List of Agents who take Graphic Novel queries

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myrmidon

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I was trying to multi-quote respond, but as a newbie couldn't figure it out...so here's my response to all of your great comments...but without the quote-y bits. Sorry! :)

Two of the three agents I queried that rejected my prose novel, left the door open for me to come back to them with my graphic novel...so I take to hopefully mean they must not have thought it was too terrible, or they wouldn't have left the door open for other work.

It's nice to know that I'm not alone and combining my works! It's been a pretty brutal, but I have to admit that the book works on so many more levels now. I think, though it wasn't called out specifically as pacing, a big part of the problem with mine was also pacing. My book was called "small" by an agent I really liked and I thought, then I'm doing something wrong...because it's actually pretty epic in scale.

My book is right now at 420 pages (115K), but I still have several sections to write and I also need to go in and edit down and merge a few parts...I think it will end up somewhere in the 400 - 450 range when I'm querying - I'd like to keep it around 400.

It's great that you don't have to finish the full 300 without the contract - 110 completed pages is huge, but it will be good to have the contract nailed down before you go in to finish the rest.

Don't kid yourself though, I think writing a graphic novel is much more similar (especially at 300 pages) to writing a prose novel than it is to short fiction (no disrespect to short fiction which I love and also write). I just think size and scope wise it's actually pretty similar to a novel - it takes the same time/commitment level and story arc/telling abilities.

I honestly prefer graphic novels in black and white (I realized after I posted that list to Miss Plum the other day that almost every single one of those books was in black and white). Most of my book is told in flashback and I thought about doing the non-flashbacks in color - watercolor definitely my favorite medium for color in comics...but I'm still on the fence.

A muted color in your next book could be great - but if you love black and white it's probably not necessary. I really feel real black and white work is a true art form in and of itself.

My graphic novel is actually done in its rough draft form - it's about 160 pages and is completely sketched/penciled and fully written, text bubbles even dropped in where they belong. But this is always the part I get stuck on. I really like my work when it's sketched, it has a lot of movement and character, but the second I move to finished pencils and inking I tighten up and the soul just goes right out of it. So, while having the entire piece effectively "done" and just needing finished pages seems like I'm pretty far along, I know that for me, that's by far the hardest step. Now that I'm unemployed though, my next project I think will be completing a 10 or 12 page excerpt and then based on that perhaps I can get an agent interested, and if they want to see the other 150ish I can send the roughs, right? :)

You know, for your book, have you and your agent talked about submitting an excerpt of it to Narrative Magazine? They have recently started featuring both comics (usually one panel new yorker type gags) and also "graphic stories" - so far I've only seen them feature this one artist (two different pieces), but they're actively looking for submissions. I was thinking of sending my project (called Shiksa by the way) in when I get an excerpt done. The good news is they pay pretty well, and it might help Highwater in getting more attention from publishers, if it's already been featured somewhere as an excerpt. You should look into it - especially since you already have 110 pages completed. The website is:
http://narrativemagazine.com/

You should update your site! If only so I can see more Highwater excerpts - instead of the teasing little bits you have up now! I looked at some of your older stuff too - and it's great as well. Also, let's just talk about how ahead of the game you are considering the fact that you're still in school and have much published work to your name and now an agent. I don't even think I knew what an agent freaking was when I was in school. It's great - a major accomplishment (and I'm totally jealous - but in a good way) It also speaks to both your abilities and the legitimacy of Highwater that it only took you three months to secure an agent - that's huge. You should be really pleased with your progress. I can't wait to see/hear more.
 

elae

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There's a little icon that looks like a speech balloon (fitting!), just click it and it'll give you quote-tags to put around the text.

Two of the three agents I queried that rejected my prose novel, left the door open for me to come back to them with my graphic novel...so I take to hopefully mean they must not have thought it was too terrible, or they wouldn't have left the door open for other work.

It's nice to know that I'm not alone and combining my works!

It's definitely a good sign if they invited you to requery with your next project! A lot of people don't even get that much! They think you have potential, heh.

