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Vito Delsante Takes on Superman |
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Written by Caleb Monroe
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Tuesday, 13 May 2008 |
This week I interview Vito Delsante, writer of SUPERMAN #676 (among other things, of course), which hits stands tomorrow. The tale was originally slated to appear in SUPERMAN CONFIDENTIAL, but was bumped from the schedule and seemed it might never see the light of day until being given new life this month with a beautiful Alex Ross cover!
This is the first one of these columns I've ever done with a call to action, so be sure to read all the way thorugh to the end.
As a writer, why have you chosen to work in comics?
Honestly, I "lucked" into it. I was really trying to be an actor/screenwriter when someone asked me to doctor their comic script. I saw that all the scripts I wanted to write and act in could easily be produced as a comic, so that's how I got into comics. Why I still choose to work in comics is that I feel like there's a lot of stories left to tell and I'm so willing to save this industry that I can't leave just yet. Tongue planted firmly in cheek, of course.
Can you describe your creative process, from first idea to completed pages?
After I get the idea, after I know the story and I have the go-ahead to start writing, I usually do two things; first, I do a "beat sheet." I learned this one from Axel Alonso; you take a blank piece of paper (or you can do it on a computer screen, but I prefer pen-and-paper...it's like doing desktop D&D as opposed to Magic cards) and you number 1-22 (the typical number of pages in a comic book...you can number higher as your page count dictates). From there, you number your story beats, the things you want to see on each page, the events, maybe some dialogue, until you get to your last page. What I've started doing now is, I do a beat sheet for my issues and then break each issue down. It's a really good habit to get into.
The second thing I do is dialogue. I don't even worry about who says what at this stage, I just write the dialogue as I hear it in my head. After seeing it written on a page, or typed up in a document, I start to break it into page beats according to my beat sheet. Then I start to script.
How did you pitch your Superman story to DC?
First, I was lucky enough to have an open line of communication with editor Michael Siglain. We've worked on SCOOBY-DOO prior to this and when I had an idea for SUPERMAN CONFIDENTIAL, he was open to it. Originally, Dean Haspiel (a frequent collaborator and great friend) and I were going to do the story of how Superman learned how to fight, but Dean's schedule didn't allow him the time to work on this story until...right about now, timewise. So, Mike still wanted me involved, still wanted to see what I could do with Superman, and he asked if I could do a done-in-one. I pitched it and he accepted.
How I actually pitch, if that's what you mean, goes back to that beat sheet. Usually, when I write a proposal or a pitch, I use that document to create my beat sheets. What I do is...I write the entire story in broad strokes. Again, like the beat sheet, I include story beats, bits of dialogue where necessary, and the ending. The one thing folks have always described this as is as the "back of the paperback" description. What they don't tell you is that you NEED to put the ending for your story in there. Absolutely necessary.
Do you have "office hours," so to speak: specific set times during the day or week when you write, or is it a more fluid situation? Have your years as a writer taught you any secrets to budgeting writing time?
Not one bit. [laughs] I write when the muse is in town. And she visits during odd hours. I find that the majority of my pre-production is done in transit, while I'm commuting to my day job. But there have been instances where I have woken up from a deep sleep to write at least an idea down. For the most part, I try to stick to the one hour a day minimum.
What is your workspace like?
Because I don't have "office hours" as you put it, I don't have a true workspace. I do have a desk, I do have a bookshelf of reference material, and I do have a spot that is my cubicle. But again, I write a lot of my stuff on paper, during commuting, so you can call the Staten Island Ferry my workspace too.
It's been said that to make writing a career you have to sell more than just a story: you have to sell yourself. Do you agree, and do you have any insight to share on how to go about such a thing?
I would say that's at least partially true, but that's because we all have problems selling ourselves. I do, too. I know my strengths, but is there a writer out there with similar strengths? Sure. So how do you sell yourself? Networking. By letting the folks who need to know who you are all that you can do. It's more or less the same thing, but I find that letting artists know you can write can get you just as far as letting an editor know.
What would you say is the #1 mistake you see aspiring writers making?
