done. Don't come to the drawing board to create a comic, with it already being 'finished' in your head. Allow the project to remain organic, growing and changing throughout the process. You might be surprised.
Communicate, Communicate, Communicate
I can't stress this enough. Set up a system everyone agrees on and feels comfortable with then use it regularly. It might be email, it might be weekly phone conferences, or bits of both, but have that system and work it. Make sure everyone on the team is part of the communication loop, and knows what is going on at every stage of the game. This is true even if things are being discussed that you think may not directly impact one or more of that team. Including everyone shows you respect the team dynamic, value their input and respect letting them know where things stand.
Dialogue and Develop
You could also call this brainstorming. Usually, by the time a team is together, the concept is already in place and somewhat defined. But define it more with the team. Let them have input on concepts, settings, storylines, etc. This should be an ongoing process throughout and should also be a process you should be intentional in creating opportunities for.
For example, on one project I'm developing, I had some pretty set ideas for the general concept, the characters, and the central 'device' of the story. I wanted to stay pretty close to those. However, the property allows for a variety of settings and storylines and so I asked my artist to pick the setting of the first story arc. I knew the goals or the intent of that arc, but could use any variety of means to tell it, so, I threw that to the artist to make up for my anal retention elsewhere. The result? A pretty cool setting I would never have thought of.
Another example shows how this process continues. Another series I'm prepping with an artist had to change format as we shifted where it will be targeted. As we were re-working the pages to the new specs, it meant needing to re-work one scene. I had one idea how to do it, and the artist just did not like it. He had another idea, that I have to admit, I didn't like. We ended up in the middle and I personally think it works much better than either of us would have done it alone.
Play to Strengths
One of the central points of a creative team is that each member brings certain strengths to that team. Whether you're heading up, moderating for, or just an active member of a team, it's important the team play to each other's gifts and strengths.
If you're a writer and you have an artist who has a strong sense of storytelling and layout, then loosen up in your script writing, maybe even try doing it the 'Marvel' way, where you hand the artist a plot and let them draw the story, then go back in and script it. The shoe might also be on the other foot. If you're an artist working with a writer who has a real vision for the story, which includes specifics like cinematic sequences, parallel page layouts, smart transitions etc. then let them put that detail in the script and play with it.
This is especially true among art teams. Pencilers, inkers and colorists, especially if they've worked together before, usually develop some shorthand between each other that allows each creator to shine.
Polish to Shine
Just as in any work environment, when new people start working together, it takes some time for them to get to know each others' skills, talents, strengths, weaknesses and sore points. It's going to be the same in any creative team.
Usually the longest period of time on any decent book is the prep and startup. The time when the team first comes together there are many dynamics that are being worked out. The story is being fine-tuned, designs for characters and elements in the story are being done and everything is being solidified.
Many creators get frustrated in this stage, because they feel like things are moving too slow, or they must be doing something wrong because they don't have finished pages yet. Don't fall into that trap. Work with your team and make sure they recognize the progress being made.
Once the initial 'sorting out' is worked through, among the creators and the now polished project, pages will come much faster and look much better for it.
Accountability
Another important factor in a team is mutual accountability. While it is important to make each person feel a part of the team, and feel they are contributing, and it's also important to be understanding with fellow members of the team, ultimately, the team has to move things forward.
In working with creative people, one of the most common challenges is actually producing the material. Whether it be writers slow to get scripts done, or artists who can't seem to finish pages of pencils, to an editor even, who sits on drafts until things grind to a halt, this is bad team dynamics.
One of the first steps in the creative process for any team should be to work out a rough timeline. Everyone should participate in this and have some say in how quickly, realistically, things can move forward. Ask your writers how long before they can get a script done, or an artist how long before they can turn around designs, or layouts.
Once a timeline, or set of deadlines is established, by mutual agreement, the team then needs to do its best to abide by them. Sure, at times, people are going to have things come up (loss of a loved one, change in job, moving, illness, etc.) that might derail that timeline for a period of time. In those situations, re-evaluate the timeline, then move forward again when able.
However, when you have members of a creative team who consistently say they can have something done by a certain date, then don't and never follow up with an explanation or some outside circumstances that prevented them, then the project is in trouble.
Mutual accountability is important because if one or more people on the team are the constant stumbling block where everything stalls, it may be time to consider moving on without them. Or if the project is their project to begin with, for you as a team member to move on to another project.
This is true with projects where creators are paid, but it's also true for projects working on the back-end, or for pure exposure projects. If you make a commitment, be able to keep it, else don't make it. If you make a commitment, and run into problems, let people know. If you get in over your head, admit it and offer to either step back and let someone else take over, or re-assess how much you can do and then let everyone decide if that's a solid enough commitment to keep you.
There is nothing gained in just letting people down.
The Rewards...
The Whole is Greater Than the Sum of the Parts
Great comics come out of great collaborations. Sure you have benchmarks that sprung wholly from one central creator, but unless you are THAT good an overall creator, the best material will come out of the best partnerships.
As you move forward in the industry and get a chance to work with some truly great folks, you will also find you make a number of good friends along the way.
NOW ON A COMPLETELY DIFFERENT SUBJECT...
