Here's a very ROUGH version of the first page of Lotus. If you've read the script then you'll know that the tone of the first couple of pages is very different from the rest of the script. I was floored by the amount work that goes into every panel, but like writing, it all starts somewhere.

Here's a very ROUGH version of the first page of Lotus. If you've read the script then you'll know that the tone of the first couple of pages is very different from the rest of the script. I was floored by the amount work that goes into every panel, but like writing, it all starts somewhere.

Hey everyone,

I'm just going to throw this out there and hope I don't sound like a complete moron, but does anyone else find it tough to sift through all of the pages within your own pitch to find the latest comments? I'm pretty sure that my problem is because I created a new page in the Pitch Doctor for every single page of my script, but this is frustrating.

Being thefeedback obsessed kid that I am, I actually memorize how many comments I currently have, so when someone leaves something new I know right away... (I know, very very sad...). The problem I'm having is finding where the new comments are.

If anyone knows an easier way to see some of the comments please share!

Thanks

Lotus

Hey everyone,

I'm just going to throw this out there and hope I don't sound like a complete moron, but does anyone else find it tough to sift through all of the pages within your own pitch to find the latest comments? I'm pretty sure that my problem is because I created a new page in the Pitch Doctor for every single page of my script, but this is frustrating.

Being thefeedback obsessed kid that I am, I actually memorize how many comments I currently have, so when someone leaves something new I know right away... (I know, very very sad...). The problem I'm having is finding where the new comments are.

If anyone knows an easier way to see some of the comments please share!

Thanks

Lotus

As Robert noted in his Abigail's War post this evening (which, it should be noted, comes from afar while he attempts to take a holiday - ha!) tonight everything but the cover for AW is in.

I'm just breathless. At Sandrine's art (everything you see other than letters is hers). And just at the fact of it. It's a comic! A moody, broody comic, but a comic nonetheless! Where there used to be numbered boxes, there's... life.

Did I cross the cheeseball line? Sorry. Let me have it just this once.

Robert mentions our Vision Document. Let me mention something else, that I don't think we've discussed much around here (and if I've missed it, let me know!). Looking back at the Vis Doc, I noticed how important it was to me, despite this story being about a teenage witch in the 1690s, that the story have something relatable going on. Something universal.

Here's the beginning of Abigail's character description:

Somewhere deep down, Abigail is a regular 17th century girl. She's capable of being a kind friend, of having a crush on a boy, and would like nothing more than to find a place she belongs -- a place she can call home. But Abigail's anything but a regular girl -- upon witnessing her sister's death by hanging, Abigail received Rebecca's magical abilities. She doesn't understand them, and hasn't fully tested these abilities -- but she knows she's capable of great harm, and has no wish to harm anyone.

It was important to me that this girl with strange powers could have really simple desires: a home, friends, a crush on a boy. Otherwise, why on earth would we care?

This has got me thinking about how important it is for our characters to be grounded in some emotion, any emotion or desire, that rings true for us. I think sometimes it's what separates the merely-okay from the great.

So tell me: is this something you consider in your work? The ability for us to connect with your characters? 

Woo Hoo 11 Views!

Okay, so this is basically only for those 11 people who have viewed my pitch Lotus. And I'm under suspician that 2 of those viewers are actually myself from my office...

Anyways, onto the fifth and final easter egg of the first issue of Lotus.

I opend this little egg hunt by mentioning that Corbin's address was actually my address when I was growing up. Well, the second address mentioned in the script is on Pine Street. I have a close friend who's parents have some of the most amazing Saturday dinners in the history of food (okay, hyperoly is a weakpoint) and when she found out I was writing a comic script, she asked what it would be like if I wrote an entire story about her family.

I took the easy road and instead of concieving and entire new story, I dropped the address of Saturday dinner in Lotus. Yes, I know this is a cop-out and probably a really lame final egg to mention, but to be honest, this is a call-out that I feel very close to.

If Lotus is to ever go "Big," this would be one of the more important tidbits of it's creation.

Later

Lotus