I got a few requery invites-- I'll have to check my files, but one agent specifically rejected Highwater saying that for a graphic novel debut, it's easiest to sell a single-volume work, rather than a trilogy or series. (bolded in case anyone's skimming through these looking for querying info). I think it may have come from Michelle Brower at Wendy Sherman Associates, but I'll have to check-- it was a SASE, not email, and I don't have it with me.

115k sounds like you're getting close to the "ideal" size! (from what little I know of word count)

It's great that you don't have to finish the full 300 without the contract - 110 completed pages is huge, but it will be good to have the contract nailed down before you go in to finish the rest.
[...]
My graphic novel is actually done in its rough draft form - it's about 160 pages and is completely sketched/penciled and fully written, text bubbles even dropped in where they belong. [...] my next project I think will be completing a 10 or 12 page excerpt and then based on that perhaps I can get an agent interested, and if they want to see the other 150ish I can send the roughs, right? :)
Actually, most agents seem to prefer just getting the first chapter or so in completed art form, with the rest as a script-- that way, if they or an editor wants/needs to work with you to make any revisions, the process isn't absolutely brutal and the whole thing doesn't have to be redrawn. I initially queried with just the first 10 or 15 pages done, but was asked for the full first chapter to be completed. The only reason I finished *4* chapters is because Highwater is my thesis project. So the idea I have floating around in my head for my next project won't have nearly as many pages completed when it goes out!

What I personally recommend doing is putting up a section on your site/blog (that isn't public or linked to anywhere) with all of the images from your first chapter (either with small thumbnails that they can click to get to larger ones, or browsable like a webcomic), and either a PDF or a ZIP of the chapter in case they prefer downloading it to read on their Kindle/whatever. Just make sure your name/email is on each page.

This allows you to track site hits. ;D You can tell how soon your query is read, sometimes even who it is, how many images they look at, which format is widely preferred... It helps take out a little of the "limbo" feeling. Then, if they reply asking for more/a full, I'd offer it either in script form or a link to a pdf/zip of the pencilled pages, so they can choose.

And I know exactly what you mean about pencils having so much life, and then they just lose so much! It took me a few months to finally figure out a finished style that worked... so frustrating! But thanks for the link to Narrative Magazine; I may try to put something short together for them, but I'm guessing Highwater wouldn't be a good fit (it's probably considered YA, not literary enough for them. ;)). I also have no clue how that would impact first-publication rights and contract things.

You should update your site! If only so I can see more Highwater excerpts - instead of the teasing little bits you have up now! I looked at some of your older stuff too - and it's great as well. Also, let's just talk about how ahead of the game you are considering the fact that you're still in school and have much published work to your name and now an agent.
I will! I swear! Gotta graduate first! XD And I don't know if you have twitter, but I sometimes post little teaser images there that don't get posted anywhere else.
Mostly, I was just really tired of going to thesis presentations and seeing people who wanted to go into comics, but had never made one before their final semester. (and it would be some epic masterpiece no publisher would ever take on as a debut). It just struck me as really unlikely that I would ever see their names in comic/book stores. So I spent the last few years constantly submitting to publishers and contests and built up experience. :) All I can do is hope that it's enough.
 

elae

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Master list of literary agents updated! Here's what's new:

Here's a great podcast of the women at Baker's Mark talking about becoming agents. 1/4 of the way through they talk about graphic novels, and how they represent graphic novels for some of Victoria Sanders' prose/screenplay clients. 1/2 in: "Our specialty is comics and graphic novels, and Portland is in some ways becoming the mecca of comic book publishing." They talk about how this allows them to really communicate with a lot of their clients who live locally. "99% of our clients come from a recommendation from either a client or someone in the industry." They're really looking for good, long-term relationships.

Also of interest: Jill Corcoran of the Herman Agency was recently interviewed, and in it she says:

I would also love to find funny boy books that are mixed prose and graphic novel a la Wimpy Kid, Bruce Hale's Prince of Underwhere, and even full graphic novels like Bone. BTW, Ronnie Ann Herman is also looking for Graphic Novels and I will be passing on illustrator-driven GN to her attention.

