How to Contribute to Project C

For Writers:
— Send us your story as a Word or text file. If you are not experienced in writing for comics, then send it to us as an ordinary prose story. We will help you script it.
— If you are confident that you can script it, send it to us in script form showing individual panels as well as page breakup. Sample page of script of page 1 and 2 of Kalpa given here:

START
PAGE 1 (recto)
Panel 1.1: Late evening, nearly night, in the central piazza of Gul Bahar Park, Alinagar (refer to map for layout of the park) with the sundial in the centre and the four bibighars (small six-pillared domed gazebos) on four sides. We’re looking towards the Paradise Enclave site so only one bibighar is visible. The dark hulks of the incomplete building site of Paradise Enclave rising behind the bibighar are studded with red warning lights on top, and a few white spotlights on the lower levels. The two trees on either side of the radial roads are dark hulks illuminated here and there with orange sodium vapour light. Saraswati Rahi is sitting on the bench in front of the bibighar. She’s fourteen years old, with a ponytail, not fat but a little chunky, in t-shirt and jeans, with a roundish, eager face. The bibighar has a light inside the dome of the cupola. It throws a pool of light on the sketchbook in her lap, which is black paper on which she’s drawing with chalk. The drawing is an impressionistic night scene of a lighted city scape, seen from high up, spreading to the horizon. Make it rough but vigorous and full of raw talent. We don’t see it too distinctly as yet.
Panel 1.2: The same, except Rohan is now standing over her and scowling, and she’s looking up and smiling. Rohan Manindra is twenty one, final year engineering student, always wears a reversed baseball cap and has a bad attitude. He’s a friend of Shashwat Rahi, Saraswati’s elder brother, but relations between them have recently soured, because Saraswati is infatuated with Rohan. He finds this deeply embarrassing and has been trying to brush her off; Shashwat doesn’t know the whole story but knows Rohan has been making his sister unhappy. Saraswati is a bad judge of people and lives in her own romantic illusions.
Saraswati: Rohan, you came! I thought I’d have to go up on my own.
Rohan: This plan of yours is crazy, Saraswati. I’m only here to make sure you don’t get into trouble.
Panel 1.3: Close up of Saraswati smiling ecstatically.
Saraswati: But you have to see what it’s like up there; the whole city lit up like paradise! You can make out all of Firdaus, with the Sultan’s palace and everything!
Panel 1.4: Long shot of the two of them walking through the park towards the building site.
Panel 1.5:Saraswati and Rohan are at the gap in the ramshackle corrugated-iron-and-planks

fence that separates Paradise from the park. Light from the building site streams through the gap. We don’t see too much of the graffiti on the fence at this time. They are about to go through. The rays of light pass between Rohan and Saraswati and silhouette half of their figures each.

PAGE 2 (verso) Twelve hours later: around 7am. Saraswati only appears in flashback.
Panel 2.1: Shashwat on his skateboard is blazing down the road past Rohan’s three-storey house. He’s in t-shirt and jeans and looks very grim. His hair flies in the wind of his speed. It’s a shabby neighbourhood, full of lower middle class squalor. Raw bricks show through scabby plaster, water stains on the walls, garbage blowing about, a few torn newspapers and plastic bags. The Rahi bungalow might be visible behind him. A beat-up milk truck with Alinagar Dairy/ The Milk of Paradise on it. Sleepy milkman leaning on it and smoking a tiny hand-held hookah.
Panel 2.2: Shashwat with his board under his arm, is pushing open the chained gate of Gul Bahar Park and wriggling through the gap. We see unruly foliage and an overgrown gravel path through the bars. The gate has a board with ‘CLOSED by order of Alinagar Corporation’ on it. Someone has spraypainted ‘playground of the G.O.D.Z.’ on this board. The pillars also have bizarre designs sprayed over the crumbling bricks.
Panel 2.3: Shashwat is speeding along on his board inside the park. The path is rough so he’s in the air; he’s going so fast he bounces over the bumps. Behind him we see a concrete winged apsara sculpture by the path, slightly battered.
Panel 2.4: He’s at the bench, kneeling and holding the sketchbook. We see the chalk drawing of the night scene clearly. It’s the night-time view of the city panorama from the terrace of the seventeenth floor of Block 5 of Paradise Enclave. Half falling out of the sketchbook is a torn exercise book page with a stick figure in chalk of a boy on a skateboard, labeled ‘Shashwat’. It’s done in a child’s style but the lines of the limbs are dynamic and cleverer than they seem on first sight.
Panel 2.5: A border of haze around this panel. The same panoramic scene in reality, ie the view from the terrace of the unmade seventeenth floor with the city spread out below, blazing with lights. Remember that this floor has mostly incomplete walls open to the sky, with a partially cast roof. In the foreground Saraswati and Rohan, both facing the view, are seen from behind silhouetted against the sky. Rohan is standing stiffly straight with his arms crossed; Saraswati has tucked her hands into the crook of his arm and is leaning towards him as if she’s whispering to him even as they look at the city.
END

