![]() ![]() Should that be the case, I always make sure the artist, letterer and editor have got everything they need from me in a single document. I’ll often never hear from a story again until it’s been turned into a comic. Depends on the artist’s disposition, whether or not I’m in contact with them, and how tight the production schedule might be. I might get to see designs, panel layouts or finished pages as they come in. By the time that script sees print as the finished comic, I’m usually so immersed in another story that I’ll have forgotten pretty much everything about the last one! Once I’ve written the script, rewritten it and had it signed-off by the editor, I invoice the thing and start writing something else. ![]() Getting to tinker with dialogue or sound effects further down the line is a luxury rarely afforded when writing full script. (The other general method of scripting a comic is ‘Marvel Style’ 2 ) ![]() A comic script is ultimately a very hands-off way of writing a story – certainly when you’re writing ‘full script’ as I do for 2000 AD, and, well, pretty much every comic I’ve worked on over the last fifteen years. ![]()
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