I’m by no means a financially successful writer that should be giving any sort of contract advice to other comic book creators (though not for lack of trying), but I think it’s important for us all to share our experiences with these things and there’s far too little of it in the community (if you want great legal info on contracts from a creator-POV, check out Charles Soule’s posts on the subject; the man is a talented writer as well as a lawyer).
So, I’ve done a few things here and there: some work-for-hire for publishers I love, some work-for-hire that I wish would disappear forever and burn in Creative Hell, creator-owned books with indie publishers and creator-owned books self-published with the help of Kickstarter. I’ve done work I’m proud of (except for the aforementioned stuff burning in Creative Hell) and have plenty more in the works.
More recently I’ve been collaborating with the amazing Joe Badon on a science-fiction project that I’ve been pitching as CHEERS meets BLADE RUNNER, called SPEAKEASY. I think it’s going to be a lot of fun, Joe’s art is stunning and weird, and pretty much every publisher has passed on it. And that’s totally okay. The style is definitely outside of the mainstream wheelhouse, and coming from two no-names, I get it. We did, however, have a long (year-long, in fact) conversation with a smaller publisher about getting it out there, possibly this summer/fall. I’m not going to say who because it really doesn’t matter. They put out books that I really like and I would’ve been happy to work with them.
SPEAKEASY art by Joe Badon
Over two years ago, I posted a piece calling out some severely inappropriate behavior by a comics retailer in my home state of MA. While I can’t say if his behavior has changed at all during this time, I can say that we followed through on the promise I made in that post — that we’d put together an anthology that uses comics to fight the type of bullying that, unfortunately, happens even within our own community of creators, retailers, and readers.
With the help of my co-editors Adam Pruett, Erica Schultz, and Kristopher White, we assembled an elite comic-book-making team ranging from superstar A-listers to exciting up-and-comers that donated their time, effort, and creative juices to create an anthology that we’re proud of with a variety of different styles and a theme that unites. It’s been a long, hard road to make this book a reality, with conversations with nearly every comic publisher you can think of, but we’re blessed to have teamed up with Northwest Press to get this book out the door.
A RISE cover by Sean Von Gorman
NWP launched a Kickstarter last month that ended yesterday — exceeding its goal of $10,000. The money was to cover printing costs to distribute these books to our partner organizations so they can give them away for free at schools and events. Our partners were also instrumental over these past two years of getting this thing together — GLAAD, Stand for the Silent, and PRISM Comics — and we can’t thank them enough.
So to everyone that kicked in or spread the word, thank you, from the bottom of my heart. This project has been a labor of love (and oftentimes a mountain of stress) for everyone involved, but knowing that people supported a project like this — getting it into the hands of kids for free — is amazing.
Head on over to the Kickstarter updates to see some of the stories that we’ve posted for a free sample!
Filed under blog, comics, news
This coming weekend (August 8-10), Drew Zucker and I will be hunkered down in Artist’s Alley at the wonderful Boston Comic-Con (more accurately, Drew will be there all three days. I will be there Saturday and Sunday). While I’m always excited to table at another show, this one is particularly exciting, as Drew and I are debuting the END OF OLYMPUS ashcan, a 12-page preview book that serves as a teaser to our upcoming series of the same name (more on that eventually). We’ll be hawking it for $2 a pop and we think you’ll dig it.
You can read the whole thing now if you’re a Patron on Patreon, but if not, here’s the awesome cover (yes, it’s all B&W, but the series will be in color) by Drew. If you’re heading to Boston Comic-Con, please stop by the table and say hi — and maybe pick up an ashcan!
Only two days left on the Footprints: Bad Luck Charm Kickstarter, and we’ve already explored the behind-the-scenes of Pages 1, 2, 3, and 4… onto Page 5!
This page is pretty straightforward. The only real deviation from the script is panel 5.3, which originally called for a medium shot or so of ‘Resa placing her bet. Smartly, Jonathan conserved space and changed it to a close-up with an off-panel balloon. It just wasn’t necessary to show that many details, not when the location has already been firmly established and we can infer what she’s doing from the context of the scene and her dialogue. Great example of an artist being economical with space.
We’re only a few days from the end of the Footprints: Bad Luck Charm Kickstarter, so I’ll be posting the remainder of these behind-the-scenes pieces this week! We’ve looked at Page 1, 2, and 3, so onto Page 4!
Jonathan more or less rendered this page as I wrote it aside from two notable changes: he added a panel that helps build the suspense of the gambling and he chose a different angle for that last panel, which definitely works better (and is less complicated) than what I wrote. But the thing I love about this page is something that you can’t see from comparing the script to the final art — you’d have to be privy to our emails back and forth to have any idea about it.
‘Resa’s line in the last panel, “Cash in your winnings and never come back” is a nod to one of the greatest movies of all-time, Casablanca. But it wasn ‘t written in the original script that way; it was originally just “Oh, Devil…” as she tried to grab his attention. Continue reading
Since we’ve looked at pages 1 and 2 so far, I figured we might as well go the rest of the way and check out the remaining four pages of the Footprints: Bad Luck Charm story. Whereas Page 2 takes a lot of liberties from the script in terms of what Jonathan did with the art, Page 3 is a great example of how Adam’s lettering really helped the flow of the story in a significant way.
You’ll notice that Adam shifts the balloons around a bit, most notably Devil and ‘Resa’s lines as scripted in 3.2 to 3.1 and Devil’s line as scripted in 3.6 to 3.5. While the moves might have been related to space issues within the panels, they both help punctuate particular moments that would’ve been lost under dialogue otherwise.
Last time around we looked at Page 1 of Footprints: Bad Luck Charm, in which Jonathan followed my script exactly. Page 2 has significant changes, and I think goes to show how much a good artist and storyteller can help improve whatever you’re trying to do with the story.
So often, as a writer, you’re lost in the script and the dialogue and trying to think so visually that you’re neglecting the core of the scene and what it’s about. That was the case in my script for page 2, I think, where I was doing more to establish the setting than I was the characters (see below).
As the Kickstarter for the new Footprints wears on, I thought it’d be fun to take a look at what goes into a page of the book. Here you see the full script for Page 1, which Jonathan followed pretty much exactly (next time we’ll look at Page 2, where he deviates from the script and makes it better).
Over the weekend, the kind folks at Bleeding Cool asked me to write something about Footprints. This is the piece I wrote, but you can read it over at Bleeding Cool as well along with the pages of Footprints: Bad Luck Charm.
We all remember our first true love. It’s the one that made your heart blossom. The one that cut deepest when it was betrayed. The one that still lingers somewhere inside of you, every single day, no matter how far you’ve come since the time you felt that first unmistakable flutter. You’ll love other things in your lifetime, of course you will, but the first will always be your first and nothing can change that.
When it comes to my career making comics, Footprints is my first true love. It certainly wasn’t the first comic I made, but it’s the first one that felt right, that felt special, and that I was truly proud of. It was a creator-owned mini-series by me and friend/co-creator/artist Jonathan Moore that we began working on in 2010 and released in 2011. It’s an amalgam of everything I love; a noir whodunit starring Bigfoot as a private eye trying to track down his brother’s killer with the help of his old pals Jersey Devil, Nessy, Choop, and Megalodon. It’s weird, it’s funny, it’s scary, and it’s us.