THE INDUSTRY ROUND-UP
I'm going to start including a number of tidbits in a sort of catch-all round-up of the comics industry. This time round...two categories. Enjoy.
Ask and Ye Shall Receive
A bit pretentious yes, but hey, it's my column. Ever since Visionary launched and caught some public attention, I periodically get random emails through MySpace, Facebook, or our site where folks ask me questions about various things they encounter in the industry. I figured I would post some of them with the column and include my thoughts. I will also be posting these as topic threads in the forum, so come join the discussion and if you have a question of your own, post it, let's chat.
Arrogant Artist or Editorial Error?
Hey, I sent a portfolio to try out on a small press anthology. The editor said he liked my stuff and sent me a script. It was a short story, no pay, just the exposure really. But the script didn't grab me, actually, it kind of sucked. I didn't say anything, but asked if he had anything else. The editor later made fun of me online. Was I out of line?
-CES: Not at all. Unless you're under a contract that says otherwise and being well-compensated, you have total freedom to decide what you will or will not invest your time and energy on. If the whole intent is to get a published portfolio, why would you draw a story you felt wasn't good to begin with? It's not going to help you to have something you don't want to show off and bad writing can make an artist look bad. It's sometimes hard to tell the difference from a mediocre artist who dropped the ball on a good script, or a good artist illustrating a mediocre script. As for the editor then making fun of that online, well, that just kind of cinches it...move on.
Publisher Ownership?
I submitted a project to one comic company. They were interested, but wanted full ownership. They've been around a while, but aren't that big a company. A second company wanted 50% ownership. They made a nice debut a couple years ago, got some hype, then disappeared and are coming back now. What should I do?
-CES: Go elsewhere. First off, the whole concept of a publisher getting ownership of something simply because they are 'publishing' it is ludicrous. It would never be tolerated in the prose industry. It's one thing if you are creating work-for-hire and being paid something for your time. But if you create something, you produce it and bring it to a publisher for them to publish, you should keep the ownership. Some of the established publishers do look to secure between 10-25% of the ownership, primarily to keep the book from jumping from one publisher to another. That's at least understandable. For that percentage you're also getting a much bigger and better exposure for you and your property, so its something to consider if an offer is put on the table. But 100% for a smaller publisher? 50% for a publisher that disappeared for a while once already? Not a good option.
Cheers and Jeers
Cheers - To Marvel, IDW, and Dynamite who are all celebrating milestones this year. Marvel, the giant of US Comics is 70, IDW marks their first decade and Dynamite hits 5. Marvel, even though it's one of the oldest, seems to be growing stronger all the time. IDW is jockeying its position, hitting third biggest US Publisher in the monthly market shares recently and shows no signs of stopping. Dynamite also continues to make its mark as well.
Cheers - ToVertigo's defining 100 Bullets that is drawing to a close. If you haven't read this series, you owe it to yourself to pick up the trades of the series. Vertigo has had some of the finest comics ever published under their label and they can add this series to that list.
Cheers - To Rich Johnston who's run one of the longest online columns in comics: Lying in the Gutters. I'll give Rich this, he often digs up news before anyone else and he's championed creators by exposing publishers who don't pay, as well as exposing con artists working their way in comics. He's probably the closest thing the industry has to an 'investigative reporter'...
Jeers - To Rich Johnston as well though. I'll be the first to admit, part of my reason for doing this column is to keep me, as a creator, in the public light. Yeah, I've also used it to shine the light on some worthwhile folks in my studio. There are times however that Rich makes comments that just seem such blatant kiss-ups to publishers he wants to work with. A couple months back, he snidely took a shot at Dwight L. MacPherson when he announced he was moving some projects from Image to another publisher and focusing on finding digital avenues. Rich makes no secret Image is one of his preferred publishers for his own work. In one of his more recent columns he gets snide again on BlueWater Productions and their Female Force line of comics, referring to them as 'ripping-off-the-IDW-livery-line of titles.' IDW published the best-selling biographical comics on Presidential candidates. BlueWater took the seed of that idea and did one on Hilary Clinton. They then started expanding to other females in politics, and will now be expanding out to influential women in many walks of life. Imagine where we would be if folks didn't take a seed of an idea with a costumed hero with powers, one planted say...with Superman, and spin off from there? BlueWater did the same with a different seed. It's amusing because Rich often talks about his desire to and pleasure in writing Dr. Who, a license currently held by IDW. It's even more amusing since his snide comment follows him going on about his one-shot Watchmensch, a parody comic on Watchmen that was obviously timed to capitalize on the movie. For shame.
Next...
At long last...the SUBMISSION!!!!
Join the discussion and add your thoughts on this edition, or the column in general. If you have any questions or suggestions for resources, post them or email them to Sellner so they can be included in future columns. Are you an aspiring or up and coming creator and would like to share your story? Email Sellner and let him know who you are and what you've done.
C. Edward Sellner is the co-founder and Creative Director of Visionary Comics Studio, a studio that within its first three years has drawn high praise from the media and attracted the attention of legendary creators in the comics industry. They have been digitally and print published in the mainstream market and their creators currently work with over a dozen different publishers. Their work has been featured on television news shows, radio programs and internet podcasts as well as featured in every major comics news site online.
Contact him directly at cedwardsellner@aol.com
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