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About Emma Newman

Emma Newman writes short stories, novels and novellas in multiple speculative fiction genres. She is a professional audiobook narrator, and a Hugo Award winning podcaster. Her current podcasts are ‘Imagining Tomorrow’ and ‘Tea and Sanctuary’. www.enewman.co.uk

The Script

Comic script - this is exactly what happened to my son in the small hours of this morning. I only saw the messages when I woke up, and he told me what happened once he was awake. It made me laugh, and I immediately thought it might make a fun comic and Beanie agreed!

A young man (if you want to base him loosely on my son, he’s 16 years old, tall, short brown hair, blue eyes) is about to leave his room but spots a huge spider on wall next to the door (it is on the wall that the door would rest against when open and the dressing gown hanging on the back of the door would brush against where the spider is) . 

He is terrified of spiders, so he can’t open the door. It’s the small hours of the morning.

He leaps onto his bed on the other side of the room, a bookcase blocking the line of sight between him and the spider and tries to phone his Mum who is sleeping in her room across the landing, and message her on WhatsApp, but her phone is on ‘Do not disturb’ so there’s no answer. 

Panicking, he phones friends until one finally picks up - ‘Help! There’s a huge spider in my room!’

Friend: What colour is it?

Beanie: Black? Brown? I dunno! It was BIG

Friend: You’re okay, I don’t think they can climb.

Beanie: IT’S ON MY WALL! (throughout the rest of this exchange the friend also now freaking out is just making Bean panic even more!) 

Friend: Oh, that one can climb then! Just dash out the door!

Beanie: It’s by the door, I can’t get out!

Friend: IT’S IN YOUR ROOM?! 

Beanie: Yes, I told you this!

He peeps round the bookcase. The spider is gone!

Beanie: It’s gone!

Friend: THAT MEANS IT COULD BE ANYWHERE!

Beanie’s eyes flick to all the posters it could be hiding behind, and all the clothes and stuff on his floor it could now be lurking under.

Beanie: YOU ARE NOT HELPING!

He hangs up and hides in the duvet. If you think that a final shot on the spider’s hiding place would be a good ending, do add that in, but happy to end it on Beanie hiding.

 

Artists Notes

One of the goals of the project was to try and work with as many writers as possible, and so I told every writer "Don't worry - I'll take any format of script" - there are sort of comic script standards, and attempts have been made in the past to really hammer them in, but for the most part every writer I work with works a little different anyway. That said, this script required a lot of thinking about to get the most out of the story (you can argue amongst yourself whether that's what I did).

Firstly there's a sort of action limit in comics, every action will usually require one panel - character opens door, walks through door, locks door? that's three panels. I felt like, on this script, there was too much going on to fit in the super limited single page I had, plus some of the action I wanted to build it up a bit more, so I knew I'd be putting a bunch of panels towards the getting ready to go out (because build up build up build up build up PUNCHLINE!) I also knew I wanted the dialogue interaction to have that ratatatat rapid delivery, which meant I'd get a single panel for that set of dialogue. This meant brutalising the story a little, cutting out the contacting of his mum and going straight to the friend. I also wanted a little end note on the spider - I thought that would be fun, a happy little chappy. (remove the last spider panel and the page feels like it's not quite finished - it's a figurative and literal full stop)

The manga shading effect/speedlines came after I'd drawn it and realise it would work better with a little bit of manga (tonally too, fits a teen), and the coloured lettering was because I needed someway to quickly distinguish the two sets of dialogue (I decided to eschew clip studio's balloon lettering tools a) because it would take ages to get exactly how I want it and b) because I thought I could add more character to it that way. The background of the room is pretty much a direct tracing of my teenage son's bedroom (which is so quintessentially teenager it looks like a set from a modern John Hughes teen comedy). (And it's all my son's work, he's done that all without parental help)

Anyway. This was finished the day before publication, but I think it turned out ok.

Oh, and because I drew it, and then slathered lettering all over it, here's the page without dialogue...