Talking a big game. I think a lot of guys and gals think they can be the next Bendis, but don't worry enough about being themselves. Bendis is great because he's unique. Just because he writes 4 or 5 books, there are young’ns out there that think, "Well, that must mean there aren't enough writers like him out there. I'll write like him." And that's the kind of thinking that leads to hacking and leads to disappointment. Be yourself, and everything will fall into place. And remember that humility goes a long way.
What's the best advice you could give on the craft of writing?
Other than what I just said, I always give three pieces of advice:
1. Write what you know. Learn what you don't.
2. If you're given the opportunity to write a big name/franchise character, you have to treat it like your neighbor's toy; you have to give it back the same way you got it.
3. Write every day. Because the writer you want to be? He's writing right now.
What’s the best advice you can give on the life of being a writer?
Jeez, prepare for frustration. You aren't an artist, and no one wants to read your script. Not because it's bad, but because it takes time to read. It's nothing personal, but no one wants to take that time to read your magnum opus. You can't take it personally. And don't quit the day job. Seriously. You aren't there yet.
I know you’re currently engaged. Do you have any insight to share about finding a balance between writing and other aspects of life, like family?
My fiancee is very supportive, and that's not easy to find. As a writer, you spend a lot of time alone. Seriously. ALONE. Even when she or he is in the same room, if you're doing your job right, you're alone. So, when we have mutual days off, we spend the majority of the day together, but she's now getting into brainstorming with me. She's a creative person too, and she chooses a different route to create, but I value her opinion when it comes to story. So, sometimes, I'm working with her.
Back to SUPERMAN #676. What new lessons have you learned in the creation of this project that you will carry into future projects?
I guess never say never. This was a great bit of luck to have it find a new life in a greater (by greater I mean bigger) setting. But at the same time, you have to keep going. You have to be in perpetual motion with your writing. If you're not scripting, be plotting. If you're not plotting, be brainstorming. Always be working.
I think every project comes with a unique set of obstacles all its own, both interior external ones. What obstacles came with writing this story, and how did you overcome them?
Oh, you know...being pulled from the schedule after it was scheduled and then rescheduled. But there's no way to overcome it. I apologize, but I get really personally attached to my stories, so it hurt a bit when it was cancelled. The way to overcome it is to focus your energy elsewhere, on another project. Immediately. Because otherwise you'll get depressed. Just like I did. Ask my fiancee.
In addition to writing comics, you work at Jim Hanley’s Universe in NYC, so you’re also very familiar with the retail side of things. Do you think this has given you any special insight as a creator?
Sure, plenty! I think at the very least, I can see the market in motion. I can see what sells at the point of sale, and additionally, I can see what the retailer ordering trends are. I think Hanley's is a great barometer for how the market works.
Tell me about your campaign to sell this issue out.
Well, I decided to use those social networking sites to my advantage. So, on Facebook, I started up a group called, "Help Sell Out SUPERMAN #676”. Very grass roots, and super simple. We want to make a change in this industry, and the only way to do that is to bring new blood in. But the comic buying public needs to do it with their wallets. So, I'm asking everyone to buy one $2.99 comic this week, SUPERMAN #676, so we can send a message to not only DC Comics, but to the entire industry.
Do you have any other current or upcoming projects you want to plug?
Right now, everything is in development. I'm going to focus more on some creator-owned projects, but there is a new project for a well-known property that has just started up again that I'll be involved with. Saying more than that would be ruining it. I have the second part of a two part story in SAVAGE TALES coming in ST #8 and later this year, I have BEFORE THEY WERE FAMOUS: ALBERT EINSTEIN, a graphic novel about the childhood of Einstein.
So here's where I ask you to not just read this week's column, but to participate. Help Vito sell out his issue of SUPERMAN this week. It will only cost you $2.99. That's a low entry fee for having a voice to influence the medium. Let's show the industry that new voices are not only welcomed here, but encouraged. I mean it. You have the power. If you want to see more books like the books you like, if you want to see more new voices, then make sure publishers and your dealer know it. Vote with your dollar. For this one week, forgo habit-buying a book you're not enjoying anyway, and give Vito's work a try.
You can find your local comic shop here.
Feel free to discuss this column in the Making Good thread over at the Scryptic Forums. Or heck, feel obligated. I'll still talk to you either way.
Caleb
Monroe writes comics, columns and other things. He is a slightly
infectious thought-form generated by the self-aware website CalebMonroe.com.
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