A W.I.P. of course is a Work In Progress, and that's very much what this is. I'm still writing this stuff as I'm drawing it, which is a bit bonkers, but I just can't bring myself to sit down and contrive the material into a soup-to-nuts document.
Why?
Because the drawing informs the writing as much as the writing informs the drawing. Sufficed to say, this is not a process I'd necessarily recommend to anyone, or even one I'll be using again in the future. The only reason I'm doing it on this ditty is beacsue it's an abstract narrative, and if I just attempt to plot it out, the left side of my brain will lock the door on the right side. Can't be having that.
If I was doing a straight narrative I'd almost certainly outline and write it before illustrating it. But you really don't have to be able to see the forest for trees when you're creating abstract narratives 'cos by defintion they're more holistic. As long as the individual units sustain themselves the whole should look after itself. Any joins you're making are going to be more indirect, symbolic, unconscious, or even thematically driven, rather than functioning as a set of linear progressions on the surface.
It's not to say I don't love straight narrative. I love plots. LURVE them. But I love abstract shit too. Horses for courses, and all that.
2 comments:
Looks great.
Even if you have a plan, I don't think it's a good idea to stick to it too closely anyway. New possibilities always present themselves when you're doing the final drawing, I find, and it would be a shame to rule them out.
Exactly right, Paul. No matter how good you think a script is, there's always the chance for better ideas to come along when you're executing the thing.
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