9: WIP-2
Last Alert I talked for a bit about the process of creating my upcoming original webtoon MoonRise. This time around I’d like to do some more of that, only instead of talking about the pitch and the theme, I want to share how Cem and I go about creating an episode.
An episode is basically what Webtoon calls an issue of their webcomics. Because they’re (usually) released weekly, the installments are (again, usually) a bit shorter and more, uh… episodic, I guess. Mostly that means that each episode squeezes a lot of story into a smaller package and (yet again, usually) ends on some type of cliffhanger to entice the readers to come back around next week for the latest installment.
MoonRise is no exception. Each of the episodes Cem and I make are anywhere from 50 to 60 (sometimes shorter, rarely longer) panels. I equate it to a little more than half a comics’ worth of panels, as your standard issue is around 20-24 pages, with an average of 4 or so panels to a page. Around 80 on the low end, and 90+ on the high.
Still, pumping out 50 panels worth of comics art each and every week is daunting, to say the least. An 80 to 90 panel comic is normally coming out once a month. Webtoon can release a 50 panel episode up to 5 times a month! Not every month, mind you, but during those particular months that’s 250 panels! That’s a lot!
So the first aspect of what we do is work ahead. Like, way ahead. As far ahead as we can get. The idea is to build what’s called a buffer. We produce and produce episode after episode long before the series is set to debut so that when we actually do debut we have a nice stockpile of episodes in the can we can turn to in case real life throws one of those lovely wrenches that makes it difficult for us to stay on schedule. Ideally the buffer is enough to keep our heads above water until we finish the season, then during the season break we work to build the buffer back up again.
Fun, no?
It’s pretty intense. And my job is significantly easier than Cem’s. What I do is write a script, between 50 and 60 panels, describing what happens in each panel and what the character’s are saying. My process for doing this is as follows:
1. Drum up a rough outline of the action that takes place in the episode. In essence a short paragraph that gives me a guideline to follow. Now, to be honest usually this is done well before I ever start scripting. In fact, the outlines for the entire first season are normally done before I start the script for issue/episode 1. However, I’ll usually highlight the theme (underlying idea) of the episode and what the characters want in a bit more detail so I can aim for those goals when I’m writing the panel descriptions and dialogue.
2. Rough versions of the panel descriptions are next. Basically I describe what’s going to happen in each panel, but in very little detail. During this process I might include a rough version of the dialogue as well, but not always. As an example:
Panel 1. Full moon in the sky. We scroll down to a cabin tucked in the woods. Two armed men are patrolling nearby and talking to one another.
3. Next I flesh out the panel descriptions in more detail. I’ll definitely include a rough idea of the dialogue during this stage.
Panel 1. There’s a full moon in the sky, and we scroll down to a small, moonlit compound of some kind in a wooded valley with trees close all around. I’m thinking maybe a cabin or a smaller, 1-story remote house. There’s a clearing out in front of the house, and maybe a storage shed or something like that, but for the most part the grass is able to grow a bit longer or higher than you’d normally see in a yard, indicating this place is unkempt. There’s a dirt or gravel road leading up to it, and a couple of all-terrain vehicles (trucks, ATVs, whatever you like) are parked nearby. Two men are walking into the long grass on their way away from the cabin/house. They’re both armed with automatic rifles, and maybe one is carrying his in his hands while the other has his slung over his shoulder or something of that nature. They’re patrolling the grounds, but they don’t seem especially on guard. They’re acting very casual or lackadaisical about their duty, just strolling around while they talk to one another. Let’s make these guys a bit “fake tough guy” in appearance. Maybe one of them’s a bit overweight, maybe one is skinny, one has a beard, some tattoos, etc. One is a bit of an idiot, and the other is exasperated with him.
CHARACTER 1:
What are we doing?
CHARACTER 2:
Keeping watch.