So that adds an extra name to the list. :D
 

myrmidon

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Here's a great podcast of the women at Baker's Mark talking about becoming agents. 1/4 of the way through they talk about graphic novels, and how they represent graphic novels for some of Victoria Sanders' prose/screenplay clients. 1/2 in: "Our specialty is comics and graphic novels, and Portland is in some ways becoming the mecca of comic book publishing."
Bakers Mark was one of the agencies that got back to me about my prose novel in 2008. It was really disappointing actually because I got this fantastic email from them, and they seemed genuinely excited to read my partial...and then when they rejected it, I kind of just felt like I'd let them down. Their response was one of two that really encouraged me to go back to the drawing board with it. But they seem like great ladies and I am considering re-querying them.

Oh - and thanks for the updated list!

I'll have to check my files, but one agent specifically rejected Highwater saying that for a graphic novel debut, it's easiest to sell a single-volume work, rather than a trilogy or series. (bolded in case anyone's skimming through these looking for querying info).
Yeah, I got that feeling when querying as well. It makes sense when you think of it. In my case it improved the work dramatically to combine it anyway - did it work for your story - did it end up improving it?

Actually, most agents seem to prefer just getting the first chapter or so in completed art form, with the rest as a script-- that way, if they or an editor wants/needs to work with you to make any revisions, the process isn't absolutely brutal and the whole thing doesn't have to be redrawn. I initially queried with just the first 10 or 15 pages done, but was asked for the full first chapter to be completed.
This makes sense - it would be difficult to absorb comments and edits to fully realized pages. Of course if their comments to me are something along the lines of "boy we wish the anatomy was better"...I'll have to be all, "boy I sure to wish that was true too...we're gonna need a new artist."
:)

What I personally recommend doing is putting up a section on your site/blog (that isn't public or linked to anywhere) with all of the images from your first chapter (either with small thumbnails that they can click to get to larger ones, or browsable like a webcomic), and either a PDF or a ZIP of the chapter in case they prefer downloading it to read on their Kindle/whatever. Just make sure your name/email is on each page.
This is a great idea. When I get my website up and running later this month maybe I'll get a private section on the ftp site it's housed on where it can be password protected or something, and load work for viewing there. Thanks for the suggestion. I'm definitely trying to refine my web presence into a more professional..."hey agents - come and get me".

And I know exactly what you mean about pencils having so much life, and then they just lose so much! It took me a few months to finally figure out a finished style that worked... so frustrating!
I'm glad you've figured it out...I'm still in the figure zone. I've actually had an idea that I'd like to do the non-flashback pages (maybe 10 - 15 total) at a very realized level - and with the watercolor and then doing a sketchier black and white style for the rest of the book - for the flashbacks - you know, the idea being that memory is so subjective, blah blah blah. I don't want it to be a cop out, but it kind of speaks to me more that way so far. We'll see.

But thanks for the link to Narrative Magazine; I may try to put something short together for them, but I'm guessing Highwater wouldn't be a good fit (it's probably considered YA, not literary enough for them. ;)). I also have no clue how that would impact first-publication rights and contract things.
Definitely explore it and certainly check with your agent, but I feel like having an excerpt previously published on a respectable (and highly visible) magazine/website could only lend legitimacy to your work - much like a short fiction piece being published and it helping the author to get their own collection later. I don't know much about Highwater, but as long as it's not "children's" which they said they're not looking for - I think it's worth a try!

Get on that website (after graduation of course)!
 

elae

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Anyone know anything about Farley Chase from the Waxman Agency? This is from the bio on their site:

I'm also interested in projects with unique and/or traditional graphic and illustrated content, be they fiction or non-fiction.

I'm not sure if that includes graphic novels or means just graphics/illustrated/art-based books. (The two on PW are a book of musician portraits & something golf-related).
 

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Elizabeth Jote of Objective Entertainment just updated her blog with a list of genres she's interested in seeing queried, and with a link to her new Twitter account. No mention of graphic novels, though (on either the "hot" or "not" lists).
 