You’ll notice that the characters and their mental states are described quite fully. These are minor characters in the story so I’ve embedded the descriptions here. For major characters I have a separate characters and locations file, where I describe the city of Alinagar and its various scenes as well as the main characters. Make sure you don’t describe a change of state within a panel. (E.g. She walked across the room and took his hand: you can either show her walking or taking his hand in a single panel). Mental states are important for the artist to get expression and posture.

Send to rimibchatterjee@gmail..com or avijit.chatterjee.ju@gmail.com. Mail Rimi if any of this needs clarification or is confusing.

For Artists:
If you are also going to draw your story, you can send us thumbnails or completed artwork. Thumbnails are a good idea because we can then troubleshoot the story and you can incorporate the changes int he final version. But if you feel confident of the story and the design go ahead and send us your final stuff.
For evaluation purposes, initially just send low res JPEG scans or output of 150 dpi resolution to avijit.chatterjee.ju@gmail.com or rimibchatterjee@gmail.com. You can send either whole pages or individual panels. If you wish we can compose the pages for you.
If approved, we will ask for printable high res scans or editable Photoshop or CorelDraw files, probably on DVD which you’ll have to post to us, but don’t do this till we’ve seen it and said yes.
Leave reasonable space at the edges of the page. This will ensure your image doesn’t get cropped during scanning.

— Also, please take the time to put in your name and other details in the ‘Indian Comic Artists and Writers Database’ at CDBi. Here’s the link–> http://www.number21pix.in/cdbi/viewforum.php?f=28&sid=f26a49144ed075cbc331c38f3cabaa94

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About Rimi B. Chatterjee

All material displayed on this blog is copyrighted and owned by Rimi B. Chatterjee http://rimibchatterjee.net/
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7 Responses to How to Contribute to Project C

  1. lalneel says:

    What if my story lacks visual data which the illustration above largely hinges on, will it count as a graphic story? How do

  2. Rimi B. Chatterjee says:

    Well, if you are scripting from an existing prose story, then a certain amount of revisualisation or rewriting will be needed. I’m currently doing that with a handful of stories salvaged from the back of my drawer. The trick is to close your eyes and see the scene played out in front of you, then pick the significant moments that tell your tale, and describe them accurately with attention to perspective and placement. It does mean a bit more work, but it can really make a story come alive.

  3. lalneel says:

    Thanks
    I tend to write in a random fashion recording impressions in a disoriented manner. The story doesn’t quite move from panel to panel which would imply progression and movement . If I were to illustrate it the visualisation would have to convey the idea of simultaneity , sort of like a white sheet divided into slices exploring various facets of the mind .Is there an alternate to the panel system as far as the graphic story is concerned??

  4. Orcoprabha says:

    How about non-fiction and descriptive sketches.

  5. Rimi B. Chatterjee says:

    Non-fiction is also welcome. We want to do non-fiction essays, travelogues and other articles as well, rather like Warren Ellis’s Bad World. Have you anything in mind?

  6. Rimi B. Chatterjee says:

    @ lalneel. Panelling is one area where the graphic writer can innovate and do exciting stuff. I’ve experimented with panelling in Kalpa. The Shadowfalls sequences are not panelled in the usual manner. I’d love to see what sort of ideas you have for panelling. You can dispense with panel borders entirely if you wish. The only thing you have to keep track of is reading direction. You can either format the page to be read statically, or you can create some sort of flow on the page so that the eye is drawn into the sequence.

  7. lalneel says:

    Thanks for attending to my queries Rimidi.I left a rough draft of my story with you ,if you can recall….I had forwarded my views keeping your suggestions in mind.As far as the characters are concerned,I do not have absolute access to individual histories so I cannot sculpt their evolvement in a linear chronological fashion ……..I met them at a certain juncture and chose to focus on certain aspects ………..it’s left to the reader’s imagination
    to turn my sketches into portraits….

    lalneel/Swatee Sinha.

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