4. Dialogue, dialogue, dialogue. Honestly, this is probably the toughest part of scriptwriting for me. I tend to adjust my dialogue quite a bit even after I’ve fleshed it out in an effort to make it a little more natural and less on the nose. In fact, sometimes I’ll change it based on how Cem, or whichever artist I’m working with, drew the characters in the scene.
Panel 1. «What I wrote before.»
CHARACTER 1:
So what’re we doing again?
CHARACTER 2:
For the last time, we’re keeping lookout while the others plan the attack.
5. The script then goes to Cem. And the first thing he does is produce layouts, which are sketchier versions of the art that serve as a guideline so we can see how the scene is going to work and where the dialogue balloons will go. As you can see, in this case there’s more dialogue balloons than the dialogue I shared calls for. That’s because there is more dialogue in this scene, I just choose to leave it out because I don’t want to give too much away.
6. The layouts go to me first, then to our editor for approval. Our editor makes any suggestions they might have and we choose whether or not to implement them. Because it’s our own series it’s entirely up to us.
7. Once we’ve ironed out all the editorial recommendations it’s time to complete the episode. At this point Cem goes from layouts to inks and then from inks to fully colored and lettered panels. Another thing I’m unfortunately not able to share quite yet, but that you can see for yourself when MoonRise debuts.
8. Once the episode is finished Cem and I read over it a few times to make sure the dialogue is sound, everything makes sense and that there’s no inconsistencies in the art we may have missed. For example, if a character skins their knee in an episode, ideally you want to make sure that knee is still skinned any other time you see it. We don’t want any coffee cups showing up unannounced.
And that’s it! Once the episode is set we submit it and like Jay-Z says it’s on to the next one.
Quickies
-My Webtoon Debut. If you follow me on Twitter (for as long as it lasts, I guess) or Instagram you probably already know this, but this past Friday the official Skullgirls twitter posted the following tweet:
That’s a lot of likes and retweets! And did you notice? That @MikeExner3 twitter handle just happens to be mine! That’s right, I can finally announce that I’m writing the Webtoon Original series Skullgirls! The series is based on the ridiculously popular mobile and console game of the same name and drops this coming Friday 11/18! If you like me even a little bit (or, y’know, the stuff I write) be sure to check it out on Friday and like and subscribe!
-Webtoon Rec. Speaking of Webtoon Series you should be checking out, it’s time for my latest recommendation:
This one is bittersweet for me because the same day I found out I was allowed to talk about my first series at Webtoon I also found out that the actor behind the definitive voice of Batman, the voice I genuinely hear whenever I read a comic featuring the caped crusader, Kevin Conroy, passed away. Most famous for the absolute classic Batman: The Animated Series, he also lent his voice talents to a variety of other animated series, animated films, video games and even live action depictions of Batman.
And while I absolutely hate that he’s no longer with us, I tend to think he’d have enjoyed this team-up between Webtoon and DC quite a bit. It’s often a little more lighthearted than your standard Bat-fare, but that’s by no means a bad thing. The series focuses more on the Bat-family Bruce has collected and his role as their father figure than Batman himself, but the characterization is top notch and you get a real sense of familial bonding between the characters despite their different personalities and past experiences. It’s well-written, humorous, full of sincere moments and on the whole a great Webtoon for all ages. Highly recommended.
-Weight Journey. This past Monday morning I was 283. Not great, but not terrible. I could be doing better if I was actively watching what I eat and exercising, but at this point I’m really just trying to eat a bit better than I was at 293. And so my body is responding accordingly with a big heaping helping of… “meh”. I’d like to lose a bit more before I inevitably gorge myself on Thanksgiving a couple weeks from now.
-Comics Writing 101. I mean, yeeeaaahh, I’m beginning to realize these Alerts are just too long for me to include a full review of the Comics 101 class by Scott Snyder as a “quickie”. So what I’ve now decided to do is make my Comics 101 class reviews the subject of future Alerts, so rather than talking about a certain subject and then having the class discussion as a backup, I’ll just be making the class discussion the subject itself. So expect that for my next full Alert!