Jim @ Marvel
01-26-2009, 07:14 PM
So, first off, issue two is WRITTEN! Of course, when a writer says that, they usually mean the first DRAFT is done, and now I wait, get notes, re-write, and THEN it's done, but that shall not dampen my mood of being finished with the issue!!! More on that in a sec.
This Weds, check out pg 10 of the new Wizard (#209, I believe) for your first look at David Lopez's Mockingbird redesign. PLEASE NOTE - the sketches they show were the in-progress ones. The full figure is the new look, but they did NOT show the full costume with (ok, I'll say it) the kick-ass coat with flared sleeves. Yeah, she rocks. The final design pages for her new look will be in the first issue as back-up material.
Now, on the writing of this mini, so far. The first issue was filled with disbelief the entire time I was writing it. I kept thinking someone would take away my computer and suddenly give the project to someone else. I don't remember much about the writing of the first issue except hand-wringing and feet not really touching the Earth as I typed. Oh, and I was TERRIFIED of notes. I know I had done the 8 pager for NEW NATION, but I had done 8 page stories before. This was 22 PAGES! AND it was the first part of a FOUR part story! It was a completely different beast. I got it done, and, with my awesome editor Jeanine Schaefer, and some tips from Tom Brevoort (genius Executive Editor), I got to end the issue with a CRAZY, BAD-ASS moment that made my inner fanboy scream "YES!" Then it was over, and David was drawing it. I smiled every day that pages started rolling in.
So, then along comes issue 2. This was a strange issue to write. The first issue was a balancing act of stage setting with action and refreshers and introductions and new threats and old wounds. A LOT of pieces in motion, and a sort of "loud" issue, if that makes sense. I knew that the second issue, by its nature and where events fell in the overall story, was going to be slightly quieter (after a VERY big opening sequence), and VERY emotional. The outline flew out of me in a matter of hours. I turned it in and had very minor notes and an enthusiastic "Go to script" order. That meant it was time to write the script.
So, it was time to write the script.
Still... time to write the script.
Um...deadline for script approaching!!!
I froze. Not going to lie or hide it. I had successfully (internally, at least...we'll see if the fans & critics agree it was done successfully) written the first issue (and prologue). I had such a strong feeling on the outline, and a clear vision of the issue (I could SEE the whole thing), but I feared that I couldn't actually DELIVER on the script. I felt incredibly alone, and terrified, and inadequate. I guess it was like the infamous "Sophomore Slump" that TV shows & recording artists get. But I wasn't alone-- Jeanine, Super-Editor, stepped in and with a simple question- "How can I help?"- it freed me up. Even though I knew she couldn't write the script FOR me, I knew that SHE knew I could write it, and that was enough. I wasn't alone. That was important to know, and to feel. Jeanine was there, David Lopez sent pictures that inspired the HELL out of me. And those closest to me believed in me. Suddenly, this struggle of being alone or fearing that you are alone, on top of so much responsibility, found its way on the page in the characters, fleshing out the outline and shaping the scenes in ways I hadn't even thought of when I roughed out the issue. What I knew was going to be a "quiet" issue became an emotionally charged issue, where even the "softer" moments have an underlying cacophony of feelings that belie the silence or terse dialogue.
This is not meant to be a post about "Oh, poor me, it was so hard to write a comic book script for characters I've dreamt my whole life about writing and now I have it and I'm bitching and you should feel bad for me." This was a post I wanted to write when I finished this issue because I wanted to look back on it and how it's been unique. Granted, I haven't been writing a lot or a long time in comics, but I have done enough writing in many mediums to know this was different. Usually I can write a full script (from an outline) in 24-48 hours. This one took me about a full week, scripting 3-5 pages every day. It was cathartic. It was challenging. It was far more difficult than I had thought it would be initially.
And it was completely worth every moment of it.
It won't hit stands until 4/1 (first issue is on sale 3/4!), so we have three months to wonder if I succeeded, but I hope when you DO read it, you can come back to this thread and share what YOU felt when reading it, knowing a bit of when happened behind the curtain, if you will.
