“So you use an existing poem, you hire artists to do the artwork…what do you actually do then?”
In describing my projects to others, this is probably the most common question. It’s understandable. At first blush, it would seem like I’m more of a patron of the work than a creator. But please allow me to make the case that I actually do quite a bit more.
The Setup
I like to start with world building.
I pick source material that gives me hints—but also gives me room.The vegetation, the animals, the climate, the terrain (‘in what furnace was thy brain?’ 😉). Figuring out what sort of environment the characters and story will move through helps me to think about the themes I want to present in that particular adaptation.
Which flows right into the next phase: “What’s the big idea?”
The source material I use is old (public domain and all), which means it typically has a huge trove of literary analysis and previous adaptation. I ignore all of it—at least at first. Instead I start with: What do I want this to be about? That becomes my anchor point, though a flexible one. Everything I do is iterative, including that core concept.
Once all these touchpoints are built, I build out specifications and storyboards. I take all the raw, chaotic idea and turn them into a coherent brief for my artists— a combination of example art, hilariously rough sketches, and paragraphs describing the big ideas.
The Creation
Now it’s time to hire an artist and turn them lose right?
Wrong!
Now it’s time to “date” artists—not literally (unless that’s what you want), but creatively. I’m looking for someone who:
- Is imaginative but can still align with my vision
- Responds promptly with concept sketches
- Can handle a year-long commitment
- Is open to feedback
- And, importantly, is willing to hand off creative control at the end (i.e., work for hire)
That’s a lot to ask, and unsurprisingly, finding a great long-term match can be tough.
But the responsibility is mutual. I have to be the right creative partner for them too. That means:
- Giving clear, timely, understandable feedback
- Sticking to my own direction unless I’m willing to pay for the course change
- Being receptive to their ideas and surprises
- Paying on time, every time—ideally with an advance and a delivery payment
All of this turns into a revision cycle that usually looks like:
- Brief (me)
- Sketch (artist)
- Feedback (me)
- Inked version (artist)
- Feedback (me)
- Color version (artist)
- Feedback (me)
- Final Draft (artist)
- Final Version (me)
It’s a lot. And if you’re doing something similar, you’ll need a system to track it all—feedback, drafts, panel status, page progress, character sheets, everything. I use ClickUp (I already use it for a couple other businesses), but there are plenty of options.
The Build
Once all the artwork is done, then we get to assemble everything into a cohesive, polished work. This includes:
- Setting page layouts and trim sizes
- Adding lettering
- Reviewing the art for inconsistencies I somehow missed earlier
- Fixing those issues (sometimes myself, sometimes by rehiring the artist)
- Writing supplemental text and bonus material
- Working with printers and dealing with color profiles
- Setting up digital distribution
- Finding physical sales channels
And probably several things I’m forgetting.
This last phase—the Build—is the one I always underestimate. It feels like an afterthought when I’m starting out, but in reality it takes 30–50% of the total time. It’s also the stage where it’s easiest to throw your hands up and quit.
If you ever find yourself stuck in this stage, remember something a very wise friend once told me:
“Of course this part sucks. It’s supposed to suck. If it sucks, everything is going according to plan. So do what you have to, and find whatever joy you can along the way.”
What I do…..
In no particular order, under the label of “creator,” I am:
- The Bank
- The Imagination
- The Project Manager
- Quality Control
- Editor
- Art Director
- Finished Artist
- Publisher
Now… if only I could figure out how to compress that into a single sentence when someone asks…