It’s inevitable that every creator will get so close to the story they are rendering that it becomes difficult to have subjectivity when assessing it. Editorial assistance is one way to get a fresh perspective on your writing. It can also be useful to change a mostly solitary creative pursuit into a collaboration.
Below you’ll find a breakdown of the various levels of input I can offer. If you’d like to discuss your project with me please get in touch to discuss rates and scheduling.
I can help with world-building, character development and wide scope narratives long before you begin to break it all down into arcs, issues and scripts.
If you are a writer that enjoys heavy planning and mapping a proscribed route to follow, this stage is vital and investment here could be a sensible consideration.
When I look back at my body of work, I realise there’s BK (Before Ken) and AK (After Ken). Now, nothing gets sent out to artist or publisher without going through Ken’s hands. His ability to pick out plot holes, understand and tweak characters in their motivations through action and dialogue and keep my writing grounded is invaluable. His feedback is honest, thoughtfully critical and has given me a whole new confidence when approaching the redrafting of a script. The best money you’ll ever spend.
Chris Sides – writer of IMPOSSIBLE, CLOSE, the DARK MATTER anthologies
Getting ahead of any issues like this can improve the working relationships with your creative team and give them the best opportunity to contribute their best work to realise your story.
This stage is the best place to fix any problems a script might have. Otherwise inconsistencies will only be magnified as the process rolls out. It can be costly both in time and money to get art redrawn, have colours and letters amended and even then a page can be a compromise upon what you originally intended.
I’ve been lucky enough to receive feedback from Ken on a couple of scripts, and on each occasion his insight into how to improve the flow of the story and into how to distill what I’m trying to say in the story (even when I’m unsure myself) has been invaluable.
Martin Feekins – 2000AD Future Shocks, Sliced Quarterly
Full Issue Assessment
This kind of assessment is focused around the general mechanics of the storytelling. How the sequential images cope with the narrative, how the letters work with the images. As an example, perhaps a character on the right is speaking first in a panel making the lettering awkward. There might be a way to rewrite a few panels to accommodate the existing art to save a redraw and make the page flow better?
The purpose of this service to to tighten up what you’ve already produced, I try to avoid suggesting ground up re-working if a simpler solution can serve the book.
Ken has acted as Assistant Editor for 100% Biodegradable for almost two years. His insightful feedback on the submissions sent our way has turned many a potential rejection into an acceptance; he has a gift for salvaging scripts, and putting a new spin on old ideas.
David Hailwood – Editor, 100% Biodegradable
Proof Reading & Copy Editing
Nothing takes the reader out of the world you’re trying to create more than a small, annoying mistake that should easily be avoided.
Ken has edited several of my stories. I find him open and encouraging to new ideas, able instantly too grasp the spirit of any given script. Each suggestion he makes for a cut in a script is uncomplicated yet perfect. Simply put everything he has edited for me has made the final script better.David Thomas – Dirty Rotten Comics, Futurequake, Sliced Quarterly