HA! #12 - Pages & Panels with Karl Slominski
Writing a comic script is a daunting task for any new comic creator. Not only do you have the task of creating a brand new world, the characters, and everything else that goes along with it, but you've somehow got to figure out a way to make your story coherent in a comic script. One step that many new writers skip is keeping the artist in mind when writing said script. That's why I sat down with Karl Slominski, (ASHES, TAD CALDWELL AND THE MONSTER KID, and others) to talk about his insights on breaking down a script from an artist's point of view.
HEATHER ANTOS: So the reason I wanted to have a chat with you is 1) You're a fantastic artist who's work I simply cannot get enough of - and - 2) One of the biggest issues I've encountered with in working with less experienced comic writers is an issue writing a script to be drawn by someone else.
KARL SLOMINSKI: First thing's first (I'm the realist) - let's put a moratorium on flattery - otherwise we'll spend the majority telling each other how great we are until we're both so full of hot air and fresh ego we float off into the ether and fizzle out.
HA: That wouldn't be so bad! [Laughs] But, to business! I myself look at scripts from an editor's point of view, so certain aspects of the 'writing for the artist' stick out to me - but I wanted to ask you what are some things that stick out to you as an artist when pitched a script by a writer?
KS: When it comes to first-time writers (or 'inexperienced' writers, for lack of a better term) I feel that the trouble comes from an inherent abundance of assumption - "I wrote THIS, how come you didn't draw it like THAT?" Because they assumed that they wrote it in a way that was universally understood - which they failed to do.
The other camp of novice writer mindset is the exact opposite, or, the "Alan Moore School Of Describe The Pencil Shavings In The Trash Can In The Next Room" script - where the author provides SO MUCH information, the artist has zero clue what the important things to draw actually are.
In short: the problem is either an abundance of details or a complete lack of details.
HA: I agree, this is something that I see a lot of, too. Either the writer knows their work so well in their head that they are unable to realize no one else does, or they want to force every bit of information on the artist and reader because everything matters that much.
Sometimes I think that writers forget that artists are a part of the creation process, too. Every artist, I believe, should have at least some wiggle room for their voice and interpretation on the script. They weren't put on the earth to be mind readers, after all.
KS: I've read a few scripts that were so overwrought with specific imagery and Google image references that I pity the artist that gets roped into the comic. I'd argue that most fresh-writers don't always seek an artist with a distinct style for their project, they just want an artist that CAN draw their project and let it be damned if they actually fit the idea. Synchronicity goes a long way with a writer and an artist, as do leaps of faith.
HA: On that note, though...You've gotten a script, what's your next step? How do you go about breaking it down?
KS: Traditionally once I get a script I read it a dozen or so times before I pick it apart with a fine-toothed comb; seeking the key moments of the scene and how it affects the overall story arc. That's BEYOND IMPORTANT.
Rule #1: How does THIS relate to the story as a whole?
If you can lay out a page, congrats, you're awesome. But if you're thinking of just laying out cool page after cool pages, you're really doing the story a disservice by not thinking about that single page in the context of the overall story - the sum of its parts equal the whole, not the opposite.
After you get over that (i.e. The Art School Braggart Step) you lay it out on a page or thumbnail accordingly.
HA: How crucial would you say the thumbnailing process is? I know there are some pencillers who will dive right into pencilling the page.
KS: I'm not a good example in this regard, my comics 'magik' is far more intuitive than it is by-the-book. Generally, I read the script page and treat it like a song - where's the chorus or refrain? Find that iota of relevance and emphasize it to contribute to the whole. There's a relationship between each page in a 32 page comic that foes FAR BEYOND the basic "A goes to B, goes to C" mentality. You're visualizing the underlying themes and imagery to the book.*
*NOTE: NOBODY IN THEIR RIGHT MIND SHOULD CARE THIS MUCH ABOUT COMICS LIKE I DO
Depending on the project, I'll usually just dive in. If the script is CLEAR enough, you can just draw what you're asked to draw (and make it cinematic and eye-popping).
HA: Another thing I discuss heavily with new writers is panel counts per page as well as number of characters per panel. I find it's really easy to overcrowd a page!
KS: Heh. Yeah. This is a MASSIVE oversight generally Sometimes writers have this brilliant way of assuming that you can fit 9 panels on a page magically without a second thought.
HA: Not to mention the people, items, backgrounds....AND word balloons!
KS: Precisely. Having a concept of pacing is essential in execution. Writing for comics isn't just compartmentalizing ideas into a visual medium, but also establishing a wavelength at which those ideas can be succinctly communicated. Here's great example -
We all know the opening of STAR WARS, right? The rebel blockade runner?
HA: Absolutely!
KS: That script is practically universal. Here's how 3 different artists represent the same script through different pacing and approaches:
This is comparing the original adaptation with the Dark Horse adaptation with the Manga adaptation - relatively same script, but COMPLETELY different execution and pacing!
HA: It's almost like 3 different scenes in a way!
KS: EXACTLY! This is where the argument can be made that an illustrator carries a lot more brevity than expected. Assuming this is all based on the same source material, these 3 distinct artists executed the SAME scene in their own voice. Which begs to question, which one elevates the written material to a visceral representation of its source material?
HA: Who's to say they don't all succeed?
KS: And they DO!
We've all seen STAR WARS, we all got sucked in with this initial scene. Who's to say that one execution outweighs the others? That's when personal preference comes into play.
When a writer finishes a script, it's important to find an artist that closely can represent THEIR ideas using that artist's voice.
HA: I 100% agree. The script may set one tone, but your penciller, inker, colorist....their particular styles can affect that tone. Comics are a collaboration of voices, after all.
KS: Personally, when I begin a collaboration with a writer, I like to get a feel for the person that did the writing. It's important to know where they come from, regarding influences, movies they've been watching, music they listen to when writing, etc. It's important to get inside the mind of the guy or gal you're working with. You'll be stuck with them for a while!
HA: Indeed. But I want to get back to a point that was mentioned earlier...Sometimes we encounter writers that have a tendency to, shall we say, overwrite the detail in their pages. Other times we can get very minimal direction. Just recently I was reading a script, and I'll be vague, but essentially it read "Page 12, Our protagonist & antagonist fight - have fun with it." How do you approach a situation like this? Do you find it terrifying? Liberating?
KS: Depending on the writer, usually liberating. Actually, I always find it liberating.It's either a tremendous leap of faith or an inability to write action. Which is totally fine by me - action scenes ARE confounded pillars of comic bookery that provide a myriad of challenges to describe - let alone illustrate.
If you just say: "PAGE 27: THE TWO DUDES FIGHT." I say, have at it! Provided you tell me specifically how they get injured or the damage they incur along the way, those two idiots are fighting like it's going out of style!
HA: Fighting like it's 1999!
Well, I don't want to take up too much more of your time, this has been an excellent insight on what an illustrator takes out of a script. To wrap up, what are some words of advice yo have for new comic writers, or even new comic artists?
KS: I'd say the best advice I can give is- to take advice with a grain of salt and a shot of whiskey. Know that with comics, there's literally ZERO universal guidelines to making great comics. Which is kind of beautiful- comics are still the wild west; it's an art form that makes and break its own rules regularly.
If you draw comics, draw the hell out of them. If you write comics, be poignant, be relevant, and have FUN!
Actually, anyone in comics should just HAVE FUN! I don't care how insightful or elegant your book is, have fun with it! Maybe that's the key...
What a great interview! Not only did we get some great insight, but we also unlocked the mystery to making comics! Want to know more about Karl and his work? Click on of the links below!
-HA!
Follow Karl on Twitter or Check out Karl's Website!
