An entry from my old Marvel blog in which I answer some questions from the audience.
Okay, I figure I’ll maybe answer a few of the questions that have been tossed around in the blog responses, and call it a day from there.
>Here’s one for you, Tom. How do you edit a book when the writer is in one state (or country) and the artist is in another, and you need to make changes to meet a deadline?
Posted by maskedmenace >
I’m assuming you mean in a situation where there’s some kind of an error–if you’re just talking about general story stuff, it should have been fixed by this point. And it depends on what the issue is. If it’s something that doesn’t really concern the writer, I might leave him out of the loop, and the same thing is true of the artist in the reverse situation, if it’s dialogue-specific or something. But each change is different, depending on the creators. Some guys like to know of everything that’s being done, and I try to accommodate them whenever possible. Others trust me to get the job done, and they don’t worry about it so much. And at the end of the day, I’m empowered to make whatever changes are necessary to make the book printable–whether that means toning down language or scaling back on violence or sexual situations or the like. But with the phone and e-mail and scanners and FTP sites, physical distance isn’t much of a hurdle anymore on stuff like this. There are also plenty of corrections that can be made digitally by the colorist, or internally by the folks working in the Bullpen.
>Just something I’m curious about. In a Warren Ellis-penned issue of UFF, there was a flashback scene where he basically copy/pasted Bendis’ dialogue from a previous arc. Was Bendis paid for this? Did Ellis receive full payment for these pages? Also, do artists receive full payment for pages with blank panels, or panels where they copy/paste previously done artwork?
Posted by ButchMapa on 2006-06-16 07:39:28>
Yes, in a situation like the above, Warren was paid for the script on that sequence, even though he was just revisiting a scene shown earlier in a Brian-written book. And no, Brian got no additional remuneration for its use–once you write something for a Marvel character, Marvel owns it, and can use it again at any time in any way. Like this blog for example. And yes, artists do get paid full rate for pages with repeated panels or images on them.
>Would it be possible to make some mention of the Blade contest we are running in your blog ?
Absolutely, especially since it’s a cool opportunity for folks trying to break into Marvel, as it puts their work right in front of prospective Marvel editors in a position to hire them.
And speaking of BLADE, word is finally out that the artist joining Marc Guggenheim on that series will be Howard Chaykin. And here’s a little glimpse of Howard’s take on the character. C’mon–a cool, sword-and-gun-wielding guy in a leather jacket–is there a better character for Chaykin to work on?