A Computer Science Degree Is Within Grasp

When a studio decided to make an animated show or movie, two of the first people a director hires are a story editor and a storyboard artist. They are two people he truly needs to turn what was previously a pitch into a full blown production.

Now one might think that being both of the jobs has the word “story” in them, that they are very similar jobs. That really isn’t so. The two do entirely different things with a story, and some directors actually will work only with one and not the other.

The story editor is basically a scriptwriter who has been in the business for a number of years. He’s not only a strong writer, but also has excellent communications skills and can direct other writers to do his bidding. That is not as simple as it sounds, as controlling writers is rather similar to herding cats. Another responsibility is to not only review the script for entertainment value, but that it stays within the general concept of the story and does not upset the censors.

As implied before, story editors started as scriptwriters. To enter the profession, the best way is to go to an online college or brick-and-mortar counterpart with a good reputation for writing. From there, it’s a matter of submitting script ideas and hoping someone likes what you do, and buys it. From there, sell enough, and one gets the call to edit. 

Becoming a storyboard artist, or storyboarder, is an entirely different process. They started as animators, and actually went to school to become such. One essential course any good animation school teaches is how to do a storyboard. Essentially, they are large flat sheets of paper or thin cardboard that are then divided into panels like comic book pages. The storyboard artist divides all the key action in the script into those various panels.

Although still essentially sketches, a good storyboard artist knows how to put a lot of important detail into a few pencil strokes. A panel on a storyboard not only includes key characters and dialogue, but also important information as to whether the shot is a close up, camera angle, what angle the camera will pan (if any) and more. How important is the storyboard? If it isn’t approved, the project isn’t produced, period.

It should always be remembered that working in animation is almost always work-for-hire. That means when the story editor and storyboard editor has landed their next job, they are already fishing for their next one. While they are working, the pay can be quite good. The Bureau of Labor Statistics says both professions can make over $100,000 a year. What’s critical is not only who they work for, but where and on what kind of project.

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