Much going on. I've signed a contract with Sienna Morris to have the first chapter out by the end of the year. You can check out sketches and other pieces of Sienna's work here. Besides being totally enthusiastic about my weird little story, Sienna is a fantastic artist who did an amazing series of paintings called Numberism. Check them out!
Sienna is currently doing character sketches and laying out the pages. I'm working on an outline for the whole graphic novel, which I'm shocked I haven't done yet. Usually I write that out first thing, but something about teenagers and zombies has thrown my usual MO for a loop.
I find myself nervous about how not-witty I am. Every writer has hir strengths: mine are plot and pacing. If I designed a car, it would have a powerful motor, airbags for every seat, and would never break down; it would also probably have doors that were different colors from the rest of the body, crochet seat covers, and a bent antennae. I don't know what the antennae would be there for, nobody listens to the radio anymore. But it'd be there.
My point being: witty dialogue is not my strong point. Never has been. Which is a problem because, well, that's very often what sells a story no matter the medium, but especially comic books. Think about the dialogue in a comic book: it's fast, punchy, a snap to every dialogue bubble.
Pardon moi while I fret.
On the plus side, I get to blow up a church.
TOOLS OF THE TRADE:
I used this as a template for writing my work-for-hire contract with Sienna. We made a few changes and I left out big chunks of the more technical babble, but that's mostly it.