The Steps to Creating a Graphic Novel: Andi Watson on PUNYCORN
The day has come! PUNYCORN has arrived.
Who is PUNYCORN, you ask?
He's just the sweetest, bravest little can-do unicorn in the land of Carbuncle! Who takes on evil Sir Ogre with the help of Wheeze the allergic dragon! And P'oo the dung beetle with the strength of a thousand men! Not to mention the pacifist sword Bloodgutter!
PUNYCORN is, in other words, a very funny middle grade fantasy graphic novel by legendary indie comics creator Andi Watson.
I could go on and on about how much I love this book, but instead I'm going to share some creative process info from Andi below.
Andi is a true comics pro, having written or illustrated or written and illustrated more than fifty comics and graphic novels. (If you want to see the full list, check out the jaw-dropping bibiliography on his website.)
A few months ago, he wrote a detailed description of how he created PUNYCORN in his newsletter. He kindly gave me permission to share his words here.
Andi Watson on His PUNYCORN Graphic Novel Creative Process
ANDI: Starting from a detailed synopsis, a Word file of roughly 13,000 words, I needed to break the story down into thumbnails. That way I could work out what I could keep and what I could cut in order to fit within the maximum page count (224 pages). Depending on publisher, genre and various other factors, not least of which cost, a book has a page count range you are expected to fit within.
My normal thumbnails are extremely primitive, barely legible visual shorthand to get the rough idea of the rhythm and number of panels on a page. That is fine when I'm the only one who needs to read them. When I have to communicate directly with others, an editor in this case, they have to be at least legible.
I grabbed my scrap paper and pencils and got to work. I scanned the results, and because other humans have to be able to read them, added text via a font rather than my (awful) handwriting. After sketching out the first 50 pages I shared them with my editor. They looked like this:
The early feedback I got suggested that the editor and I had different ideas of what counts as "thumbnails." I felt like they were expecting something closer to what I would consider pencils. I would need to tweak my process again and present them in a more polished form.
However, I'd still draw thumbnails on paper to work out my thinking -- example below from the second book in the series:
I'd invested in an iPad and Procreate and discovered it was the quickest way to get the thumbnails/pencils done while integrating them with text. I re-drew many of my scratchy pencils on the iPad. It's a lot easier to manipulate images digitally and saves the chore of scanning artwork.
This is how they look after I'd changed up my methods:
After I'd had my notes from my editor I re-drew certain panels and changed pages to address them. I re-worked some scenes, cut others and added some new ones. That resulted in the pages falling differently in sequence, moving from the left hand to right hand of facing pages.
After the edits are approved I can move onto inking. With my previous book The Book Tour, I didn't pencil it all before I inked it. I did both together, page by page, using pencil and pen on paper.
For Punycorn, as I'd already pencilled the entire book and I was staring down an approaching deadline, I decided to ink Punycorn digitally. It would be quicker, skipping the boring process of scanning artwork, and would make it easier to edit. I simply inked over my existing thumbnails/pencils.
Inking requires less brain work. It is more about muscle memory and perseverance. After the initial rush of doing something new after months of thumbnails/pencils, it settles into the challenge of meeting the daily page count without my brain melting out of my ears.
The solution for me is to listen to podcasts and audio books while I put in the hours.
This is what the inked pages look like:
For The Book Tour, I lettered the pages by hand on the page. Because Punycorn had to pass through the hands of editorial, copyedits and proofreaders, the assistant editor/designer (everyone is overworked in publishing) created a font from my lettering specially for Punycorn to make it easier to edit.
After the notes are addressed and the inks are approved, I can start on colours. As the art is already digital I hop on over to Photoshop to colour the line work.
Colour requires much more decision-making than inking, but it still boils down to a lot of repetitive pointing and clicking, so I keep the podcasts coming:
The lettering is combined with the colours in the final part of the process.
After addressing notes for the colours, the book continues its journey through the publishing process. Roughly one year after I finished, it appeared on the shelves (hopefully) of your local book shop.
Learn more and order PUNYCORN here.
Watch the AWESOME (one minute!) book trailer here.
Find out more about Andi on his website. Connect with him via his newsletter here, and via Patreon here.