Coming at you at the speed of comics

(I have no idea what to title blogposts any more)

Anyway, work of mine coming up in print, and why you should read it!

As mentioned previously, DARK PYRAMID by me and Paul Tobin., Final Order cut off date for that is 17th of Feb, that means if you’d like your comic shop to get a copy for you YOU MUST ORDER BEFORE THAT DATE! Do not assume you’ll be able to wander in to the shop to buy a copy, sadly that’s not how comics work for anything other than DC and Marvel. Sure there MIGHT be stock in some comic shop somewhere, but almost certainly if you’d like a copy you’re gonna wanna preorder it!

Here’s what a reviewer thought:

Comiccon

Dark Pyramid is a brilliant mix of looming horror balanced with the very honest reflection of what social media does to the people who consume it. The story feels like its timely and honest, rather than using the day to day trappings of our modern life as tools to move the plot along. Where Dark Pyramid really shines is the grounding authenticity of human behavior. It’s captured so perfectly that it makes the whole story feel even more lived in and real. That, as far as storytelling goes, counts for a lot for me.

Overall 10/10

And if you like you can read a preview of it here!

Also out at the moment, I’ve a short in Oni’s EC’s Cruel Kingdom #2, written by Chris Condon.

Here’s a short review:

“A Rare Immunity” effectively delivers both action and horror with striking, gruesome visuals.

And here’s a preview!

Not the end of the line for me and EC Comics though! Next time, working with my Pal John McCrea — in … THE HONKING!

More to come, stay tooooned!

Outside of comics, Improv classes drawing to a close – will be doing a show Sunday Week – this is our graduation show, so first time performing in front of other human beings (Look, I’m not gonna tell you to come or not to it, but I’ll say it’s on in Lavery’s in Belfast, and even if I’m rubbish other people will be good). I’m batting an average of two funny things for every three rubbish things, so let’s hope that average improves. Slightly astonished at just how many safeguards and pretty sensible rules there are for improv (and terms… so many terms! montages! french braid! ground water! object work!). It’s largely all games with good smart rules for making things work, and well stated boundaries established early and the closest thing I can think of is when I did a lot of acting in my 20s and we’d often do warm up games, but in those days the idea of boundaries would’ve been alien and warm up games were often chaos. Probably a good job that has changed.

I’ve enjoyed it immensely, and have signed up for Improv Level 2 starting in March.

That’s it, see you all on bluesky probably.

Waiting in the wings

Some stuff to update. auditioned for a play “Da” (with Southbank, a very local to me amdram group) – didn’t get anything in it. Thought I did a decent read, but not quite as sparkling as I’d’a liked – that said, it was a fun play with a character Charlie, his Da, and his younger self – as the three main leads, and needed three people that would look right together. Could be I just didn’t fit. Never mind, will look forward to seeing the play when it’s on, and there may well be another chance at an audition for their summer play.

Did another audition, for another local am dram society (Bangor Players) this is a much bigger place than Southbank (which is basically a converted Scout hall) Bangor players have a really big theatre, and multiple rooms, just a big place really. Anyway, was very unsure of myself in it – it was an Agatha Christie play, so posh English accents, and I don’t think I have one of those in my tool bag. I did pull out the old faithful cornish accent for one character (a police sergeant) and I think I read that well, but sadly, didn’t get anything there.

To be honest, slightly crushing results. More because when I did acting in my twenties, firstly you were never not cast and though that was mostly because there were so many plays going on you audition for five or six and end up in at least one (or, as happened to me, you become one of those that directors know so they already have a part in mind for you) but also because without being in a play, and without further auditions I feel like I’ll have to sit on my hands until the next opportunity.

