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Read “Visual Language,” Anina’s primer on scripting comic books, originally written for a workshop she presented at the Willamette Writers annual conference: [HTML] [PDF]. And check her resources page for recommended reading. |
“Good comic book writers think in pictures as well as words. They visualize the images in their stories, then describe them to artists via scripts.” |
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Script and art for an 8-page Heartbreakers story.
[PDF]
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Script for a 5-page Mickey Mouse story.
[HTML] [PDF]
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3-page script about Las Vegas for the anthology Big Book of Bad.
[HTML] [PDF]
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Anina wrote about her love of Wonder Woman for Back Issue magazine.
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"As I write this, I’m wearing a pop-art Wonder Woman T-shirt and sitting in a home office overflowing with Wonder Woman figurines and imagery. Compulsive consumerism aside, why do I have all this stuff?” |
Anina’s rewrite of the manuscript for The Art of Comic Book Inking.
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"Inking involves many decisions about line weights, contour styles, solid blacks, textures, and other artistic concerns. These combined decisions result in what most people visualize when they think of comic book art.” |
Anina is fluent in geek-speak, as you can tell from this translation of genetic engineering concepts into plain English.
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"PROTEIN: A complex organic compound containing amino acids and present in all living organisms. Proteinswhich make up much of animal muscle tissue, blood, and enzymesare continually broken down and rebuilt throughout an organism’s life.” |
Here’s an article Anina wrote about parenting, even though she doesn’t have kids.
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"When he needed stitches, I carried him into the doctor’s office. I was distraught, but he bravely endured the needle.” |
Anina brings a breezy style to otherwise dry subjects, as seen in this marketing brochure.
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"To generate responses from your audience, you need to do two things: evoke an emotion or hit a nerve, and make it easy for people to respond. One stumbling block is that too many people nowadays are deluged with marketing information in all media.” |
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