Elizabeth Jancewicz and Eric Stevenson on HOW TO COMPLETELY LOSE YOUR MIND
Tell me a bit about yourselves. You’re a married couple who collaborate on all your creative work. How did you start working together? What is your creative collaboration like?
ERIC: We started working together shortly after we started dating, actually. We were friends for a while, and then that became a relationship, and then I was going to go on a tour under the name “Pocket Vinyl” but we still wanted to hang out, so Elizabeth decided to come along and paint on stage.
We’d auction off the paintings after the shows, and we found we actually made money doing this. We got married a year later, and started touring full time, having a modest yet rewarding income.
We usually don’t collaborate directly, but rather next to each other. For instance, in our live show, I will play piano and sing while Elizabeth paints next to me. We perform together, but are also doing our own thing.
When writing our graphic novel, it was similar. First, we tried to remember everything we could about the tour the book is about together. Then I went off and wrote the script. After that, Elizabeth took it and started illustrating. She still continually refined the story as she drew it, though.
On October 10, 2023 you launched your graphic novel, HOW TO COMPLETELY LOSE YOUR MIND – congrats!!! Tell me about the book. Where did the idea come from? What’s it about? What are some of your favorite things about it?
ERIC: The book is about a 2019 tour we did where we tried to break the world record for “Fastest to play a concert in every state in the USA”. The record was 50 shows/states in 50 days, and for whatever reason, we both thought it was super beatable.
We did that, had a TON of adventures, and completely destroyed our mental health in the process. Once we regained our composure and leveled off a bit, we realized the entire thing would make a great story.
Personally, my favorite thing about the book is the pacing. I feel we really nailed it, and told a story that is evenly spaced throughout its length in a satisfying way.
Often in graphic novels, it can hard to get the pacing right. Action sequences can happen too fast, or drama doesn’t land quite exactly, but Elizabeth nailed it all on fronts when it came with the art in that regard. The entire thing flows very easily, and I’m really proud of that.
I love the fact that you intersperse some “how to” information in this graphic memoir: tips for other indie musicians and creative people. What are some examples of that?
ERIC: We felt it was a good opportunity to show a bit behind the scenes of how it all works being in a band on tour, and even pass on some simple tricks that go a long way.
One of my favorites is “How to pack clothes efficiently”. We have this great folding style really saves time and space, and it was nice to spell that out step by step. We’ve already heard from a few people that they’ve started doing it too!
One thing I’ve heard you say before is that you’ve always supported yourselves 100% through your creative work. That is really unusual. How have you been able to do it?
I don’t know! One day at a time, I guess! I think it all comes down to what you’re willing to sacrifice. For some people, sleeping in the car on tour is not something they want to sacrifice (understandably!), but for us, we’ve probably saved several thousand dollars in hotel bills over the years because we were willing to do that.
You find all sorts of things like that to pinch pennies and save up. It can require a lot of willpower, and convincing yourself not to buy stuff, but if you can stay on top of that, you can save a lot.
How do you balance work and art with personal life and staying mentally healthy?
Oh, I have no idea. I don’t know if I agree with the assumption of the question that we have stayed mentally healthy!
But I think taking time to rest, read a book, play a video game, go for a walk, and do things that aren’t work become more of a priority as we go. You need to let your mind rest, and when the time for work comes, you’re better prepared to handle it.
Also friends. Hang out with people. I find that always helps.
Are there any things you wish you had known when you first started your creative careers?
That you’ll fail far more than you succeed, but that’s all part of the adventure.
Are there any anecdotes or themes from HOW TO COMPLETELY LOSE YOUR MIND that you found yourselves understanding in a different way, once you’d created the book? (I ask because it seems that often the act of writing/drawing helps us “process” our experiences in a deeper way.)
It was a good lesson in “just go do it.” We didn’t get any trophy, no acknowledgement outside of our fanbase, or any kinds of accolades once we did it. We did it because we thought it’d be fun, and it was!
It destroyed our mental health... but was also an indescribable and great experience. It was both good and bad, and it’s OK for those things to exist at the same time. It also made us realize we’re a lot more capable in achieving things than we first thought. Sometimes being pushed to the brink of sanity teaches you just how far you can go, and while I don’t want to do it again, I know that I could, and that’s a comforting feeling.
