Deadline pressures and a desire for consistency in the look of a feature led to having one artist pencil a feature while one or more other artists inked it. At Marvel Comics, where the pencil artist was responsible for the frame-by-frame breakdown of the story plot, an artist who was skilled in story-telling would be encouraged to do as many books as possible, maximizing the number of books he could do by leaving the inking to others. By contrast, at other companies where the writer did the frame-by-frame breakdown in script form, more artists inked or even lettered their own work. Joe Kubert and Jim Aparo would usually pencil, ink and letter, considering the placing of word balloons as an integral part of the page, and artists such as Bill Everett, Steve Ditko, Kurt Schaffenberger, Murphy Anderson, and Nick Cardy almost always inked their own work (and sometimes the work of other pencilers as well). Most artists, however — even experienced inkers of their own work like Lou Fine, Reed Crandall, Will Eisner, and Alex Toth — at times hired or allowed other artists to ink their drawings. Some artists could make more money by pencilling more pages and leaving the inking to others; different artists with different working methods might find it more profitable to both pencil and ink, as they could place less information and detail in the pencil drawings if they were inking it themselves and could put that detail in at the inking stage.