What's your cause?

[Shai Gar]

... I have that Indie comic.

You're the writer?

Marry me?

 

[arbygil]

... I have that Indie comic.

You're the writer?

Marry me?

SQUEE! You actually have my book! Wow! X-D

Sean actually helped me with "The Burning Man" because it was my first project. He was my editor on it, so he'd help me clarify a few things and he fine tuned my scriptwriting skills. But the comic forgot my name on the final product during the printing rush.

Still, Sean and I still work on a few projects from time to time, and I trust his judgment. He's an extremely good editor. Oh, and Sean was the exclusive writer on "Wood Boy."

 

[Shai Gar]

I buy anything with Raymond E Feist on the cover. But I loved "Burning Man" Because I'd read it years ago in a Fantasy Authors compilation with the writer of the pern series, pratchett, jordan and the song of ice and fire author.

I never really read anything else of his, but I loved that short story. You did good work.

 

[arbygil]

I buy anything with Raymond E Feist on the cover. But I loved "Burning Man" Because I'd read it years ago in a Fantasy Authors compilation with the writer of the pern series, pratchett, jordan and the song of ice and fire author.

I never really read anything else of his, but I loved that short story. You did good work.

*Blushes* Thank you. I'm guessing you're talking about the "Legends" series. Funny thing is, DBPro received the rights to many of those stories (which is how they started in the industry). My personal copy of Legends is so marked up with notes and annotations now. Lol!

BTW, my little boasts in "Burning Man" are the dialogue bits - I created and wrote most of the dialogue, apart from a few spots.

 

[gloomy-optimist]

Man, I hope it goes that well for me. I'm trying to get into the comic industry, but I'm collaborating with my sister and best friend, and we've already got everything planned out (except for the art).
How far can indie comics go? We want to maybe even establish our own studio someday...any advice?

 

[Shai Gar]

Vertigo was once an Indie company.

 

[arbygil]

#$#$%#!!!

Ate my (long) post...that'll learn me.

Gist of what I was saying was this: You have to find what works for you. Your intuition will guide you, but I can't tell you what the "Best" way is because it varies for different people. Do indie comics work? Sure they do - Shai's right: Vertigo was an independent publisher. There are plenty of publishers who *aren't* Marvel or DC, and you might actually prefer working with them because you'll have more autonomy with the indie publishers.

Can you become rich? Not really - no one is really rich unless they do more than comics (*cough*Neil Gaiman*Cough*). But if you break into the industry in the way that's best for you, you'll be much happier at it. Ask yourself the following: How much time can you devote to it? How much money do you have? What resources do you have at your disposal? Do you have any contacts?

BTW, conventions are some of the *best* places to network. Go prepared, and go as if you're on an actual interview with a "real" comic company because these guys can get you in the door if they like what you're doing. Ask for critiques and seriously consider what they're saying. There's no room for pride. Find the people who have work and personalities you like, and ask them how they got their jobs (people *love* to talk about their professions and they love to give advice to the up-and-comers). Make sure you have some business cards to give out, just in case. Bring samples of your work! And never take criticism personally. Most want to help, and they'll give you ideas on what the market trends are.

One more thing: You can actually do really, really well with web comics, too. Right now web comics are extremely popular, and some are good enough to sell themselves. Big name, non-comic book publishers are looking for web comics to produce (Del Ray, Henry Abrams, etc). More and more, regular book publishers are creeping into the graphic novel market.

Example of one web comic that is really doing well (I *think* it might be nominated for an Eisner) is Bayou. That comic is about to be published as a book, and deservedly so. I highly, highly recommend it. It's sort of a cross between "Alice in Wonderland" and "Maus" (yes, really). But Bayou is one example of how well you can do, even if you're "just" doing a web comic. Come think, Zuda Comics might be one place you put on your checklist of publishers. I have a feeling Zuda's fanbase will explode after Bayou comes out.

Anyway...those are some possibilities. You can do it, if it's what you're born to do! Don't be afraid, and don't worry about what might/might not work. Just do it. Try it, and when (not if, when) something doesn't work or you fail, jump back in there and try something else.

You can do it!

 

[Shai Gar]

zuda is really goddamn annoying. I have to zoom in to every single comic, couldn't they just leave the thing alone like all the other webcomics? Sure they've got a nice little bit of software there, but that doesn't mean shit when it's unnecessary.

 

[Shai Gar]

oh, and good comic

 

[arbygil]

zuda is really goddamn annoying. I have to zoom in to every single comic, couldn't they just leave the thing alone like all the other webcomics? Sure they've got a nice little bit of software there, but that doesn't mean shit when it's unnecessary.

