Journals297
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A friend is organizing a fund to commemorate the Good Will Hunting bench in Boston Common in the name of Robin Williams, and you can chip in! (Or at least help spread the word!)
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Go Help!
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I have been posting recently about having a number of comics projects ready for artists.
First up is "The Witchwood".
The entire script for a 128 page graphic novel is written, and I'm looking for an artist to work with me on it as a creator owned project. The concept here is that the forest itself is more our protagonist than the young hunter trying to claim it as his hunting ground.
The setting is in the Dark Ages (or earlier) in a mysterious forest, long forbidden, with standing stones and other mysteries under centuries of growth. The only human characters are a young hunter, a mysterious ghostly girl, and an old farmer. Aside from the forest, the other characters include a savage badger, a timid doe, a fearsome stag, ravens and crows, a bear, and a pack of skinny wolves.
Here's the non-spoily part of the pitch:
The premise of The Witchwood is that the forest trying to remain wild, rather than the young man coming of age and trying to set out and claim his own hunting grounds, is the protagonist. The story plays out as a quiet one, showing the interplay between the two observed by a ghostly girl. (The script was completed, aside from a post-art narration pass, as a NaNoWriMo project.)
The Witchwood has been unclaimed by man for countless centuries, though signs like standing stones suggest that it wasn’t always so. Faced with a young hunter, to inexperienced to heed such tradition, it uses everything from roots, to flocking birds, to its few predators to defend itself. The cycle begins with the energy of summer, proceeds through fading autumn to bitter winter, and concludes in the hope of spring.
The story is told in four 32-page acts, designed to be published either as issues or an original graphic novel. It is planned to have a square, prestige-size format.
First up is "The Witchwood".
The entire script for a 128 page graphic novel is written, and I'm looking for an artist to work with me on it as a creator owned project. The concept here is that the forest itself is more our protagonist than the young hunter trying to claim it as his hunting ground.
The setting is in the Dark Ages (or earlier) in a mysterious forest, long forbidden, with standing stones and other mysteries under centuries of growth. The only human characters are a young hunter, a mysterious ghostly girl, and an old farmer. Aside from the forest, the other characters include a savage badger, a timid doe, a fearsome stag, ravens and crows, a bear, and a pack of skinny wolves.
Here's the non-spoily part of the pitch:
THE WITCHWOOD: In a tale of the Dark Ages, a long-forbidden forest
struggles to keep a young hunter from taming and claiming it.
The premise of The Witchwood is that the forest trying to remain wild, rather than the young man coming of age and trying to set out and claim his own hunting grounds, is the protagonist. The story plays out as a quiet one, showing the interplay between the two observed by a ghostly girl. (The script was completed, aside from a post-art narration pass, as a NaNoWriMo project.)
The Witchwood has been unclaimed by man for countless centuries, though signs like standing stones suggest that it wasn’t always so. Faced with a young hunter, to inexperienced to heed such tradition, it uses everything from roots, to flocking birds, to its few predators to defend itself. The cycle begins with the energy of summer, proceeds through fading autumn to bitter winter, and concludes in the hope of spring.
The story is told in four 32-page acts, designed to be published either as issues or an original graphic novel. It is planned to have a square, prestige-size format.
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Comics Artists for Creator Owned
1 min read
I've been gradually getting back into writing, after far too much time away. Creating makes me feel more alive.
Today, I turned my one-shot FAILSAFE into a series outline and pitch for a series.
From there, I read through my existing materials, and realized two things:
First, I have at least four series ready for me to script a first issue. (Not including many ideas that haven't been outlined yet.) On any given day, I can work on whichever one suits my mood, until an artists is available and then I can focus on having scripts ready for them.
Second, I have three series that are completely ready for an artist to begin work. Outlines, scripts, and in some cases even pitch letters, are written and waiting. Someone could start drawing the comics today.
This makes me realize that more than anything, I don't just need to spend time writing (though I do!)-- I need to find collaborators for these projects. There's no use sitting on scripts.
Today, I turned my one-shot FAILSAFE into a series outline and pitch for a series.
From there, I read through my existing materials, and realized two things:
First, I have at least four series ready for me to script a first issue. (Not including many ideas that haven't been outlined yet.) On any given day, I can work on whichever one suits my mood, until an artists is available and then I can focus on having scripts ready for them.
Second, I have three series that are completely ready for an artist to begin work. Outlines, scripts, and in some cases even pitch letters, are written and waiting. Someone could start drawing the comics today.
This makes me realize that more than anything, I don't just need to spend time writing (though I do!)-- I need to find collaborators for these projects. There's no use sitting on scripts.
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Graphic Novel - Artist Wanted
1 min read
I've been doing some writing again lately, but I need to be actively creating and working on a project again. I don't suppose any of my artist friends would be interested in starting a creator-owned graphic novel?
The idea would be something like this:
Start by finding a collaborator (penciller, possibly also inking) and work together on choosing a story. Then we'd put together an outline, character designs, and promo image. Then I'd work through the full script of a graphic novel, and the artist would start working the pages.
Once the pitch-- full outline, first issue script, 5 pages fully complete-- was ready, we'd pitch it, but keep working on finishing it too. Get something done, and out there, however long it takes.
All creator owned, equal votes on selling, revenue share on this work tilted towards the artist, other details to be worked out. Artists who have completed sequential works only, preference to people I know and/or have worked with.
Start by finding a collaborator (penciller, possibly also inking) and work together on choosing a story. Then we'd put together an outline, character designs, and promo image. Then I'd work through the full script of a graphic novel, and the artist would start working the pages.
Once the pitch-- full outline, first issue script, 5 pages fully complete-- was ready, we'd pitch it, but keep working on finishing it too. Get something done, and out there, however long it takes.
All creator owned, equal votes on selling, revenue share on this work tilted towards the artist, other details to be worked out. Artists who have completed sequential works only, preference to people I know and/or have worked with.
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Back.
1 min read
A week ago, I went back to the studio for the first time in two years. Two years.
Recently, I started writing again and lined up a couple of interesting comics projects.
It feels good to be alive again. It's interesting to discover the power of finding a muse.
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