It all begins here in the lab, getting cozy and scribbling equal parts jibberish and possible story plots… this is the most fragile part of the process for it often gets eclipsed by dance night, facebook lurking, and 18 hour naps but every once in a blue moon the stars align, self control conquers all and I start scripting …which looks like this:
This is the closest thing to a script that A Home for Mr.Easter got ( which may explain a lot ). It’s composed on posted notes and whatever little pieces of scrap paper were close at hand taped and nested in a 4×6 sketch book. If you’re having trouble writing I find that this way always helps because its not as scary jotting down plot points on pieces of paper that might have ended up in the trash any way and they’re easy to move around, build onto, or just get rid of.
During this stage I tend to do what a lot of people do and script in thumbnail form, already start figuring out what the page layout is, how the frames will work together to create the pacing you want (which in this case was pretty fast ), and where dialogue and sound effects might go. In addition to these things I find it helpful to go ahead and sketch a few character designs or environments on the side whenever I get stuck… because as soon as you get stuck suddenly you remember your computer is right next to you and you could probably go update your facebook status from WORK NIGHT to I HATE WORK NIGHT but then suddenly you get a message from your best friend ever that says GET DOWN TOWN NOW and instantly you obey…. and … um …where was I?
So after I get a pretty good idea of the rough outline I go to my OTHER sketch book filled with helpful little pages of graph paper and do my tight roughs (as seen below). These are bigger more specific scribbles that are accompanied by dialogue… this is pretty much what my finished pencils look like later on 9×12 bristol… which would drive my teachers to murder. But in all honesty tighter pencils will only help you out on inks in the long run. Lesson learned.