Lol! I agree - there's too much flash and dash for each frame. Not sure why they did it like that, but there ya go. Glad you enjoyed Bayou, too - I really hope he gets some major awards for it.

 

[gloomy-optimist]

Well, here's the thing; I'm doing all the art stuff, and my bff and sister are going to work in managing all of the business side of it (if I can get them around to it). Right now, I'm working on improving my art more than anything, and I don't have a lot of time to really work on the comic, but I'm hoping that's going to change soon.
I'm trying to get connections though. I've been trying to convince my ENTJ sister to help me reach out and network more, even before we have a finished product, just to begin getting some friendly connections. Unfortunately, if you've ever tried to convince an ENTJ of something they don't want to do....yeah, it basically doesn't happen.
So right now I'm working on the art aspect. We just recently got a website up (sort of; it was for a class, so it was built completely by scratch and still has some bugs). I'm hoping to go to some convos in the next few years, but I'm not sure how to approach people about my art, but hey, we'll burn that bridge when we reach it.

Thank you so much for the advice, btw

 

[arbygil]

Well, here's the thing; I'm doing all the art stuff, and my bff and sister are going to work in managing all of the business side of it (if I can get them around to it). Right now, I'm working on improving my art more than anything, and I don't have a lot of time to really work on the comic, but I'm hoping that's going to change soon.
I'm trying to get connections though. I've been trying to convince my ENTJ sister to help me reach out and network more, even before we have a finished product, just to begin getting some friendly connections. Unfortunately, if you've ever tried to convince an ENTJ of something they don't want to do....yeah, it basically doesn't happen.
So right now I'm working on the art aspect. We just recently got a website up (sort of; it was for a class, so it was built completely by scratch and still has some bugs). I'm hoping to go to some convos in the next few years, but I'm not sure how to approach people about my art, but hey, we'll burn that bridge when we reach it.

Thank you so much for the advice, btw

No probs - and you're on the right path, you really are. One of the hardest things for an introvert to do is to go up to total strangers (I'm in that same boat, trust me)...but if it's something you care passionately about, I have some more suggestions for you.

First, see yourself as their equal. They were in your boat at one time, too, and a lot of them remember how tough it was to come up to their idols. And some still get tongue tied! We're all human.

Second, practice and rehearse what you'd like to ask ahead of time so you don't feel nervous in person. It's okay to tell them you're nervous, but emphasize that you're passionate about what you're doing at the same time. Tell them you have a company you're starting, and you'd like to know how to increase your chances of success.

One way I start out at the cons is to just look at their art work, and browse through it. Most of the artists have their work laid out on the table, just for those purposes. Browse, until you feel more confident standing there. Then strike up a conversation. You don't even have to look at them first - strike up the conversation about their art work. Tell them how much you like the action in so-and-so picture and that you've always had trouble "drawing feet" (if you've had trouble drawing feet, that is! Lol!).

Or, if it's really tough to be around that many folks, go to your favorite comic store and talk to the clerks or managers. The clerks and managers of bigger comic stores have usually hosted many artists and writers, and they might be able to pass along information, or even put you in contact with someone.

*Smacks forehead* Shoot, girl, I forgot...*I'm* a contact! LOL! Yes, I know people. Dur.

I'll email Sean, my writing bud. He's currently starting up his own graphic novel company and he's finishing up his MBA. I can't promise anything, but if you're really interested (and he doesn't mind) I can give you his email address and you can talk to him about starting your own comic company.

 

[arbygil]

Heya, GO - check your PM in a few seconds.

 

[Shai Gar]

are you just a writer, or can you draw?

 

[arbygil]

are you just a writer, or can you draw?

I'm "just a writer." My art work is akin to xkcd's...but not that good.

It makes things easier if you can do both in the business, but it's not a necessity. There are plenty of artists who can't write and plenty of writers who can't draw...and even if you can draw, it's possible your style won't match the work you want to do.

 

[gloomy-optimist]

Arbygil, you're my hero

What's it like writing scripts? My sister's in charge of that, for the most part, and if you have any pointers for her...well, she kind of needs them right now.

We're not really that sophisticated yet. We're trying to do a lot of research, but we're still getting comfortable with the techniques and roles involved...which is one of the reasons I'm so excited to hear all of this, because it really helps us know whether or not we're on the right track

I'm definitely try out what you said with finding contacts, though! I just got to find me some convos/comic book stores; I'm in a new area and don't know if there's any good stores around >.>

 

[Shai Gar]

Gah. I'm a writer myself, and I write brilliant prose, but when it comes to dialogue, i'm absolutely fucked. All my characters become one dimensional. I'd need a three person team. Writer, Dialogue Writer, Artist.