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New agencies have been added to the list!

McVeigh Agency:
A boutique literary agency handling writers, illustrators, photographers, and graphic novelists for both the adult and children’s markets.

BG Literary

Joe Monti: I am also very interested in working with folks who writer-artists of graphic works, from graphic novels to picture books.

Beth Fleischer: I've had the opportunity to work on comics, prose, and graphic novel projects, writing, editing-- and agent, both in the US and in Europe.
I welcome both prose and graphic novel formats.

Any writers wondering how to script a comic for the first time, or how to find the perfect artist for your work, or if you're wondering just what a collaboration can mean will want to check out the site of BG Literary's client Shannon Hale.

Hey Nathan,

I was just looking at your wonderful The Devil You Know and I was wondering, are you a comic book fan? Would you enjoy doing a graphic novel? I'm asking because I'm pitching a children's graphic novel to Bloomsbury and I want to provide the names of a few artists I'd recommend for the project. It'd be a mega-project - 130 illustrated pages, so quite a commitment. Would you be interested to have your name in the ring?

[...]

Nate had the idea of having the beanstalk grow up through the villa, transforming it into a magnificent, shuddering treehouse. There are many other examples of innovations he had, but I'm afraid I can't remember them. I'd have to go back to the script and look to see what we wrote and how Nate made it better. At this point, the ideas of three separate storytellers have so merged we can't remember who thought of what anymore.

[...]

Writing a graphic novel script is more like writing a screenplay than a novel. As the writers, Dean and I gave a brief description of the visual for each panel, as well as any dialog, captions, sound effects, or other text items (such as signs) that might go with that image. While the panel descriptions are an important part of the storytelling, ultimately it's up to the artist to "interpret" the writer's meaning and make the illustration work. Here's the beginning of our script. Compare it with the first few pages from the illustrated book to see how Nate took our directions and how he altered/added/improved. It was completely up to Nate how he organized the panels, how many panels were on each page, if an action was told in one panel or several, and so on. He did a fantastic job of taking our script and making it better with his keen eye for action and scene.
 

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Anyone know anything about Farley Chase from the Waxman Agency? This is from the bio on their site:



I'm not sure if that includes graphic novels or means just graphics/illustrated/art-based books. (The two on PW are a book of musician portraits & something golf-related).

Farley takes graphic novels. I queried and got a Please Send.
 

elae

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elae

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Hey, just wanted to say that I've given my website an overhaul, and you can now find the literary agent list at its new url here. Update your bookmarks! Sorry for any confusion.

I've posted an excerpt from my graphic novel on my site too, if anyone wants to take a look. ;)
 
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New agent, and list updated! Brenda Bowen has just joined Sanford J. Greenburger Associates.

Via Publishers Weekly:

Brenda Bowen, who left HarperCollins in February, is moving in a new direction, signing on as a literary agent at Sanford J. Greenburger Associates, beginning July 6. Bowen will represent authors and illustrators of children’s books for all ages (preschool to teen) as well as, in her words, "graphic novelists, animators and maybe a surprise element or two." She says her client list will "start fairly small and dedicated, and then we’ll see."

The list just keeps growing. Good luck to all still querying!
 
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elae

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I do what I can! Easier access to agents means (hopefully) more great graphic novels for me to read! hehe.

I'm sure I'm still missing some elusive agents out there, though ;) It always feels great to find someone new, especially when they have a lot of experience in the publishing world.
 

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Anyone thinking of querying Beth Fleisher or the Barry Goldblatt Literary Agency should take a look at the <a href="http://querytracker.blogspot.com/2009/06/interview-with-literary-agent-beth.html">latest interview over at QueryTracker</a>.

She talks a little about her experience with graphic novels and comics:

I left working [as an editor] in house to pursue some other goals (graduate school in Medieval history, my own writing, travel, having a family). After all, I had been working non-stop since my junior year in university! I also consulted on a number of publishing projects, and became very involved with comics and graphic novels, especially graphic novels published in Europe.
 

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I'm with Jon Sternfeld of the Irene Goodman Literary Agency.