That said, I’ve started Improv – I’m just over half way through and honestly, I really love it. There’s some fascinating differences in the “writing” experience of it – caveat: I’ve not written a lot, but when I do I write to punchlines or plots and characters come second. Improv, on the other hand, is largely about characters (caveat caveat: so far, in my experience) Starting with one in mind and walking on the stage with another player who also has a character in mind, and then finding the plot together. Often there’s no punchline, you you’ll usually find some ending (albeit a tap on your shoulder to indicate another player is editing you out of that scene, possibly for your own sake)

So far, three weeks, and I’ve been to watch a bunch of improv show. I’ve found this far easier to socialise my way in to than I ever did comics – I don’t know if that’s because the stakes felt higher in comics or whether there was just more people involved who where at various levels and you get quite inside your own head about boundaries that don’t really exist (“I can’t talk to them, they’re [WRITER OF MY FAVOURITE BOOK]” or “Oh my god, that person is [FAVOURITE ARTIST OF ALL TIME]” – the truth is, in my experience you can walk up to them and start talking, because we’re all just humans. But anyway, my point is, those sorts of weird mental walls I haven’t built for myself in improv (which is a small local community) so it’s been very easy to sit and just chat to people doing it. It may just be I’m far older than I was when first walking in to the comics community, and that’s reduced my overthinking slightly.

We’ve been doing very short little skits in pairs, and each time we’ve been given a scenario, and been “edited” by the facilitator (one thing that’s been interesting is discovering just how much structure exists in improv, it’s so surprisingly bound by norms of behaviour that I think it’s what allows you to freedom to get on stage and be a bit silly.)

In COMICS News:

Here’s a big preview of my strip in ONI’s EC’s Cruel Kingdom by Chris Condon and me.

And Dark Pyramid issue 1 by me and Paul Tobin from Mad Cave gets a 10/10 review at Comiccon.

Setting the stage…

I auditioned today for a play called “Da” with my local am dram group. No idea if I’ll get something, but was fun to do it. I have to really will myself into doing this stuff – to get up on the audition day, leave the house and go do it, and then when I’m there I find myself thinking “oh this is the most natural thing in the world”.

The play is set in the 60s in Dublin about a writer returning home after the death of his Da, and while doing so he reconciles with his da – and relives moments from his childhood – the director called it a memory play – playing out his past memories on stage and talking to those ghosts, himself as a child, his da and other people.

Was worried I wouldn’t be able to hit the Dublin accent, I’d bought a copy of the play and had read through it a bit, and it was hard to maintain, but performing in front of people was easier (though at one point it went full on Cornish, but that’s ok, a temporary blip!)

As the world turns to embrace trump online, I’m finding I want to take solace in the world offline- next week I start Improv comedy for beginners. Another thing as long as I don’t think about I’m ok, but as it comes round I’ll find myself thinking “no, you’re gonna make a fool of yourself” – but I suspect, like acting once on stage once I’m doing it, I’ll really enjoy it. Told my mate Jim, the secret to getting work out of me is that I need instant feedback and flattery – I’ve got a dog like need for attention and treats.

So regardless of the play (which if I don’t get a part in I’ve volunteered to help back stage) over the nex six weeks I’ll be doing improve classes every Tuesday, leading to a performance. After that, I dunno. If I enjoy it? Who knows.

2024 As was

Ah man, I started the year with the best of intentions, but have really lost track of everything I did! (just like last year, and the previous year and pretty much every year)

Let’s see, some stuff I know for a fact:

Finished Drawing Dark Pyramid for Madcave Studios – 5 issue mini, but I THINK issue 1 I finished in 2023. But that’s 88 pages. (Plus four covers, I think! so 92)

Wrote an Old Dog six pager for Declan Shalvey,did roughs for that which was then finished by John McCrea

Drew Devlin Waugh episodes 2-6 at 12 pages each that’s another 60 pages.

For John McCrea, I roughed Hookjaw (14 pages)

For Mad Cave a new project (issue 1 finished just before xmas) that’s 20 pages.

A dredd strip – two parts – that’s 12.

For DC I drew Sgt Rock – 6 pages.

For Battle Action I drew Major Eazy – that’s uhm… 14.

