I'm getting one question more than any other these days - whether it's phrased as a comment (e.g. "I don't know how you...") or a straight up query ("How do you..."), people want to know how I'm managing my workload. I'm way overdue for a post here in any case, and it seems like this will be a good opportunity to talk about the projects I have happening right now as well as reflect a bit on the insane year that has been 2013. So, this, then, is... ...HOW I DO IT.
I am currently writing seven monthly titles - Superman / Wonder Woman, Swamp Thing and Red Lanterns for DC; Thunderbolts, She-Hulk and Inhuman for Marvel; and a creator-owned title called Letter 44 from Oni Press (read the entire first issue for free here!) That essentially means I'm generating 140 pages of script per month, every month. My pagecount for 2013 is 1116. If I stay on this path, my pagecount for 2014 will be something like 1680. Every script that gets turned in also (usually) requires at least one rewrite to incorporate editorial notes (those are thankfully pretty quick, most of the time), art review and then a lettering pass, all of which have their own deadlines. There's also a PR component, represented by interviews, Twitter, Facebook, blogging, convention appearances and store signings.
In addition, I'm running a law practice - it's small, but that doesn't really matter as far as workload. (Small aside, for years, while I was breaking in, I never mentioned the day job. I was concerned about negative associations with that profession, and intimations that it was somehow easier for me than it might be for others who didn't have massive student loans and 80-hour work weeks to contend with... seems silly in retrospect.)
There are other things I do that take up time as well, but I don't know that you actually need my minute-to-minute itinerary. Suffice it to say that my ass is BOOKED UP.
It is extremely important to me that the work doesn't suffer in quality because of obligations towards quantity. That's obviously very important on the creative side, but also professionally crucial on the law side. I've always had to handle significant workloads, ever since graduating from law school, but these days it's on an entirely different level. Here are a few strategies I use to hold things together and make sure the books remain entertaining and deadlines get hit:
1. Decide. This is ultimately the most important point. I considered this path carefully, and I have decided that I can handle it, and I will do what is required to make the preceding clause true. We all have much more time and focus than we think we do. We're capable of amazing things. We just have to decide to do them.
2. Organize. I make lists constantly. I have a to-do list that appears in several different places (phone, email, whiteboard, desktop), which I update as new obligations hit my desk. (The idea being that I'm constantly being confronted with reminders of the next set of tasks on my plate). I have a stack of different-colored moleskines, each assigned to a different title, so I can quickly grab whichever book I need and all of the notes remain in one place moving forward. Everyone will have their own system, but I think that it is crucial to have a system. I have a good memory, but if I can offload mental processing power that I would otherwise use trying to remember what I have to do next, or what I've already done, so much the better.
3. Recognize. The world is constantly vying for your attention. That's the entire purpose of the adspace that invades our consciousness during almost every waking moment. Try to eliminate distractions, to the extent possible - shut off your internet and phone when you're working, write longhand first drafts, all of that. Beyond involuntary timesucks, there are the ones we choose - video games/TV/Netflix, screwing around online, getting hammered or high, just generally bumming around. "Wait," you're thinking, "that shit is what some would call fun." Yup. I haven't cut out the good times, but see (1) - I try to restrict that stuff to what I need, instead of what I want. This is where I might lose people, but it's one of the most honest answers to the "how I do it" question. I do it by deciding that I want to do the truly important stuff well instead of spending time on stuff that, ultimately, doesn't matter.
4. Say No. I turn down things all the time. You might not think so, based on the workload, but I do. I just said no to a gigantic project, because I didn't think I could do that without compromising some of the other work I'm doing. I turn down(some) interview requests, store appearances, convention appearances, social stuff, even clients - this goes back to (3) - I know what I want to achieve, and if I can't draw a relatively straight line between [x] (a potential obligation) and [y] (a goal), then I just say no. Hmm. It's possible that I'm coming across as a bit psychotic, but it's not really that bad - I love doing the work, otherwise I wouldn't be so focused on trying to do it well.
5. Run. I've learned that, despite points 2-4 above apparently being concerned solely with locking my life down as tightly as possible and micro-managing the hell out of every second of every day, that's not great for mental health or creativity. So, I put myself in situations where my brain can just do its thing, away from the lists and schedules and rigor. I run every other day, usually for about an hour. I often set myself a question at the beginning of a run (what will Red Lanterns 30 be about? How should the final battle between Swampy and Seeder play out?) and then by the end of it, I often have my answer. It's not a conscious thing - it's about letting my mind just work, and the exercise tends to let that happen. I don't know what the equivalent would be for others, but this is a crucial part for me - without it, I'd have cracked in half a long time ago. Plus, it's, you know, healthy.
6. Pre-Write. I don't often sit down to write without having a pretty solid idea of what's going to happen on each page of a script. I do this by outlining issues in several phases ahead of time - usually in those multicolored moleskines I mentioned above. My first pass is just a general splorch of every idea or plot point that I think might fit in the issue. That isn't always done all at once - it can happen over several days, as I have new ideas. That gets refined into a second pass that starts to look like an actual story outline - it's a list of the plot points that need to be in the issue. Then that turns into a page breakdown, where I say that pages 1-3 will cover scene X, with points A-D covered, and sample dialogue. From there, I script. So, I'm almost never sitting and staring at a blank page. If nothing else, I can type in the page breakdowns to the script, so I have, say, 50% of the finished product that I can shape if I have to. I'm a firm believer in the idea that you don't have all of your good ideas at once. Your subconscious needs time to work on a story, to build on existing ideas, and getting your first version of those ideas down (somewhere, anywhere) frees up your mind to find the next iteration of those thoughts.
