I was told that if you mail yourself a copy of your work, and the mail becomes postmarked, that that would be sufficient enough to copywright your material. Is this true? What would you recomend being the most cost effective way to copywright original material? Thank You!

I want to know will it be explained how jazinda can have sex with 5 people at once. LoL but seriously when will you get a new artist on X-factor, I can hardly tell who’s who knowadays.

Guys, this site is just reporting on the request, PAD may or may not read it. He asked that you e-mail the questions to him, read the blog post for details.

OM, your question was covered in the first book. Plotting things out panel by panel is his preference, but different writers do it differently so there is no one correct way. His book has several examples of from his scripts.

Should I take any writing job that comes my way? I know I need experience and to get my name out there but i don’t want to be stuck doing this rubbish.

PAD,

Thanks for rocking.

In your book you give great advice on characterization and character arcs. Honestly you give great advice for any kind of storytelling, just with a focus on comics. My question(s focuses on what makes writing for comics different than just writing a screenplay.

Is there a generally accepted format editors and artists look for?

Is there a rule of thumb for how much content a general page should have? X# of dialogue, X# of hits, etc. You know, to avoid doing too much or too little and risking losing or confusing your reader.

How do you handle pacing in a comic book? How do you communicate tempo to your artist?

When a great idea just comes up, how do you take them down as notes?

How do you organise those ideas as notes?