Drew a couple of episodes of Gums, and some other strip work for dear, departed Monster Fun, just as I was gaining steam there. That’s about six pages? (though usually pencils and inks and colours)

Oh, did I do Jarro (son of Starro!) this year too? Four pages, DC comics? 4

Also did roughs for a 12 page John McCrea short, that was fun.

And I wished it into existence, an EC Comics gig! – 10 pages.

DC Comics, First Watch – 10 pages (that seems like lot of DC stuff this year? maybe some happened last year?)

So ignoring the stuff that was roughs for McCrea and other odds and ends of completed work that I know I did but can’t quite remember what it was … that’s about 220 pages of work this year, which both seems like a lot and probably wasn’t enough. BUT – checking back, I worked out I’d drawn around 224 pages LAST year too, so this seems to be my sweet spot.

Next year, well, I’ve work lined up, but the delight is always in finding new unexpected things to do.

I will try and keep a better track though! I’m happy I got to write something (that was well received) but I need to push writing more if I want to do more writing (obviously)

Also, I went back to acting and did a decent amount of running – so getting slightly fitter. That will have to continue, as I’ve no intention of dying just yet!

Next year, I dunno, I guess I’ve got to find 220 pages of work to draw (currently lined up – about 100 or so…)

I’m gonna do more auditions the local am dram do three plays a year, and I’d like to get involved in each of them in some way (if not on stage then back stage and if not backstage just helping out), and I’m going to get involved in the improv scene in NI – I recognise this is a real marmite proposition for some people, but actually, it’s something I think I’ll really enjoy (unless I don’t, in which case… well, back to the drawing board, right?)

It’s the birthday blog post!

Cartoon drawing of me, saying "It's not the age - it's the mileage. Though there has been a lot of mileage too..."

Hope you had a good Christmas, mine involved a lot of driving and eating and cooking and eating and some sleeping. Pretty pretty good. The main event, for me, was the receipt of the fantastically large Extremity Signature Edition by Daniel Warren Johnson, this baby will get poured over when John McCrea next visits…

I’m 55 today. I’ve been blogging on this here internet since 1999. Over 35 years of nonsense. It turns out, a lot of drivel used in some small part of help LLMs churn out ever more drivel.

How’d this year go for you? The two significant things for me, was finally completing the couch to 5k thing and then doing sundry park runs. My running is still a stop start affair with spaces of walking (not always, I’d managed to get to a point where I could do a 32minute 5k but you miss a week and it’s a bit of a hard reset).

Plan in the coming year is to get more consistent with the running and bring that time down.

The other significant thing was a return to acting – I’ve had an off again/on again relationship with performing from a young age, acting in primary school (being told to audition for a professional play, bottling it through nerves) acting in secondary then putting it away until uni (at age 23) and doing a bunch of plays (getting nominated for an Irish Student Drama award for Best Supporting Actor) and then giving it up altogether around age 27, then coming back to it in 2016 age 46. Did a few plays, really enjoyed it, but events over took and covid and then coming back to it this year. I felt differently about it. I’m more prepared to embrace it and dive headlong in to it. I feel about it, much the way I felt about drawing comics when I was in my twenties. I loved my day job, but drawing was great fun to do and allowed a recharge. Then when drawing became my day job, there was nothing to let met recharge.

I think if I spend the next 20 years doing. bit of acting, having fun on stage, that’s not a bad way to think about the future.

Plus, to be honest, I have been feeling … burnt out a bit with drawing. A slow dawning realisation that I will never be doing anything other than drawing at a table (and as much as I love that, the thoughts of doing nothing but that until you die lingers like a prison sentence) so having – as my mate Jim often says “a third space” – somewhere that isn’t home and isn’t work, but is just for me, that has really helped.

Forward in the year, more auditions (no guarantee I’ll get any part, but even if I don’t I’ll volunteer in some way, having been away from the local am dram and come back to it, the welcome back has been lovely) but ALSO, starting in January I’ll be doing an Improv comedy class. And I’m sort of determined to make something happen there. I don’t know what, I don’t know how, and it will never rise above hobby, but I want to do something.