Also wondering - other creative types out there, have you ever felt this about a phase of a project, be it writing, drawing, sculpting, etc? Just curious.
As always, thanks for reading, and thanks for supporting the book!
Jim
This Weds, check out pg 10 of the new Wizard (#209, I believe) for your first look at David Lopez's Mockingbird redesign. PLEASE NOTE - the sketches they show were the in-progress ones. The full figure is the new look, but they did NOT show the full costume with (ok, I'll say it) the kick-ass coat with flared sleeves. Yeah, she rocks. The final design pages for her new look will be in the first issue as back-up material.
Now, on the writing of this mini, so far. The first issue was filled with disbelief the entire time I was writing it. I kept thinking someone would take away my computer and suddenly give the project to someone else. I don't remember much about the writing of the first issue except hand-wringing and feet not really touching the Earth as I typed. Oh, and I was TERRIFIED of notes. I know I had done the 8 pager for NEW NATION, but I had done 8 page stories before. This was 22 PAGES! AND it was the first part of a FOUR part story! It was a completely different beast. I got it done, and, with my awesome editor Jeanine Schaefer, and some tips from Tom Brevoort (genius Executive Editor), I got to end the issue with a CRAZY, BAD-ASS moment that made my inner fanboy scream "YES!" Then it was over, and David was drawing it. I smiled every day that pages started rolling in.
So, then along comes issue 2. This was a strange issue to write. The first issue was a balancing act of stage setting with action and refreshers and introductions and new threats and old wounds. A LOT of pieces in motion, and a sort of "loud" issue, if that makes sense. I knew that the second issue, by its nature and where events fell in the overall story, was going to be slightly quieter (after a VERY big opening sequence), and VERY emotional. The outline flew out of me in a matter of hours. I turned it in and had very minor notes and an enthusiastic "Go to script" order. That meant it was time to write the script.
So, it was time to write the script.
Still... time to write the script.
Um...deadline for script approaching!!!
I froze. Not going to lie or hide it. I had successfully (internally, at least...we'll see if the fans & critics agree it was done successfully) written the first issue (and prologue). I had such a strong feeling on the outline, and a clear vision of the issue (I could SEE the whole thing), but I feared that I couldn't actually DELIVER on the script. I felt incredibly alone, and terrified, and inadequate. I guess it was like the infamous "Sophomore Slump" that TV shows & recording artists get. But I wasn't alone-- Jeanine, Super-Editor, stepped in and with a simple question- "How can I help?"- it freed me up. Even though I knew she couldn't write the script FOR me, I knew that SHE knew I could write it, and that was enough. I wasn't alone. That was important to know, and to feel. Jeanine was there, David Lopez sent pictures that inspired the HELL out of me. And those closest to me believed in me. Suddenly, this struggle of being alone or fearing that you are alone, on top of so much responsibility, found its way on the page in the characters, fleshing out the outline and shaping the scenes in ways I hadn't even thought of when I roughed out the issue. What I knew was going to be a "quiet" issue became an emotionally charged issue, where even the "softer" moments have an underlying cacophony of feelings that belie the silence or terse dialogue.
This is not meant to be a post about "Oh, poor me, it was so hard to write a comic book script for characters I've dreamt my whole life about writing and now I have it and I'm bitching and you should feel bad for me." This was a post I wanted to write when I finished this issue because I wanted to look back on it and how it's been unique. Granted, I haven't been writing a lot or a long time in comics, but I have done enough writing in many mediums to know this was different. Usually I can write a full script (from an outline) in 24-48 hours. This one took me about a full week, scripting 3-5 pages every day. It was cathartic. It was challenging. It was far more difficult than I had thought it would be initially.
And it was completely worth every moment of it.
It won't hit stands until 4/1 (first issue is on sale 3/4!), so we have three months to wonder if I succeeded, but I hope when you DO read it, you can come back to this thread and share what YOU felt when reading it, knowing a bit of when happened behind the curtain, if you will.
Also wondering - other creative types out there, have you ever felt this about a phase of a project, be it writing, drawing, sculpting, etc? Just curious.
As always, thanks for reading, and thanks for supporting the book!
Jim