They don't mention anything about graphic works, and Jon approached me about my project, so I don't know if it'd be worth putting on the list of graphic novel agents or not.

Something to consider when trying to get an agent: make up a project proposal that has the synopsis, author bio, the market, prospective readership, etc. The only reason for this is that I spent a month and a half getting my proposal together to send off to publishers and it's what Jon is using to get interest.

The proposal could also be sent to the agent when they ask for more. It shows that you've done your homework on the market, what other titles are out there similar and how yours is DIFFERENT, and who would be interested in reading your work.
 

elae

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Welcome to the boards, and thanks for letting me know about your agency!

I've gone ahead and put him on the list, despite the fact that he may or may not take graphic novel queries; this is more of a complete list of any agent who reps a graphic novel, rather than a list of agents who are open to queries. Quite a few of the agents on there are closed to submissions or only represent one or two, but I think it's still good to get their names out.

One thing I'm curious about: your agency's site says that Steve Fisher represents Alison Bechdel. As in, he represents her for film? Everything else I've seen says that her literary agent is Sydelle Kramer of the Susan Rabiner Literary Agency.

Something to consider when trying to get an agent: make up a project proposal that has the synopsis, author bio, the market, prospective readership, etc. The only reason for this is that I spent a month and a half getting my proposal together to send off to publishers and it's what Jon is using to get interest.

The proposal could also be sent to the agent when they ask for more. It shows that you've done your homework on the market, what other titles are out there similar and how yours is DIFFERENT, and who would be interested in reading your work.

And I completely agree that with graphic novels, the proposal is pretty damn important. Most agents/editors don't want a finished book, they want something that shows where the book is going to go from here. I made sure my query had info about how it would stand in the current market, and what readerships I would be able to tap (mine: LGBT, coming of age/YA, set in Europe, etc). It's always great to show that you've considered who you'll actively aim it at, and it what kinds of ways.

Even when writing a synopsis for my current WIP to send to my agent, I made sure to say, "Other books successfully done in a similar manner: X, X, Y. Mine is different because __."
 

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Steve Fisher works out of APA in Beverly Hills and does films, and IGA works with Steve on film rights to books they've represented. The client list looks like a means of showing his credentials in the film and TV world.

I think he handles the film adaptations or something like that from the writers working with IGA. But don't hold me to that, I only write.
 

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I would like to apologise up front for the 'newbie' question, but I would appreciate some advice on a project which I am finding quite difficult to work on.

Essentially, I developed a strong graphic novel premise with a specific artist in mind. Unfortunately, this artist fell through very early in the process. I have since been through two more artists without getting very far on the project, and I am trying to decide what to try next. I realise that, as I am not talented enough to illustrate the novel myself nor am I well-off enough to afford to pay an artist to work with me on the project that my options are limitted.
The major issue is that it is a very detailed storyline, and a very big project which spans quite a long storyline. As I am also working hard on my novel, I am loath to write the whole script before securing a definite artist and/or definite interest in the project. I would be very interested to know what is typically expected to be produced for a query based on a very large, series-style project such as this, as well as any tips on finding an artist (I know, I know, I'm being terribly optimistic on that front.).

Thanks for your time in advance, and I'm sorry again if this is a hideously newbie sort of question.
 

elae

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Essentially, I developed a strong graphic novel premise with a specific artist in mind. Unfortunately, this artist fell through very early in the process. I have since been through two more artists without getting very far on the project, and I am trying to decide what to try next. I realise that, as I am not talented enough to illustrate the novel myself nor am I well-off enough to afford to pay an artist to work with me on the project that my options are limitted.
The major issue is that it is a very detailed storyline, and a very big project which spans quite a long storyline. As I am also working hard on my novel, I am loath to write the whole script before securing a definite artist and/or definite interest in the project. I would be very interested to know what is typically expected to be produced for a query based on a very large, series-style project such as this, as well as any tips on finding an artist (I know, I know, I'm being terribly optimistic on that front.).