7. Sit Down and Don't Stand Up. When it's time to script, sit down and don't stand up until it's done. I usually write a full script in a day, most often in 3-5 hours. I often go somewhere that isn't my usual environment, like one of several local coffee shops or bars (bars, I find, are better for pre-writing, while coffee shops are better for scripting, but each to their own), but your mileage may vary. The point is that I try to put myself in a situation where I can just do that - turn off phone, turn off internet, etc. (see (3).) This one might not work for everyone - some people write in chunks and it works just fine - but this post isn't about how they do it, it's about how I do it.
8. Decide. Seemed important enough to put it on the list twice.
So there you have it. More or less, how I do it. I expect that this will evolve - I don't know that I'll always be writing seven monthly titles - I'm doing it now because I don't want to drop off books that I don't feel like I've "finished," or where I might be letting people down if I did. However, several of the books I'm writing do have planned endpoints (for me, not necessarily for the books), and so I think I'll move along to new projects here and there in time. Seven is a lot. I'm not pretending it's not.
Now that you've slogged through all of that, here are a few more general thoughts on the books I'm working on, in no particular order:
1. Superman / Wonder Woman - This project made me nervous, initially, but that's one of the reasons I knew I should do it. I also really wanted to write Superman and Wonder Woman, and the idea of getting to explore emotional beats with them that might not otherwise be available was a huge attraction as well. The reception has been fantastic, better than I could have hoped - I've heard from a lot of people who thought they'd hate it, but have been won over, and that's one of the best things a writer can hear. Tony Daniel is doing some of the best work of his career (in my opinion), and I am incredibly excited with the way the first arc (which runs through #6) wraps up. I'd never really done gigantic-scale superhero action before this series, but I think it will read as epic and very emotionally satisfying. I hope!
2. Inhuman - I'm applying many of the lessons I learned on S/WW to this series. Epic scope with many strong character beats. The great thing about this series is that it's not going to feel like anything else Marvel's doing, and it's going to be able to utilize surprise in a cool way because so much of it is new. Plus, of course, Joe Mad - I'm so lucky to be working with the artists I'm working with these days. Speaking of that...
3. She-Hulk - ...Javier Pulido. The man is brilliant. If you missed it, Axel Alonso tweeted a few pages from She-Hulk #2 that will explain what I'm talking about. In the script, that's just a page of two folks chatting, but Mr. Pulido brings it to life like nobody's business. And if he can do that with a conversation page, wait until you see the action stuff. She-Hulk is an incredibly fun, funny series, and I'm really looking forward to it showing up on the shelf in six weeks or so.
4. Letter 44 - this is my first creator-owned project since Strange Attractors, and I could not have asked for a better reception. The first issue sold out, the numbers are very healthy on subsequent issues, and fingers crossed, we'll get to tell the whole story as planned. If you haven't had a chance to check it out, and you enjoy any of my other books or cool real-world sci-fi in general, I urge you to click on the link to the first issue above. It's about a Presidential conspiracy to cover up a manned mission to the asteroid belt to meet aliens who have set up residence there, and it should appeal to fans of anything and everything.
5. Red Lanterns - Guy Gardner now has a 'stache! DC has been incredibly cool about letting me turn this book into a revenge saga based around sort of a space biker gang. People seem to dig it, and we're really just getting rolling. The pieces will start to fit together soon, and you'll be able to see where I've been heading since my first issue (#21). There's a definite plan in mind here, and it's going to be big.
6. Thunderbolts - man, this book is fun. I love the lineup, and I love being able to write stories in essentially any tone. You want grim, write about Punisher. You want tragic, write about Red Hulk or Venom. You want idiotic, write about Deadpool. I can do ANYTHING!!! There's an upcoming arc written with sort of an Indiana Jones-esque feel to it, to which I say "Yay comics!"
7. Swamp Thing - my first book in the Big 2, and where I think I'm doing some of the most creative work of my career so far. Swamp Thing has always been a book about risk-taking, and I'd like to thank everyone who's followed me on the Avatar's journey after Scott Snyder stepped away with Issue 18. Swamp Thing has made a bunch of 2013 best of lists, which is hugely due to the incredible work of artists Jesus Saiz, Kano and Javier Pina and the colors from Matt Wilson. Just stunning work. There are amazing things on the way in Swamp Thing in 2014 - we're just going to grow from here.
Beyond those projects, I also have some new creator-owned stuff I'm working on, including sort of a jam project, as well as an epic I've been working on for years, and more. It's truly astonishing to me to think about where I was just a year ago (no Big 2 work announced, although I had the Swamp Thing job by then) and where I am now. I'm incredibly thankful to everyone who's taken the time to read, review or talk about my work in 2013, and I'm looking forward to great things in 2014. Happy New Year!