I’ve spent 20 years of my life working in IT, and drawing, then 20 years just drawing, and the next 20 I’d like to spend it drawing and doing fun stuff on stage with people.

Downing tools… til after Christmas…

Have a great one, I’ll be back with a count of presents, a birthday blog and I think some new year’s resolution. I don’t want to preempt what I’d like to say as we roll from the old year into the new, but there’s things I’m optimistic about outside of work, and that’s fired me up a bit about work too. Turns out if you do something other than the one job all the time then you can get a bit of a renewed lease on that work.

Thanks for sticking with me, if you’re on the blog ever. Let’s see if I can get a bit more life into this place next year, eh.

In Print In December 2024

I haven’t been great at keeping people up to date about what’s happening in print, let’s try and do better next year!

2000AD Judge Dredd Megazine issue 474 “Devlin Waugh: Two Months Off Part 2” Things get weird for Devlin and chums. Written by Ales Kote.

Monster Fun issue 26 FINAL ISSUE. Bit sad about this one, the final issue of Monster Fun, it had a good run (longer run than the issue numbers describe as originally it was only once every two months). I draw Gums, Draw with ‘Andi and a Prankenstien strip in this one.

And finally… coming in the new year (February!)

Battle Action issue 7 Major Eazy, written by Rob Williams.

Happy Xmas 2024

I’m sending this out today, but really my Christmas spirit is somewhat lacking, given my wife has been down with the flu for a week.

The Ghost Train

Well, the play is over – six shows, all done and sold out every night.

I’ve really enjoyed going back to acting (again) – and it has been great fun. It’s a bit of a time sink, but, to be honest, I spend far too much of my time at the drawing table anyway, and this is a fun way to escape it.

What’s next, I dunno – Southbank Playhouse (the am dram club I’ve been a member of since 2016 and who did the show) do three shows a year, so will wait and see what they’ve got lined up next before deciding to audition, but I feel ready for more.

A few members of the cast also do improv comedy, and I think I’m going to take a swing at that too – there’s a local guy who teaches it, and classes start in February.

Anyway, enjoy these photos of me sporting a beard and my actual belly, and not padding as my dad thought.

Anatomy in Perspective, thinking outside the box.

One of my many (many) drawing difficulties is the dead body lying on floor syndrome. This pushes one thing I think I’m good at (the human body) against another thing I really struggle with (perspective). Perspective isn’t hard, per se, and often my most successful perspective drawings are where I try not to get too rigid with it, but inevitably (especially as I’ve gone digital) I tend to fall in to the everything-is-a-box and can be drawn in perspective. And since the human body is extra hard to draw, that means extra boxes and extra hard perspective.

And that’s sort of useful, but it really steals a lot of fluidity away from the human form. Plus, and I dunno if this is a feature of my brain but it tends to lead to a lot of floating boxes. These notional boxes taking up head, torso, arms and legs, still sort of follow the placement of wherever I put them – rather than, as with the human body – sagging int other space that’s there.

When stuck on this problem I start looking at Geoff Darrow, who’s Hard Boiled is a bible for bodies lying on the ground.

I mean, look at that. Every body is painful reminder of the fact we’re only human flesh bags.

Anyway, staring at this, it seemed to me, the boxes where my problem, and if I could think of another metaphor (it’s not the right word, for what I’m trying to do – a drawing anology?) that might help it might be worth considering and staring and staring and it occurred to me if I thought of the torso as a sack of spuds, that would give me much of the flexibility of a real human body –

I feel the weight of a sack like this, much more than I do a box, and it has a bend to it that the body does that none of my box drawings ever do.

And if I extend the metaphor so instead of a box human we end with a person made of bags of spuds (or other less-norn-irish stuff) we can have a better way to think about the body in perspective, something that can keep the all of the relative lengths of the body parts the same while also making me think about weight and giving me the flexibility to move the body.

Anyway, this has JUST occured to me, so maybe it’s a bad idea, but sometimes I think you need to question your assumptions so you can rethink stuff, especially stuff you’re stuck on.