Comics for Beginners

How to Write & Draw Comics

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Comics for Beginners Podcast Episode 30 – Why We Quit

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Making comics is fun – but also hard and lonely work! What do you do when you are dissatisfied with your story or your art? How do you stay motivated, when no one seems to care? How do you stay on track when you meet resistance from within? I offer some personal advice and insights in this episode.

Mentioned in this episode:

My graphic novel The Devil’s Concubine, which was almost abandoned
My crime noir graphic novel STILETTO finally available in English! Check it out at Thrillbent
Thomas Alsop vol. 1 trade paperback (collects issues 1-4)

Writing the first draft

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plan your story with post-its
Using post-it notes or index cards can be very helpful in planning your story

When you’re writing your script, it’s important to take the pressure off and ban your inner critic from meddling.

Writing a script for my comics was the lesson that took my process to the next level. And after I learned to write a script, the next most important lesson was to think of my script in terms of drafts. After all, if it’s a first draft, you don’t have to be Alan Moore right from the go!

Here are some pointers for getting that first draft done:

  • Empty your head as fast as you can. Get it on paper, beginning, middle and end. You can always change the particulars later.
  • Perfection is not what you’re going for. It’s a first draft and it will be edited later! Don’t worry about grammar or mull over character names or location description, just get the story beats down.
  • Resist the urge to show your writing to anyone before the first draft is finished. Stephen King talks about writing with the door closed or door open in his book On Writing (which I can highly recommend). This means the first draft is yours and yours alone. If you have people critizing or asking the wrong questions it can totally derail your process. Write your first draft with the door closed.
  • Think through scenes before you sit down to write them. Take notes or just run through the scene in your head. The good thing is you can do this anywhere, anytime. And it makes the actual writing SO much easier.
  • Break it down into manageable parts if you feel looking at your entire story is overwhelming. 1st act, 2nd act, 3rd, act, individual scenes. Decide how many scenes is necessary to get from point A to point B and deal with each scene as its own little story, with beginning, middle and end.
  • Always be moving forward. Force yourself to get to the end before you go back and change things in what you’ve already written. Take notes of what you want to change but save the editing for the second draft.
  • Know the ending before you write the beginning. No, you don’t need to know the particulars but have an idea, a destination. At least know if it ends on a happy note or if it’s a tragic journey you’re setting out on.
  • Bonus tip: When you DO get to the end and write that the way it’s supposed to be, go back and rewrite the beginning so you can put in little clues about the ending!

Now, as I say in episode 2 of the tutorial videos, it’s time to put your script in a drawer and forget about it!

Related video: Writing your script

 

 

 

Get To The Finish Line

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finishing-your-comic

The most important thing about making comics, is finishing what you start. No one will get anything out of a half-finished story, least of all you!

Be aware that when you are working on a project, it can be very tempting to bail when problems arise. You get stuck on some aspect of the story or things that are hard to draw. That other story you have brewing somewhere in the back of your mind suddenly seems way more attractive. You feel like that’s the one you should really be working on.

But with every new story, comes new problems! You just don’t see them now, because you are not deep in the story yet. It is simply the dream of what it could be, so much better than what you are currently working on.

And of course you can work on any story you feel like. I would just advice that you finish them eventually. One by one.

Another thing that happens as you’re working, is that you learn. You grow. You look at the work you’ve already done, and you think you could do better. If you go back and change that particular scene or redraw that particular panel.

My advice? DON’T!

You’ll end up re-drawing the same three pages over and over again.

Finish the story. Then go back. If it still needs some work. 9 times out of ten, what seemed hopeless and bad during the process, will seem irrelevant and pretty OK after you have finished the story.

The most important thing to gain by finishing a project, is the confidence you build. Making comics is a lenghty and often gruelling process. It’s easy to feel like it’s all for nothing. You start beating yourself up. You feel you are not good enough, that nobody cares.

Having something finished changes that. Now you can show it to others, get feedback, respect. You have achieved! You are a success!

Abandoning a project half way through has the opposite effect; You feel like a failure. Do you think feeling like a failure helps your productivity?

The short answer is NO.

You learn more from one finished comic, even a three page one, than from ten projects that are halfway done.

Get to the finish line. Even if you have to stagger or crawl to get there.

Seeing the images before drawing them

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I got a really good question in an email the other day. A subscriber in Nigeria (Hello, Africa!) asked me about conceptualizing: “How do you see each drawing before you actually put pen to paper?”

My gut response was: Well, it just pops into my head.

I realize that’s not very helpful – although it’s very close to the truth! The whole truth is of course more nuanced.

