Should cartoonists change their works according to the opinions of editors?

Compared with creators, editors are essentially about the identity of “experienced readers who know the plot ” except for some work handover content. Compared with ordinary readers, the main advantages of editors are:

see a little more
Communicate with the author a lot, probably know the follow-up plot

This “many” reading does not mean that the absolute number is large, and the number of readers with 5000+ reading volume is not small. The key difference is that they have read more semi-finished products . Ordinary readers like us, it would be nice to be able to go and see the various newcomer rewards, but I have never seen ordinary readers with jump rookie. Therefore, the editors will provide more accurate suggestions than ordinary readers in the process from semi-finished products to finished products. For example, we are directly pulled down by “the standard is not enough to pass the line “. The editor can urge the creators to gradually improve. The few cartoonists that Editor Lin Shiping has brought together have basically communicated with Editor Lin for many years (some are close to 10 years). Years) reached the level where he could finally enter the classroom.

The second point is relatively simple, the outline of the story, the follow-up plot with the author, the editor can know more information.

In addition to these two main advantages, editors will not be so significantly different from ordinary readers. To make an inappropriate analogy, do creators want to create their own works by following the “fake medicine” and predictions made by others ?

Editorial comments can be roughly divided into two categories:

Confirmation of work content details
Work Development Guidance

The first category is actually relatively simple. Take Fujimoto as an example. When Fujimoto drew the first part of CSM, he often had to draw some scale content, and he was not sure whether these contents would be allowed to be published in this magazine, so he basically It was Lin Shiping who made the judgment. Then there are some logical issues in the details of the work, such as whether this small plot conflicts with the previous content, whether the foreshadowing is considered, whether the storyline is basically smooth and reasonable, and this editor is also able to give opinions effectively. For example, the plot design of “Spy Playing House” basically requires the author and editor to review it together, so as not to mess up the basic story logic. Then there are some low-level drawing mistakes. For example, in the second part of CSM, I forgot to draw the scar on the face of the war demon, and some small details were wrongly drawn in the OP. The editor who is more familiar with the works can help to pick and choose.

The first type of work is relatively basic and easy to do. It is to help the author check and check the manuscript and share the author’s workload.

The second type of work is…to take my words, to compete with the author for purity . Compared with us, editors are obviously more precise and meticulous in conception because they know the overall development. The editor should be able to see the long-term prospects of this work, from the whole work, the whole chapter to a single chapter, and repeatedly consider ” whether this painting is good-looking, and whether it is okay to paint like this “.

Obviously, if you want to consider this issue, you must have a set of creative theories you believe in . For example, taking CSM as an example, isn’t it the “Dianci Family’s House Rules” now? How do you think this part is interesting? Do you prefer the “house rules” in “Hunter”, or the “soft and wet” family battles in JOJO 4 or “JOJOLION”? When an editor conceives a story, he conceives it based on classic works, classic performances, his own understanding and experience . This is the basic way of thinking about story creation, and it obviously has a significant relationship with your aesthetics, works you have seen, and personal understanding.

An obvious problem is that the aesthetics of creators and editors, the works they have seen, and their personal understanding cannot be highly similar . The more you discuss this, the more you can feel that, people, the consensus that can be reached is very limited .

Faced with two sets of creative theories, two sets of aesthetics and personal understanding, should you listen to yours or others ?

There are different answers to this question depending on the situation. If you don’t listen to the editor, “Spy Playing House” probably won’t be popular now. In general, creators need to be able to make up their own minds .

From my experience and understanding, the more you know about a thing, the more you can distinguish between good and bad, at least you can give a judgment of “good” and “bad”. When the editor’s opinion is given to you, you should be able to distinguish between your own plan and someone else’s plan, which is better , and just make a choice based on trade-offs.

Therefore, this is essentially not a question of “should you listen to the editor’s opinion”, but a question of ” can you distinguish between good and bad works “.

If you can’t make a judgment by yourself, emmmmm… I’m afraid it will be difficult to make a good work . If the editor sees that you have no backbone and no judgment, why do you think you can come up with something good ?

Of course, all of the above was done in a relatively benign author-editor environment. As far as I know, this kind of benign relationship is not so common in reality. For example, the platform must draw certain types of works, must draw certain types of themes, and must have certain types of elements, forcing editors and creators to draw themselves. If you’re not good at something at all, that’s another matter entirely .

Source: Zhihu www.zhihu.com

Author: TOTOLO

[Zhihu Daily] The choice of tens of millions of users, to be a big cow to share new things in the circle of friends.
click to download

There are 13 answers to this question, see all.