 

[gloomy-optimist]

We have a three person team! Artist, writer, and ESTP (we don't know what he's doing yet )

 

[arbygil]

Arbygil, you're my hero

What's it like writing scripts? My sister's in charge of that, for the most part, and if you have any pointers for her...well, she kind of needs them right now.

We're not really that sophisticated yet. We're trying to do a lot of research, but we're still getting comfortable with the techniques and roles involved...which is one of the reasons I'm so excited to hear all of this, because it really helps us know whether or not we're on the right track

I'm definitely try out what you said with finding contacts, though! I just got to find me some convos/comic book stores; I'm in a new area and don't know if there's any good stores around >.>

Shai & GO: Scripts are tougher to write if you're not used to them. I'm with you, Shai, it's easier for me to write prose and short stories than scripts. Scripts are more impersonal. What's nice about comic book scripts, though, is the freedom to create the book's artistic direction.

Here's some news for ya: There are no set script formats when it comes to comic book writing. Marvel is the only company I know of that prefers an outline form, but I'm not sure if they're still doing it that or way not.

The most important things to put on paper is the dialogue, but you have to watch out for "purple" prose. You have to write cleanly and succinctly - and briefly. Consider shortening your words without making them clipped. When your character has something important to say, keep the speeches down to 30 words or less if you can.

Your goal should be to create the biggest impact with the fewest words. Your artist should tell the story with you, and as the writer you're telling the artist what you want to see in the scene (you're essentially the director/screenwriter when you do comic scripts and your artist is the cinematographer).

So, imagine this scene. You have a general idea of Iron Man versus the Hulk, and they're in the middle of a fight scene. Describe the emotion. Is it a funny scene? A serious one? Dark? Who's winning? Do you see blood? Is it age appropriate (who is your audience)? The scene can vary depending on how you set it up.

For an under-13 kids comic, you might have a lot of dialogue and a lot of Iron Man talking Hulk down. Hulk will have a lot of "GRARRGH!" and "HULK SMASH!" dialogue. You probably won't have Hulk picking Iron Man up and attempting to break him in half. Your colors will be lighter, and the book tones will be lighter.

For a teen comic, you'll have a lot less dialogue. You might have Stark doing some internal monologue, but you really need more art direction than dialogue. For example:

***

Panel 1. Scene: Stark approaches Hulk in a crouch. The Hulk is hunched, arms balled into fists. Hulk's eyes are warily watching Tony's approach, and Tony's repulsers are glowing in his hands. Small stream of spittle hangs from Hulk's mouth. Scene should be dark, near sunset. Rocky crags in the background. Stark should be near left of the panel, as if he's ready to rush Hulk.

Stark (muttering): Fine, Banner. We'll try it your way.

***

You don't need a lot of dialogue here. In fact, after Tony says "We'll try it your way" you might have a whole page of fight without dialogue. You might show Hulk smashing Tony in the face, you'll show your hero getting beat/bruised, and there will probably be blood on both sides (depending on how dark you want it to be).

A Mature book, on the other hand, allows for whatever the teen books won't let you see. The swear filter is off, you can allow more gore, and you can show nudity and graphic sexual situations (but you don't have to go overboard). Note: One of my favorite mature comics was "Y: The Last Man" by Brian K. Vaughn. Vaughn was, and is, a master at conveying scenes without a lot of extra dialogue. His rapport with Pia Guerra in "Y" was fantastic and they were a brilliant team, working in sync (some scenes in "Y" were absolutely heartbreaking because they *didn't* have dialogue). I guarantee you, though, BKV was in charge of every single panel.

It's actually harder to create scenes without dialogue because it's a lot of description - and you can only hope that your artist is on point enough to "get" what you're saying. It helps to have an artist you can trust, or a true professional who "gets" you. I lucked out with Brett Booth - either my description was that good, or Brett was really good at interpreting my thoughts. I was giddy when I saw his interpretation of my scenes.

As for finding good comic shops, check your local phone book under "books" or "comic shops." The bigger, bolder ads are usually the bigger shops with more money...which means they'll probably be the ones hosting writers and artists.

 

[arbygil]

Oops...I just realized we took over the thread.

Sorry, folks and mods! Maybe we should move this to a new thread...?