The reason why these images just pop into my head on a very intuitive level is because I’ve put them there. Not on purpose, not by design. But by watching a whole lotta stuff over the years. Comics, painting, movies, real life – all of the things I’ve seen with my eyes, my brain remembers. All right, maybe not ALL the things I’ve seen. But you get the idea. The more you look at images, the more likely you are able to remember and replicate an image.

But again that’s not the whole truth.

Drawing these images vastly improves your ability to remember and replicate them. The more life drawing, the more copying you do, the more images you solidify in your subconsciousness.

The images that pop into my head probably do so, because I’ve seen them or drawn them before. Not that exact image, but something similar.

A few exercises:

  1. Watch movies. Pause the dvd, draw the image on the screen. As fast as you can. Study the composition, the lighting. Save your sketch for later. Steal from yourself.
  2. Read comics. No, in fact just pick a few comic books off the shelf and flip through them before you start your work. Put some images in your head (but don’t copy them!)
  3. Sketch. A lot. Try out several versions of the same image, different angles. Do thumbnail versions of your pages and be conscious about varying the sizes of the panels, shift between close ups, tilted shots, silhouettes – whatever you can do to shake things up.

The image the Nigerian subscriber mentioned as a reference was this one.:

DC-excerpt

I can see why it looks seducingly easy, like I’m some comics genius. But I probably made half dozen versions of this image before landing on this one. At least in my head. That’s where the images usually come from, as I’m writing the script.

It’s not easy. But it get’s easier. The more images I see, the more images I draw, the more I have to replicate from.

And you know that feeling of having an image inside your head and not being able to get it down on paper? Yeah, I get that too. But I’ve learned to ignore it. The image in my head washes away and is replaced with whatever is on the page, and that’s OK. It’s just one drawing out of hundreds, thousands. I get less attached the more I draw. I feel like that’s the secret to making comics in some weird way. Not caring so much for the individual image but caring about the flow of the story.

Hope the longer answer is more helpful!

Related podcast: Drawing Every Day

ProFile: Joshua Dysart

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ProFile-Joshua-Dysart

Joshua Dysart is a multiple Eisner Award nominated, Glyph award-winning, New York Times Bestselling comic book writer and graphic novelist whose work has been reviewed and discussed by the BBC, CNBC Africa, The New York Times, the Huffington Post and elsewhere. He has collaborated with Mike Mignola, Richard Corben, John Totleben, Igor Kordey, Enrique Breccia, Rick Veitch, Fábio Moon & Gabriel Bá and Eric Powell, among others. He wrote a two year stint of the legendary Swamp Thing and has also worked on Conan, Hellboy and the Hellboy spinoff, B.P.R.D. He’s currently writing the relaunch of Harbinger for Valiant Entertainment and has been called one of the key architects of their universe.

From 2008 to 2010 he wrote a revamp of The Unknown Soldier for Vertigo. The storyline took place in Acholiland, Uganda in 2002 during the war between the Lord’s Resistance Army and the Ugandan People’s Defence Force. Dysart spent a month in Northern Uganda conducting interviews with child soldiers and others affected by the war to research the book.

What made you decide to work in the medium of comics?

It started out as an accident, sort of. I mean, I’ve always loved and read comics. They have always spoken to me. But I never thought of a career in them save for a few attempts at a young age to con artist friends into doing books with me. If I’d been really driven to do it at a young age, I imagine I would’ve also been driven to learn how to draw as well. As it stands my lack of artistic skill is my greatest flaw as a comic book writer. So it was life that made this happen, not me.

I’d done some script supervising work for a very small, struggling movie production company in Los Angeles in my early twenties. The company was run by a friend of mine, Jan Utstien. A few years after I’d stepped down from that gig and gone back to writing for myself (unpublished short stories, poetry, essays, etc.) she phoned me and said that she had fallen in love with a comic book artist. They wanted to self-publish something together but they needed a writer. I wasn’t very enamored with the first pitch they sent my way, so I ended up going to Mexico for a little under a year. Just to knock around down there, check out the Chiapas revolution, go to Guatemala and Belize, that sort of thing. When I got back I was flat broke and really needed something to dig in to. I went back to waiting tables and working in book stores and in my spare time I worked on this comic for Jan and, by then, her husband Bill O’Neal. That book ended up being a black and white self-published book called Violent Messiahs.

