How do you justify so much preparatory work?

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How do you justify so much preparatory work?

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These charcoal-on-vellum line drawings are half the size of the final painting of Waterfall City. 

This is the step where I figure out perspective, placement, and storytelling, thinking about how those gliders could get across the gorge, which areas to lose in mist, and which architectural forms are repeated.

Here are more preliminary sketches:
 

Eloise Scherrer asks: "Do you always do so much preparatory work for such paintings ? Was it a personal work or part of an editorial project/command ? (the underlying interrogation is how do you keep balance between the artistic necessities - lots of sketches - and the financial necessities - can't spend that much time in proportion of how I am paid ?)"

I've never done this much preliminary work on any picture. This one stuck in the back of my brain for many years. I did the sketches in my spare time after a day's work on paying assignments. This was the sandbox for playing in. 

The emerging print market gave me an avenue for monetizing this dream. The whole concept of Dinotopia came later.  
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