ADAPTATION COLLABORATION Making a Graphic Novel Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust

ADAPTATION COLLABORATION! making a graphic novel

Aims  To explore the wide range of ways in which I, and others, can be creative  To explore and discuss the structure of graphic novels, and to understand how a graphic novel is produced  To work collaboratively with others towards a shared solution Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

Curriculum for Excellence English & Literacy  When I engage with others, I can make a relevant contribution, encourage others to contribute and acknowledge that they have the right to hold a different opinion. I can respond in ways appropriate to my role and use contributions to reflect on, clarify or adapt thinking. LIT 3-02a  I can consider the impact that layout and presentation will have on my reader, selecting and using a variety of features appropriate to purpose and audience. LIT 3-24a  Having explored and experimented with the narrative structures which writers use to create texts in different genres, I can: use the conventions of my chosen genre successfully and/or create an appropriate mood or atmosphere and/or create convincing relationships, actions and dialogue for my characters. ENG 4-31a Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

It’s a team game...  Graphic novels are great examples of how people with different skills and strengths work together towards a really successful creative solution.  In your group, each person will have responsibility for a specific role. Working together will be crucial! Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

Writer  Set out script like drama or screenplay...  BUT with other creative decisions to make:  What text will be dialogue? What will be in text boxes?  How can I keep the words to a minimum and help the art do the work?  What information do I need to give the illustrator and letterer?  This job might need two brains! Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

X-Men script example PAGE 1 PANEL 1 Close-up on Sabretooth’s face – his teeth bared in a savage snarl. A blue hand – Hank’s, obviously – holds up a hypodermic syringe very close to Sabretooth, and Sabretooth’s gaze is locked on it. BEAST [OP]: Hard or easy, Creed. BEAST [OP]: You’re going to have to take your medicine. SABRETOOTH: You bring that thing near me, there’s gonna be blood and hair on the walls. PAGE 1 PANEL 2 Out wide. We’re in Sabretooth’s cell, where Hank has come to administer the treatment that Rogue has in mind for him – an injection of nano-sentinels into his system. Iceman, Cannonball and Karima are also present, riding shotgun, which is just as well because Creed erupts into violent resistance here, ripping his chains out of the wall and swinging them like a flail. Hank leaps agilely away out of harm’s way, but the situation has just become volatile and dangerous. SABRETOOTH [SCREAMS IN RAGE]: NAUUUURGHHH! ROGUE: Look out, Hank! He’s free! BEAST: Thank you, Rogue. BEAST: That would have been my diagnosis too, but it’s always good to have a second opinion.  From Mike Carey, X-Men #192, available online at

Illustrator  Works closely with writer on how to tell the story through page layout and art  What will characters and settings look like?  How many panels?  Which panels should be big? Which small?  How much space is needed for lettering?  Close-ups? Long shots? Why?  Pencil in illustrations, ready for finishing by inker and colourist. Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

First panel – long shot establishes character and setting, so text can focus on speech... Empty space left for the dialogue... Larger, half-page panel to create impact and add emphasis to Davie’s first impression of the House of Shaws. The larger picture means the text doesn’t have to describe the house – it can focus on Davie’s thoughts... This is an example of Cam Kennedy’s illustration work from the ‘Kidnapped’ Graphic Novel – see more online at ts.aspx?sec=6&pid=30

Inker & Colourist  Work very closely with illustrator  Turn pencilling into finished, polished art  Creative decisions to make – what kind of line/colour will best suit the subject & atmosphere?  Think of how you have analysed line & colour in Art & Design – those skills are important here too! Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

Line & Colour Louis: Dreams Never Die - metaphrog Arkham Asylum – Dave McKean Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

Letterer  Responsible for style and layout of text  Creative choices – speech balloon or text box?  Which font?  Where to use bold?  What shape should balloon be?  Any sound effects? How can the lettering reflect the sound?  Use “Comic Life” for inspiration! Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

SPECIAL EFFECTS LETTERING OFTEN USES ONOMATOPOEIA TO EMPHASISE SOUND OR MOVEMENT

Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.

Editor  A crucial role!  Check all details – spelling ok? Speech balloon linked to the right character?  Oversee all work and offer constructive feedback  Help ensure linkup between various roles  Ensure the essentials of the original are carried over into the adaptation! Developed by Online Teacher in Residence (Secondary) Michael Stephenson for Scottish Book Trust.