He liked one about mother and daughter witches.
I lied and said yes and immediately got to work to make some pitches for books. My not-yet-then-agent Dan Lazar saw a few of my illustrations on Instagram and emailed me, asking if I had a book in me. The summer after I graduated college, I was trying to put together a strong illustration portfolio. Then more editing! And then probably more editing after that! I do my artwork digitally with a tablet, which makes my edits much simpler to address.Į: What was your path to publication - is the world of graphic novels a tough one to break into?
Then I edit those pencils before I go and ink and color every page. I pencil the whole book, which means I roughly sketch out every page. Once I’ve gone over the script a few times with editors (and a few trusted friends/family), I’m ready to start drawing it out. That means when I edit my writing, it’s usually all about economy and making the whole story take logical steps, while still leaving plenty of fun in there. My writing process is a little backwards because I often start with the “treats” (the points/moments all throughout the story that I’m excited about writing and drawing) and then I write around those. As I write, I’ve got to also map out on how some of the characters and backgrounds will look. I write the script and create a lot of concept art around the same time. (Although her graphic novel as illustrator, Quince, won her an Eisner-nomination.) She stopped by to talk about THE OKAY WITCH.Į: What was your creative process/medium for THE OKAY WITCH, can you walk us through it? It's Emma Steinkellner's debut graphic novel as both author and illustrator. I had to share this awesome graphic novel with you about a young, new witch learning her way in the world.
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