Does that make sense?
It totally does!
The process of getting this book made was almost as dramatic as the story you tell in the book. Can you say something about the ups and downs of the publishing process?
Where to start?!
Well, there were many times we thought various publishers would take it, only to say no.
Then the publisher that bought the book got bought out and we got dropped.
Then the publisher that picked us up printed 2000 copies of the book with a missing page, which we decided to buy from them so they wouldn’t go to market that way.
It was an adventure for sure.
As to what it taught us? I have no idea. I guess that you can’t really assume anything until the book is actually out. We just try to keep our head down and keep marching forward. There’s always a way forward, even if it’s a hard way, but it’s always there.
You’re about to embark on a really cool book tour to promote this book. What’s the plan? Where can people find out more about it?
The plan is to play in book shops, libraries, bars, and living rooms all across the country to promote this new book, and if anyone would like to come see us, check out pocketvinyl.com/tour-dates or you can find the dates on our Spotify page and pocketvinyl.bandcamp.com.
Where can people connect with you?
www.pocketvinyl.com is the best place, or you can search “Pocket Vinyl” in any search bar on the internet and I guarantee we’ll come up. We’re easily found.
Steve Metzger and Brian Schatell Spill the Secrets on BUMBLE BROTHERS: THE NOT-SO-SECRET CLUBHOUSE
On Oct. 10th, 2023, you’re launching book 2 in the BUMBLE BROTHERS series: THE NOT-SO-SECRET CLUBHOUSE – congrats!!! Tell us about the series, and then about this specific book.
Where did the idea come from? (I hope it’s not a secret!)
STEVE: The Bumble Brothers began as “The Duh Brothers” when a Junior High School friend and I decided to create a silly comic strip about wacky twin brothers, Christopher and Walter Duh. Many years went by and I never forgot them.
I also never forgot the amazing illustrations in my daughter’s favorite beginning reader, Two Crazy Pigs. That would be Brian Schatell, super-talented illustrator.
Brian and I met one day, discussed ideas, realized we shared an appreciation for the radio comedians, Bob and Ray. And thus the Bumble Brothers – Christopher and Walter Bumble – were born. We thought that a graphic novel would be the best format to get all the nonsensical humor across.
The origin of this book, “The Bumble Brothers: The Not-So-Secret Clubhouse” (2nd in a three-book series) came from the idea that it would be extremely difficult for these clueless twins to keep any kind of secret – from their parents, their friends, even themselves. I also remember the thrill of having a “secret” clubhouse with a friend of mine when I was in 3rd grade. I thought the comic possibilities were limitless and went from there.
BRIAN: I had actually known Steve, both personally and professionally, prior to the Bumble Brothers. One evening my wife and I ran into Steve and his daughter in a neighborhood restaurant, and he mentioned that he was working on a project that I might be interested in. Eventually he sent me a manuscript for the first book in the series, and its extreme silliness immediately appealed to me. Also, the fact that it was a graphic novel appealed to me, as previously I had only done picture books.
I agreed to participate and subsequently we sold the concept as a team effort, and we’re both gratified that the publisher, Reycraft Books, opted for a three-book series. The second book continues the silliness of the first!
Kids love secrets. Are there any secrets from your own childhood that you incorporated into the book?
STEVE: Not really, but I do have a secret story that I might include in a future book. But please don’t tell my sister – she’s heard this story too many times. (This secret lasted about five minutes.)
OK, here goes…When I was in elementary school – PS 165 in Queens – I often went home for lunch. One day, my mother made fish sticks for my four-year-old sister and me. Unfortunately, they were very soggy and instead of eating them like a good boy, I flushed them down the toilet when my mom was in her bedroom.
“Don’t tell Mom,” I told my sister.
My secret quickly blew up when, after my mother returned and complimented me on eating everything on my plate, my sister exclaimed, “Mommy, Stevie flushed the fish sticks down the toilet.”
BRIAN: A turtle features prominently in this book, and while it’s not a secret, probably very few people happen to know that I had several turtles as childhood pets.