This was 1997 and the comics industry was crashing fast. Thousands of stores were closing a year. It was a terrible time to self publish a black and white. But, inversely, the Hollywood gold rush on comics was really starting to escalate. For better or for worse, they saved the comics industry by subsidizing us through that era. Anyway, that very first issue (there was never an issue #2) got passed around LA and I kept flying out from Texas to go to meetings. In 1998 I just figured I should make a go of it. I didn’t really have anything else going on in my life. So I moved to LA and slept on Jan and Bill’s couch and we republish Violent Messiahs in color with a different artist, Tone Rodriguez, at Image. It was here in LA, creating comics everyday all day and being dead, dead broke as I approached thirty, that I started to fall in love with idea of becoming as good as I possibly could at making comics. I spent the next four years sleeping on couches, refusing day jobs (save for the very brief and rare exceptions) living hand-to-mouth and making, mostly shitty, comics every single day. I’ve spent the rest of my life since struggling to understand how to create a great comic. I’ve succeeded a few times, but not as much as I would like.

What part of the process is the most challenging or frustrating to you?

Believing in myself. Writing is a Sisyphean struggle, and Sisyphus knows that you’ve got to get some momentum, some traction on a project, before that stone starts to move. But when you’re at the base of the mountain, only personal faith in yourself will get the stone going. Belief that the ideas will come, that your voice matters, that there’s a reason why you do this awesome job and others don’t, that’s the only thing that’s going to get you started. And you have to find that belief at the start of every single new project. It’s gotten easier over the years for me, of course. Success breeds faith in yourself, but that doubt has never really gone away, and it makes the inception moment of any project extremely difficult. Hell, even just the inception of any single issue comic is pretty hard for me. I would also argue that a certain amount of doubt breeds a kind of perfectionism that has an energy all its own. But the trick is to not let the doubt cripple you. To manage it. To keep the stone rolling. Total faith in yourself will result in unexamined work and halt growth. But total lack of faith will resort in creative paralyses. As with all things, the middle path is the way.

Secondarily, I always have a problem picking my next project. I’m a person that can have a new idea every single day, and that breeds a kind of inactivity. That’s why you don’t see a lot of creator owned stuff from me. If I don’t have an editor to offer me a paycheck and tell me which project they want me to work on, I’ll do a million things at once and none will get done. I’m hoping to learn how to navigate that tendency soon though because I do feel like there’s something missing in my career, and that working on things that belong fully to me might be the missing piece. Of course “Violent Messiahs” was a creator-owned work, but I wrote that over seventeen years ago. I’m a much, much different writer and person now and I look back on that series and wince a little, despite how good it’s been to me all these years.

If you could give one piece of advice to an aspiring comics creator, what would that be?

The best advice I can offer any new comer is that they understand that comics, more than any other medium, is a small community. And you have to become part of that community before you can achieve the goals you have in mind for yourself. You have to make comics and get them out in the world. You have to go to shows. You have to make friends with people in the industry and those at your professional level so that you all lift each other up. You have to invest in yourself. That’s easier than ever now that we have the internet, but it also increasing the amount of noise that’s out there. But that’s okay. Ask yourself, if I never got paid to make comics would I still make them? If the answer is yes, then blaze your trail and make your own work.

www.joshuadysart.com

How to become a better artist

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getting-better-as-an-artist

Do you think top athletes just decide one day to go and win the olympics? Well, maybe they do, but they don’t get there without a lot of work.

Getting to be good at anything, requires a lot of training. Ideally, you should do it every day.

It’s hard to give advice on how to get better at drawing or writing. But there are exercises, just as in sports, that you can use to develop the skillset and dicipline you need in your work.

My first tip is to set achievable goals. Don’t set out to write 5 pages a day, set out to write one. Just one. You increase your chance of succeeding, and thereby building confidence. Chances are you will even write more than you plan for, adding an extra feeling of success to your daily routine.

Getting in the habit of doing something every day can take some time, but it can be done. Start by just doing SOMETHING on your comic every day. Even if it’s just pencilling one panel.

Slow still get’s you there.

Find a peer group that can hold you accountable and help up your game. Playing against someone better than you, makes you a better player.

If there’s no one in you immediate circles who you can count on for inspiration and encouragement, use the internet as a way of connecting to peers. All it takes is a couple of people who are remotely interested in your progress, and you’re a lot more likely to improve your skills.

Putting up a daily strip or a weekly page can be a motivation – as long as you see it as a learning process and not a career. Careers tend to bring in some money and one cannot live on Facebook likes alone.

If you want to improve your drawing skills, take some lessons or draw from life. Be sure to force yourself to draw the stuff you are NOT good at. Over and over and over again. Also be sure to keep the drawings you make on file, however horrible they seem to you! It can be very hard to see progress when you’re in the middle of it. Looking back at earlier works will show you have improved, urging you to go further, get even better.

And to get better, you need to do it every day.