In my experience, it's infinitely harder to pitch a long series-style project like you mention. A pain, but it's the truth. When I was initially querying Highwater, it was planned to be three books. I had the interest of a few agents who ended up sending rejections in the end. They said that publishers think it's too much of a risk to take on a series from a first-time comic creator, but asked me to send a query again when I had a shorter project. They liked my art and story, but knew it wouldn't work for a debut. I've since revised & condensed it down to one book, and landed an agent for it.

So just having an immense series is enough to shoot yourself in the foot before you even start :/ If you really want to do this project as a comic, I would recommend writing something shorter to break in and prove yourself with. Publishers want to see that you can write a graphic narrative before they sign you on to a huge project like you're hoping to pitch.

Also: every agent and comic publisher I know has wanted the entire script to be written before they'll take a look at it. Your proposal package will normally have that completed script, as well as a chapter that is fully finished (ink, color, lettering if applicable). Rather than looking at it as "I can't afford to hire an artist to do my whole comic!", think of it as "I just need to pay for an artist to do the first chapter" (20-30 pages, normally). It's still an investment, but a much more manageable one, and one that will find you more professional artists that will put out professional work, rather than "falling through", as you say, when they find a job elsewhere that will actually pay.
 

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It took me two years to find an artist for my book. The first two did some concept work, but when they realized that I wasn't doing this "for myself," they jumped ship.

If you're able to, one of the best ways to get help getting at least some kick-ass concept art and maybe a page or two of continuity art, is to go to Comic-Con, WizardWorld, or WonderCon and approach an established artist whose work you think would work with your story.

Yes, that sounds insane, and you'll probably get turned down by everyone, or close to it, but the bigger point is that you'll also be putting your project out on the radar of the guys in the industry. One artist may not be able to help, but doesn't mean he wont tell someone he works with about your project.

On the other hand, have you checked out Dark Horse Comics' website regarding submissions? I remember they used to take writers only at some point, so that might be a thing to check out.

However, what Elae said about your first project being a long series, tone it down and turn one part of it into a one-shot. Publisher's will be more apt to print a one-shot of 48-120 pages from someone new to the game than take on a series that is expected to go at least 100 issues or more.

Good luck.
 

Dario D.

What elae said.

I'm the master of all things "finding people who want to work for no pay", and can tell you just as surely as Picasso can tell you that his art is ridiculous (uhh...) that until you pay a motivating amount of dough, you're simply going to find no such lasting artist... even if he loves the project to pieces.

One thing I've come to learn (and understand the internals of) is that human beings have a very pronounced "forget-what-was-motivating-about-this" factor once they actually get started with giddy project things, and are hit with the imagination-dousing reality of it... even on some of the best projects. So, unless there is an ever-present golden carrot hanging in front of their noses - like getting decidedly famous, or setting themselves up to make a known, guaranteed amount of cash - there is just something like a 19/20 chance that they're going to get completely demotivated, burnt-out, etc, and drop out.

The remaining 1/20 does, of course, show up once in a while - and maybe someone here has been lucky enough to find someone who just sticks it through - but you can't bet money on that.

It would simply be a far, far better bet to write something short at first, or/and learn to do your own art.

For the latter, dig into video tutorials (saves years of slooooow college/text-book learning):

I was going to say Lynda.com is good, but I guess they focus on software programs; not art in general.

Gnomon Workshop DVD's - Provides inspiration, and makes you inherit very strong theories, simply from watching the masters work. (all videos play in fast motion, and you just listen to the artist talk about what he's doing. Irreplacable learning technique. Makes you just love art, and the entire learning process)
 
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Beyondian

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elae - thank you so much for your informative reply. I really appreciate it. I have considered reworking the story into a prose novel several times, but it is a very graphic idea which will work best as a graphic novel. I think your advice is excellent, and thank you so much for taking the time to reply to me. I will certainly give some thought as to how I can develop a smaller script to start with, and it's a great idea to just get the first chapter done properly as oposed to trying to nail down the whole thing!!

TylerJones - thanks for the tips. I really appreciate you guys taking the time to give me advice. :D
 
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