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Welcome to the EVERYTHING Series!
These handy, accessible books give you all you need to tackle a difficult project, gain a new hobby, comprehend a fascinating topic, prepare for an exam, or even brush up on something you learned back in school but have since forgotten.
You can choose to read an Everything book from cover to cover or just pick out the information you want from our four useful boxes: e-questions, e-facts, e-alerts, e-ssentials. We give you everything you need to know on the subject, but throw in a lot of fun stuff along the way, too.
We now have more than 400 Everything books in print, spanning such wide-ranging categories as weddings, pregnancy, cooking, music instruction, foreign language, crafts, pets, New Age, and so much more. When youre done reading them all, you can finally say you know Everything!
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DIRECTOR OF INNOVATION Paula Munier
EDITORIAL DIRECTOR Laura M. Daly
EXECUTIVE EDITOR, SERIES BOOKS Brielle K. Matson
ASSOCIATE COPY CHIEF Sheila Zwiebel
ACQUISITIONS EDITOR Lisa Laing
DEVELOPMENT EDITOR Katie McDonough
PRODUCTION EDITOR Casey Ebert
Visit the entire Everything series at www.everything.com
THE
EVERYTHING
GUIDE TO
WRITING
GRAPHIC
NOVELS
FROM SUPERHEROES TO MANGAALL YOU NEED
TO CREATE AND SELL YOUR GRAPHIC WORKS
MARK ELLIS AND MELISSA MARTIN ELLIS
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This book is dedicated to all those who have the spark of creativity within them, the shapers and creators of imaginary worlds. Your dreams can become reality.
Copyright 2008 by F+W Publications, Inc. All rights reserved.
This book, or parts thereof, may not be reproduced in any form without permission from the publisher; exceptions are made for brief excerpts used in published reviews.
An Everything Series Book.
Everything and are registered trademarks of F+W Publications, Inc.
Published by Adams Media, an F+W Publications Company 57 Littlefield Street, Avon, MA 02322 U.S.A.
www.adamsmedia.com
ISBN 10: 1-58969-451-0
ISBN: 978-1-59869-451-2
Printed in the United States of America.
J I H G F E D C B A
Library of Congress Cataloging-in-Publication Data
is available from the publisher.
This publication is designed to provide accurate and authoritative information with regard to the subject matter covered. It is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional advice. If legal advice or other expert assistance is required, the services of a competent professional person should be sought.
From a Declaration of Principles jointly adopted by a Committee of the American Bar Association and a Committee of Publishers and Associations
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book and Adams Media was aware of a trademark claim, the designations have been printed with initial capital letters.
This book is available at quantity discounts for bulk purchases.
For information, please call 1-800-289-0963.
CONTENTS
CHAPTER 1
HOW GRAPHIC NOVELS CAME TO BE
CHAPTER 2
DO YOU HAVE WHAT IT TAKES?
CHAPTER 3
DEVELOPING THE CONCEPT
CHAPTER 4
GENRES GALORE
CHAPTER 5
WRITING THE SCRIPT
CHAPTER 6
TEAM BUILDING
CHAPTER 7
THE STORY BECOMES ART
CHAPTER 8
WRITERS REQUIREMENTS
CHAPTER 9
PENCILERS REQUIREMENTS
CHAPTER 10
LETTERERS REQUIREMENTS
CHAPTER 11
INKERS REQUIREMENTS
CHAPTER 12
COLORISTS REQUIREMENTS
CHAPTER 13
PRODUCTION FLOW CHART
CHAPTER 14
COVER DESIGN
CHAPTER 15
PRINT PRODUCTION
CHAPTER 16
STORAGE AND SHIPPING
CHAPTER 17
ADVERTISING
CHAPTER 18
MARKETING AND PROMOTION
CHAPTER 19
DISTRIBUTION
CHAPTER 20
LEGALITIES
APPENDIX A
GLOSSARY
APPENDIX B
ADDITIONAL RESOURCES
TOP TEN BOOKS EVERY
GRAPHIC NOVELIST SHOULD READ
Graphic Storytelling and Visual Narrative
by Will Eisner
Understanding Comics: The Invisible Art
by Scott McLeod
How to Draw Comics the Marvel Way
by Stan Lee and John Buscema
The DC Comics Guide to Writing Comics
by Denny ONeil
Milton Caniff: Conversations
by Milton Caniff and R. C. Harvey
The Dark Knight Returns
by Frank Miller and Lynn Varley
Watchmen
by Alan Moore and Dave Gibbons
Kingdom Come
by Kurt Busiek and Alex Ross
V for Vendetta
by Alan Moore and David Lloyd
Blueberry: Chihuahua Pearl
by Jean-Michel Charlier and Moebius
INTRODUCTION
COMICS HISTORIAN, artist, and visionary Jim Steranko described the genesis of modern comic books as a dream that instantly developed into a full-scale industry. More than just a cultural phenomenon, comic books became, along with jazz, a uniquely American art form. Like jazz, comics suffered through a long period of time when they were considered disreputable.
Although the comics form entered into popular culture far more swiftly than jazz, it was never accorded any degree of respect and was usually dismissed as an example of completely disposable art. People who found value in the comics medium, either as fans or creators, were viewed as little better than subliterates.
But, as the old song says, time was on our side. In the form of the graphic novel, the comics medium is now a legitimate expression of both art and literature. The creative urge can find its full outlet through the marriage of narrative and sequential art, melding drawing and story elements into something uniquea tale told through pictures and dialogue, separated into single images confined by panels.
Although comic books have been traditionally produced by a team (writer, pencil artist, inker, colorist, and letterer), very often graphic novels harken back to the older production method of newspaper strips. These features were created by writer-artists like Milton Caniff, Will Eisner, and Hal Foster. They were artists, but they were also blessed with the talent to spin gripping yarns. These were young men who started out with a dream and many pictures later found themselves to be the authors of enduring pieces of Americana, parents of cultural icons that have outlived their creators. The authors of todays graphic novels may very well find that their own dreams will achieve a similar sort of immortality.