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James Woodcock
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Joined: 21 September 2007
Location: United Kingdom
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Posted: 05 October 2020 at 10:27am | IP Logged | 1 post reply

There's a danger in proofreading when I know what the word is
supposed to be!
-
I suffer from that a lot. I proof & proof but miss things because my mind
completes the word as being correct. & since Im a low score
Completer Finisher, I find it doubly hard
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Leigh DJ Hunt
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Joined: 20 February 2008
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Posted: 05 October 2020 at 10:34am | IP Logged | 2 post reply

Love all the detail and love the sense of height from the perspective you've used.
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Rebecca Jansen
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Joined: 12 February 2018
Location: Canada
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Posted: 05 October 2020 at 11:37am | IP Logged | 3 post reply

I always felt the role of an editor was to facilitate what the writer is communicating, not interpreting, not re-writing, at most suggesting. To have any direct effect like a collaborator would be a separate agreement and role altogether. So you would basically be looking at anything purely from a technical assistance point of view. In comics there seems to be stories of 'editors' inserting themselves creatively... as in a lot! Maybe this came from the editor-writer system that developed? There were also editors like that in the genre/science-fiction magazines. Horace Gold of Galaxy was notorious for making major unannounced changes to manuscripts. Over in Children's books though you pretty much always got the exact creation of the creators.

You pay a creative person because they are creative and to interfere in that doesn't make sense to me. Maybe they got the order wrong because the last person in line being the editor could have final say? That's a bit like having the colorist or letterist make changes though, it had better be a major superficial mistake with zero time to check with the creator(s). Get the people who can do 'it' (which is rarer than many think) and don't get in their way; enable them so they will want to stay or ask for you again. Assigning or accepting something as an editor is your creative part, like a director casting. From there it's just technical details and everyone in their places to meet the schedule; t's crossed, and i's dotted, Superman's cape not being purple or Lois referred to as Perry.

I think editors having the time to be convention guests also played a part maybe.

Sorry so long-winded, just getting down some thoughts on (admittedly limited) experiences. Even with a fairly non-dramatic page I'm still anxious to get to the next one!

Edited by Rebecca Jansen on 05 October 2020 at 11:39am
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John Byrne
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Posted: 05 October 2020 at 11:45am | IP Logged | 4 post reply

Many editors consider themselves the final arbiters in the creative process. That what the writers and artists turn in (thinking it finished) is raw materials for the editor to shape into a finished form.
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Rebecca Jansen
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Posted: 05 October 2020 at 11:56am | IP Logged | 5 post reply

And yet with many also being writers and artists themselves you might think they should be following a treat others as you wanted to be treated as a writer or artist yourself.

I've read Jim Shooter had a pretty extreme editor on his first comic work though, that might explain a lot. And that editor came out of the early sf pulps. Strangely there was never a Legion Of Super-Gorillas issue (and I'm actually disappointed).
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John Byrne
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Posted: 05 October 2020 at 12:01pm | IP Logged | 6 post reply

When it came to his editorial upbringing, Shooter was definitely a battered child.
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Peter Martin
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Joined: 17 March 2008
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Posted: 05 October 2020 at 1:40pm | IP Logged | 7 post reply

Great splash page. Art and words that are a real pleasure to digest.
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John Northey
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Joined: 09 June 2020
Location: Canada
Posts: 46
Posted: 05 October 2020 at 9:23pm | IP Logged | 8 post reply

An ideal editor I'd guess would be one who catches real mistakes (ie: you gave character xyz 2 left feet on page 3 panel 2, you made a grammar error on page 12, character abc knows character uvw's secret identity - you should work around that somehow and tells you before an entire issue is finished - should be done when a plot is made for an issue), negotiates disputes between writer/artists, and that is about it beyond picking who writes/draws an issue and making sure the pages get where they need to be when they need to be.  If they are making dumb changes then they need to be fired.  Sadly I suspect a lot of the 'who you know matters most' applies in comics.  Out of curiosity was there ever an editor you had who you felt was really good (ie: actually helped instead of hurt the final product)?

Interesting that you erase before drawing the characters - I'd have thought it would be easier to draw the characters then do rubble, but given I have trouble doing stick figures it isn't a shock I'd be wrong on that.
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John Byrne
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Posted: 06 October 2020 at 5:50am | IP Logged | 9 post reply

Interesting that you erase before drawing the characters - I'd have thought it would be easier to draw the characters then do rubble...

Read again what I wrote.

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Jim Petersman
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Joined: 26 June 2012
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Posted: 06 October 2020 at 6:20am | IP Logged | 10 post reply

I admire your commitment to drawing the debris over and over (and over) again in this storyline, JB. I would've had them pull up to the garages and point off panel. "What's that big pile of rubble over there?" Not that I could draw garages any better than I could draw rubble.

Any times that you can think of where artist JB told writer JB, "No, I'm not drawing that!"?
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John Byrne
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Posted: 06 October 2020 at 6:25am | IP Logged | 11 post reply

Any times that you can think of where artist JB told writer JB, "No, I'm not drawing that!"?

More often it's Artist JB asking "What have you done to me, you bastard??"

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Andrew Bitner
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Posted: 06 October 2020 at 6:49am | IP Logged | 12 post reply

More often it's Artist JB asking "What have you done to me, you bastard??"

***

LMAO!
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