Tag Archives: comic book editor

Check out my interview on the Creator Talks podcast!

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Check out Christian Carnouche‘s appearance on one of our favourite podcasts –
Creator Talks:

Creator Talks Podcast – Christian Carnouche and The Resurrected

He and Christopher Calloway had a really fun chat about Christian’s comic #TheResurrected, the importance of an editor (yay for Erica Schultz ), comic book promotion, the research that went into writing an Indigenous-Australian protagonist & of course vintage Star Wars.

Massive thank you to all of the collaborators Crizam, Salvatore Aiala & Erica on The Resurrected:)

What does a comic book writer do?

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What exactly does a comic book writer do? I’ve been asked this question a bunch of times so I thought I would share a really brief example of the script that I wrote for Issue One of the The Resurrected. The sample attached is Page One, which is relatively quite a short page.

Every comic book writer is different, some provide the artist merely with some basic details and let them design the majority of the panel but others use their script to suggest panel size and shape, shot angles, colours etc etc. As you can see from my script sample, I’m probably somewhere in between. There’s no right or wrong way to go about it.

As a writer, we should also be describing what action is happening in the panel, what the characters are doing, saying and feeling, and what the environment is like.

The writer’s job also includes mapping the plot, character arcs and themes. Our entire series is already mapped out, with the help of my amazing editor Erica Schultz.

Page One was quite a difficult page both to write and draw, considering that we had to be historically accurate. We undertook loads of research and also ran the script and panel designs past Indigenous friends to make sure we weren’t misrepresenting their culture. I’ve already written an article about this process so I won’t go into it further:

http://carnoucheproductions.com/index.php/2017/04/26/comic-book-writing-experience-2-a-white-australian-creating-indigenous-characters/

Hope this helps you guys understand the writer’s role a little bit better.

Art by Crizam & Salvatore Aiala Studio. Written by Christian Carnouche. Letters by Cardinal Rae. Edited by Erica Schultz.

Another preview from The Resurrected comic book

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Another panel preview from The Resurrected comic book series. Cain Duluth and his partner at the Special Division for the Resurrected, Akimi Ozaki, at the scene of a homicide in Nova Lucis.

Art by Crizam & Salvatore Aiala. Written by Christian Carnouche. Letters by Cardinal Rae. Edited by Erica Schultz.

Artwork 100 percent complete for The Resurrected #1!

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The first issue of ‘The Resurrected comic,’ including the cover, is finally 100% complete. We’re all stoked with the result, so to celebrate, we’re revealing another panel, this time of Cain Duluth and Akimi Ozaki, who are partners at the Special Division for the Resurrected.

Hope you guys like it.

Art by Crizam​ & Salvatore Aiala​. Plot/Script by Christian Carnouche. Letters by Cardinal Rae.

Comic book writing experience #4 – Hiring an editor

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Welcome to the fourth installment in my series of blog posts that will highlight the various issues and obstacles that confronted me on the road to creating my first ever comic book series.

Hiring a story and script editor is one of the things that I really got right early on in the writing process. My story outline and script improved exponentially after my editor ripped them apart. I know editors aren’t always cheap but the potential value they bring to your work far outweighs their rate and.when it comes to plot and story, it really is best to hire an editor with industry experience. This is particularly important for beginners. Although I hired an editor to review and edit my story, what I got back was actually double, as she pretty much handed me a lesson in comic book writing 101.

Here are some of the positives my editor brought to my project:

PLOT/STORY

Geez where do I start with this one? Editors and other reviewers bring distance and objectivity to their story reviews, something I had lost after having my head buried deep within the story for six months. Even though I had re-worked my plot numerous times and had several different reviewers look at it, my editor was still able to find a bunch of plot holes that had slipped through the writing process. Thank god for that because you know how much us comic book nerds love finding plot holes!

My editor was also an immense help when it came to mapping character arcs and motivations; which are all essential to being able to engage the reader.

SCRIPTING

While story is important, it is my scripting that made my editor really work overtime. I’ve been writing a novel for a few years now so I’m relatively comfortable with story structure but this was my first comic book project. My editor ripped into my script; hammering the flow, format, panel descriptions,and continuity. I feel that I have now really grown as a comic book writer and will be able to take it to the next level with my next script.

INDUSTRY INSIGHT AND CONNECTIONS

This is often overlooked when hiring an editor. Most editors will sharpen your story and script but an experienced editor will also give the writer a healthy dose of industry insight. 

Industry connections are also important. When I was hunting down a suitable editor, not only did I assess their writing experience and skills but I also ascertained how well entrenched they were in mainstream comics. Why did this matter? My editor has written for DC, Dynamite and other mainstream publishers and has worked with some amazing talent. She was able to recommend some of her former collaborators to me that she thought were a good fit for my project. Using her recommendations, I approached these artists, who are now working towards making my project less of a fantasy and more of a reality. Who knows if these creators would have been willing to work with me without her recommendation.