Steve, do you have any secret writing techniques?
STEVE: I have a few techniques, but I’m not sure if they’re a secret or not. After coming up with the main theme and how the pIot might proceed, I always make an outline.
I also keep a document of silly puns, jokes, misconceptions, and situations – many of them I remember from my childhood. As I create the panels, I incorporate as many of these as possible.
When the script is done, I welcome input from Brian, who always improves it a lot. Our goal is to keep our 6-10 year old readers laughing and reading on every page from beginning to end.
Brian, do you have any secret art techniques?
Artistically, I’m an open book! However, I do employ some old-fashioned techniques in creating art, at a time when many people are working 100% digitally. I’m still mostly an analog illustrator, at least as far as books go.
I sketch by hand with a pencil; revise by hand using tracing paper; and ink in final line art by hand. However, on Bumble Brothers I do add color to the illustrations digitally and use the computer to clean up and finalize images.
The way I sometimes transfer an image from a sketch to watercolor paper, via rubbing a reverse image on tracing paper, is not a secret but it is archaic.
Are there any authors, books, or other things that secretly inspire your work?
STEVE: Regarding children’s books, I have always been a big fan of Leo Lionni. His works – ”Alexander and the Wind-up Toy,” “Swimmy,” and “Frederick” – are wise and wonderful. As a teenager, “The Catcher in the Rye” opened up the world of honest, compelling literature to me.
My inspirations for the Bumble Brothers also include my comedy heroes: Abbott and Costello, Lucille Ball, the Marx Brothers, Carol Burnett, Jackie Gleason, and too many others to mention.
BRIAN: It’s no secret that I’m a huge fan of Arnold Lobel, and his Frog and Toad books have been a big influence. They’re all about character and warmth and empathy, and he does this with humor, nuance, and economy. His stories and characters have great underlying heart, which I hope the Bumble Brothers, for all their silliness, have as well.
A couple of other major influences are Jules Feiffer and Charles Schulz. The way they handled sequential illustrated scenes – marked by subtly shifting character expressions amid a simple unchanging backdrop – certainly informs the type of visual humor I like to employ in these graphic novels.
One final giant influence I’ll mention is the cartoonist and author/illustrator Mark Alan Stamaty, who was my children’s book illustration teacher in college and is now a friend. In contrast to what I took from Feiffer and Schultz, Stamaty’s work made me unafraid of using clutter when called for, and the idea of stuffing as many jokes as possible into an illustration.
Additionally, at those times when I felt overwhelmed by the huge amount of work involved in a graphic novel, Mark was great at providing pep talks that kept me on track.
Steve, you’ve said that you were a reluctant reader as a kid. Are there any secrets you can share with teachers or parents on how to get reluctant readers to enjoy reading?
STEVE: From my years working with Scholastic’s book clubs, I remember the angry letters we received for selling Captain Underpant (for off-the-wall content) and Junie B. Jones (for her ungrammatical speech). But the kids LOVED them, and for countless children they were the gateway to learning how to read and reading all kinds of books.
So, I would endorse exposing children to whatever books help them become life-long readers. Humor is a wonderful way to excite kids about reading and that’s what Brian and I are trying to do with the Bumble Brothers.
Where can people connect with each of you and find out more about BUMBLE BROTHERS: THE NOT-SO-SECRET CLUBHOUSE?
STEVE: You can connect with me through my website: www.stevemetzgerbooks.com. You can also find occasional updates about “The Bumble Brothers: The Not-So-Secret Clubhouse” on my Facebook page (@stevemetzgerbooks) and Instagram (stevemetzgerbooks).
BRIAN: The answer to this IS A SECRET!
Ha ha, I’m kidding, but the truth is I don’t currently have a social media page. I can be reached via the janna.co website at https://jannaco.co/brian-schatell/
Steve and Brian are working on the third volume of BUMBLE BROTHERS: BIRTH OF A SUPERHERO! In the meantime, click here for more info on BUMBLE BROTHERS: CRAZY FOR COMICS and BUMBLE BROTHERS: THE NOT-SO-SECRET CLUBHOUSE.
Also, Steve Metzger is available for school visits!