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  1.  (2281.1)
    I have some questions. Half of them are for writers, and half are for artists:

    ARTISTS: When you are reading a script that you are to interpret visually, what sort of direction do you find easiest to work with? Do you like the writer to be more or less specific when it comes to describing visual elements of the story? Have you ever worked on a script that you disliked? How did you pull it out of the muck? Were you able to?

    WRITERS: What level of specificity do you strive for in describing what is going on visually? Do you ever get bogged down in your description? How much do you trust your artist, generally speaking? Finally, have you ever disliked an artist's interpretation of your work? How did you deal with it?

    I hope this is the right place to post this. This is also the first discussion I think I've initiated ever on Whitechapel. Please be gentle.
  2.  (2281.2)
    This would really be better on, where the comics writers and artists are.
      CommentAuthorAlan Tyson
    • CommentTimeMay 18th 2008
    Might I still throw in my two cents, as I'm not on panelanpixel?

    I typically like to let the artist do whatever they want as far as composition goes, as they're much better at that sort of thing than I am. However, I do make a very strong attempt to make sure my artist sets the right mood for that scene, which does include directing a little bit.

    I also like to have a big part in the character, prop and environment designs, though the artist has final say. My current artist likes me to write up descriptions for them, as she gets a very good mental image, but she doesn't want sketches from me, as that kinda taints the imaging.

    The first script I ever wrote for anyone else got handed back to me with a sigh and a look of pain from my poor penciller, because it had been way too specific, down to calling directorial shots. At the time, I thought that's what you were supposed to do. Not so, apparently. Silly artists, can't they just do as they're told? Don't they know WE are the real genius behind any great sequential work?

    Yeah, I'm gonna go pick the shrapnel and broken glass out of my hair now.

    Needless to say, these days I like to keep my panel descriptions pretty lean, especially if I know the artist well. Most of the creative work between us actually comes from her reading the script and asking me questions while I pace back and forth across the room. Any editor looking between my script and her art would probably be a bit confused as to how one got to be the other. I'm convinced that this sort of thing is essential to any good collaboration. At some point, the writer and artist have to sit down with the script and haggle, and even argue a little bit, for at least an hour per page. Imagine if the guy who had written the how-to diagram for your car engine was there helping you along, in addition to the handy figures and drawings - I imagine it's kinda like that for a writer and artist.
  3.  (2281.4)
    Might I still throw in my two cents, as I'm not on panelanpixel?

    Depends on whether or not you've had a significant amount of work produced or published, really.
      CommentAuthorAlan Tyson
    • CommentTimeMay 18th 2008
    Ah - that would be a no. My experience is all in art school, doing independent projects, or ones to submit to companies. I think I'm fairly proficient in the art, but if that's the criteria, then I'll leave it alone.
  4.  (2281.6)
    Then we're going to close this, so Leslie is directed to