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Then Tom Pomplun, editor of Graphic Classics asked me to adapt that I can call her my partner in crime. Adapting any classic novel (I also adapted Bronte and Dickens for Scholastic) is like solving a delightful puzzle — what to keep, what to leave out.My first step is to buy the oldest, cheapest, most used softcover edition I can find.In my research, I discovered that the fabrics used in the gowns were often made of muslin – a very thin material.It may have been in layers but not exactly warm enough for cold weather!I laid out the entire story in small roughed out panels, also know as thumbnails. After they gave me suggestions and advice, I inked over the pencils and scanned the finished art.They gave me an idea of what the page would look like. Once the art was a digital file, I could email it to the publisher who did the lettering.One of my favorite scenes to draw was the walk at Beechen Cliff.There is a lot of excitement leading up to this moment.

Lots of high waists and hair pulled up off the face and neck.The fact that Catherine had to wait for more favorable weather so it would be easy on her clothes and shoes.To finally be able to walk on a dry spring day, (and not be confined indoors), would have been a wonderful experience.Trina’s descriptions offer what the character may look like and I had a great time with the embellishments!I also had a lot of fun drawing the scene where Catherine scares herself as she tries to open the cabinet in her room.

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Trina and I are currently working on a graphic novel adaptation of Louisa May Alcott’s, Little Women which will be coming out in 2009.

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