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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...

Current working methods

If you’re a reader of my old blog, you’ll have read periodic updates on how I work – primarily because like me in a party, the moment I feel like I’m comfortable I have to upended a table and jump out a window (or find a tiny kitchen corner to hide in).

The current process goes like this:

Read script.

Create a multi page document of the length of the script + a few pages at the back for layouts/designs.

Use a page at the back, creating a page frame (a specific layer in clip studio paint) and divide it so it’s exactly nine frames, which I’ll use as my guideline for thumbs.

Digital thumbs, I find drawn this way are actually more detailed than my normal pencilled thumbs, and can sometimes double as pencils.

Happy with thumbs, I’ll cut the thumb out for the first page, then paste that into the first document, scaling it up to fill the page.

I’ll create a “pencils” folder (setting it to draft – again a Clip Studio Paint specific thing) and make it a pale blue colour, dropping the enlarged thumb in. I’ll create a new pencil layer within that folder, and trace/finish the rough thumbs into useable pencils.

Once I’ve got my pencils, I’ll create an inks layer, and just ink the damn thing.

That’s it.

I’ve a couple of rules of thumbs for making the digital work go smoother, but you’ll have to be a backstage patreon for that!


Dredd

Behind the scenes, I explain what’s going on with this scaffolding I’ve drawn all over Dredd’s face, but here’s the picture for everyone else!

Ancient Batman Sample

So it was 25 years ago yesterday since the Batman animated adventures debuted.

I’m unsure of how old this (unsolicited) batman sample is, but it’s at least half that.

Even as I did these pencils I was aware they were far tighter than my usual. Now they just look insanely tight.

(five vertical panels? I bet I thought I was the bees knees, but it’s largely unreadable – also, why put batman’s ears on top of black, I should’ve made the bg at the top lighter. And … Bruce Timm much? actually no, not even a fraction of Bruce Timm, but look at that bored Commissionor Gordon/security guard.)


This page has nothing going for it. NOTHING.


I was pretty pleased with the Bat-goggles, and I still like the chunky batman on panel 2 though that big dildo-like building is fairly distracting.

(and I clearly used up all the perspective grid on that first page, cus here it’s all Aldus Huxley doors of perception perspective…)


Mini interview

I was asked in Feb to do a little interview for a student. Here’s that…


As a parent who is working professionally within the comics industry, do you encourage your kids to read comics, and why?

I think I’d always encourage my kids to read, regardless of what it is they’re reading. I like comics, and comics got me through a tough time as a reader, but my kids don’t seem to have picked up that deep love I had for them and treat comics as just another way to entertain themselves when they’ve been told they’ve got to come off youtube.

Given the current state of the industry, do you think young readers are catered to enough? Does the industry put enough emphasis on younger readers? Is there anything you think the industry could do,
from a publisher or retail level even, that would help open the door for kids into comics? Or is there anything that they are doing at 

the moment that you think is encouraging?

Price I think is the big issue. There’s plenty of kids comics on shelves in the newsagents and supermarkets (in fact more than at any time I remember) but they’re expensive especially compared to the hours of entertainment that can be had from video games, and it would be nice if all comics shops had a section that matched the Big Bang’s shelves for kid friendly fare.


What is your opinion on the all-ages books that are currently available? A common phrase used in comics retail, when suggesting comics for a new adult/teenage customer, is that there is a comic out
there for everyone, do you think this statement applies to younger readers or do you think more publishers should be focusing on the all-ages market?

I wish I could speak with some authority here, but I can’t. My experience is limited to my experience, and I have a tendency (like most parents) to try and impose my tastes on my kids, I want them to read 2000AD – I’d LOVE a younger age version of 2000AD – but they love pokemon and are pretty well served on that front.


What do you think kids could learn or what could benefit them from reading comics at a young age?

There’s an enormous amount of benefits to reading comics, I think – and many not so obvious. Expanding a child’s vocabulary seems pretty obvious but I think it broadens your thinking and helps you understand new more complex subjects sooner. Granted that’s often a little backfiring (I mean, it’s great my kids know what radioactive means, but it’s less great that they think it means it can grant them the powers of any animal that is radioactive as long as it bites them). It’s also amazing way to expand a child’s empathy, and can teach them social situations and how to react, again, comics being comics, there’s a hyperbolic nature to these things, but the little moments grounded in real life can help kids deal with knowing right from wrong, and knowing what side society they really want to belong to.