As a writer of scripts, there's nothing better than snagging a badass artist to draw your story. For this two page tale of terror I was lucky enough to find Glen Ostrander, a gloriously talented penciller. I'd been saving this story for a while as it required an awesome artist to pull it off. It appeared in the 2011 edition of Hallowscream.
When starting off as a writer, you're blind to many of the faults within your own scripts. It's a bit of a Dunning-Kruger situation; you're not aware of the errors within your story, because you're not skilled enough to see them. With this story, I could tell I was on to a sure fire winner.
Short one or two page horror stories are the best so it ticked that box. Taking a classic such as the Teddy Bears Picnic song and giving it a twist also works because EVERYONE knows it. Tick. The familiarity is already there so I could just concentrate on telling yarn as quickly as possible.
The length of the words I was using from the song dictated the number of panels and length of strip. The rhythm of the six lines of the song worked perfectly as six panels on the first page, with the seventh and final line demanding it's own splash page.
It was like the coming together of pieces of stone tablet, an alignment of planets, the formation of Girls Aloud - just pause and take in the full horror of the artwork on that second page. Proper nasty, love it.
When starting off as a writer, you're blind to many of the faults within your own scripts. It's a bit of a Dunning-Kruger situation; you're not aware of the errors within your story, because you're not skilled enough to see them. With this story, I could tell I was on to a sure fire winner.
Short one or two page horror stories are the best so it ticked that box. Taking a classic such as the Teddy Bears Picnic song and giving it a twist also works because EVERYONE knows it. Tick. The familiarity is already there so I could just concentrate on telling yarn as quickly as possible.
The length of the words I was using from the song dictated the number of panels and length of strip. The rhythm of the six lines of the song worked perfectly as six panels on the first page, with the seventh and final line demanding it's own splash page.
It was like the coming together of pieces of stone tablet, an alignment of planets, the formation of Girls Aloud - just pause and take in the full horror of the artwork on that second page. Proper nasty, love it.
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