Comics?

[Paul]

With the new Tom Strong arc (gotta love Alan Moore) and your upcoming new Multiverse series, I thought it might be a good time to ask you about your process for writing comics Mike. As someone who hopes to one day write comics (he says at 20, thinking it might be getting a little too late here), I would be interested to hear any of the wisdom you could impart.

Thanks pard,
Paul

[Michael Moorcock]

It's not a Multiverse series but an Elric four-parter. The Tom Strong's a two-parter. That said, I described a lot of my comic techniques and how I also applied them to early series like the Hawkmoon series, in DEATH IS NO OBSTACLE. I write what at Fleetway used to be a conventional script (not always done by others, especially in the US) with narrative at the top, scene description, dialogue and, if necessary, more narrative below. I try to have the scenes carry the maximum amount of information (it being a visual medium!) and keep my own narrative and dialogue to a minimum, never reproducing the information that's in the pictures. Aside from that, plotting techniques are a simpler version of how I plot for a fantasy novel, for instance. Preferably have a problem in the early part that's solved by the end. Introduction. Development. Resolution. Writing in 'three acts' as with a movie script is pretty much standard, though I'm inclined to make my Development section two parts rather than one, so my individual books tend to run to four parts, with the first part of the Development summarising and condensing dramatic and narrative elements in the introduction and the second part of the Development prefiguring the Resolution. Hope that makes some sort of sense, pard!

[Paul]

Yes, it makes sense pard. I knew it was an Elric arc, but blame DC for my wording, they seem to be advertising it in the back of their other line issues as "Michael Moorcock's Multiverse". Really looking forward to it, as you are great, and Walter really is one of the greatest of all time.

I am unskilled, doesn't seem to be much education here in Blighty regarding comics, but I use a similar method. Mine is slightly different as I tend to use a scene description, narrative, dialogue, more description if needed, but when I think about the usual juxtaposition of the narritive in a panel, it does make more sense to have that at the top.

Edit to add a question - Speaking of Fleetway, do you know why Alan swore never to work for them again? I've often heard it said but never knew the reason.

[Michael Moorcock]

I didn't know Alan had sworn never to work for Fleetway again, though he swore never to work for DC again. I think it's a question of the rights they took, however. I know I had no rights over my Fleetway work. You had to sign those away if you wanted to cash the cheque!

[Paul]

From what I understand, Alan swore never to work for DC again as he believes that they stole the rights to both Watchmen and V for Vendetta from him (which looking at the evidence, I tend to agree with.) I also know that he swore never to work with Marvel over the incident regarding "Marvel Man", in which they were forced to change the name. I hadn't heard about the Fleetway thing until recently, when reading some information about Neil (Gaiman). He was talking about the Fleetway true-to-life comic relief comic they published, and he mentioned that Alan had sworn never to work for them again (apparently he helped Melinda [Gebbie] with her pages, but would not contribute to the comic). You are probably right though, judging from Alan's past behaviour, it probably resulted from an issue regarding the rights.

[Paul]

As this is a comic related question, thought I would bump this instead of create a new thread.

Due to recent computer problems, I was without my usual internet access so I decided to fill the time by rereading Warren Ellis' Transmetropolitan, which remains one of my favourite long run series to this day. When I got to the end, I noticed something I must have missed last time in the thank you's at the end, your name. So I was wondering, as I'm a big fan of Warren's, like I am of yourself, do you know him well or was that in regard of your work?

Paul

[Anonymous]

release date

Any schedule release dates yet for Tom Strong or the Elric series?

Thanks!

[Michael Moorcock]

I haven't been in touch with Warren lately, but I'm a fan of Transmetropolitan. He likes my stuff. I'd say we were friends, even though fate hasn't brought us together much of late!

[Miqque]

Michael-

What are we waiting for with the anticipated Moorcock/Simonson Elric?

I done heard rumours DC likes chaining its artist to the drawing tables - are they kinder to writers?

Hope all is well - best to Linda and the kitties!
-M.

[Michael Moorcock]

In my experience, DC are the best, most courteous publishers I'm currently working with. I have absolutely no complaints about executives, editors, artists, letterers, colorists etc. etc. Sorry to sound so content. I know Alan's had some problems with them, but I can't say that I have had anything but a good relationship with the people I've worked with from the boss down! I think the first book's scheduled for September. We're finalising stuff like covers and logo etc. now.
The work Walter's done could well be his best ever.

[Paul]

I think one of the great things in Transmetropolitan, other than Spider of course ("cheap, but not as cheap as your girlfriend") was his caricatures of the presidents. Smiler and the Beast, Tony and Dubbya? Suprisingly similar. ;)

[Michael Moorcock]

Yes. I wouldn't say Warren was exactly right of centre... :)

[Paul]

Well, I just submitted a submission to 2000AD, so we'll see how it goes. I haven't heard great things about Fleetway these days, but everyone has to start somewhere right? :)

And if I ever make it big in comics, don't worry Mike, I'll kick that thieving bastard Morrison's arse for you. He'll be "invisible" by the time I finish with him. ;)

Edit: Speaking of which, there's always been rumour that you sued for plagerism, is that true? Personally, I doubt it, because you would have won, anyone can see the invisibles is basically a carbon copy of your own work. Feel free to email me if you don't want to talk about all that crap in public again.

[Michael Moorcock]

I rarely sue anyone for plagiarism. Only occasionally have I had to threaten to sue, but things usually get settled long before too many lawyers are involved. Fortunately I have a lawyer who shares my views!
What happened was in a sense more satisfactory -- the people at DC read my books and realised just how much Morrison (and one or two others) had been lifting for so long! I think Morrison calls it 'homage'.
But we all know what that means. I'm much more likely to express contempt than sue... Good luck with Fleetway. I haven't worked for them, of course, for forty years, but if they've gone back to where they were forty years ago I must admit you've got an uphill struggle!

[Paul]

Well pard, thats the thing. Many people have used aspects of old JC, and we've seen it and thought, it was good. There's nothing wrong with being inspird by something, and you yourself are intelligent enough to see where someone was inspired by JC. When one opens "The Invisibles" and sees a man who is basically a carbon copy of JC, and finds himself in scenes identical to some of your own with nothing changed, its a very big step to call that a "homage", when it's nothing more than making a name for yourself off somebody elses revolutionary ideas. It was like he was just selling your stuff to kids who were too young to have been around when JC was the big thing on the scene. He himself thinks it's criminal that he never run any awards for it during its run, I myself would have thought it was criminal if he had.

PS - when you say DC people, do you mean DC people such as editors? *cough* Bob Schreck *cough*