Ask Me (Almost) Anything 2023, Part 2!
Two weeks ago, I solicited a bunch of questions for an ask me (almost) anything feature on the blog and folks really delivered! I had so many questions that I had to break it up over two weeks! You can read the first half here and let's get into the second!Â
@ultimanggo asks: "Hallu David! Ty for the opportunity! Say that there are artists who are fresh grad artists or first timers seeking to apply in IDW as a comic artist, do you look into their works or pitches and consider of hiring them?"
Sure! I have worked with folks who were still doing their undergrad and making comics in their spare time. A lot of comics places are not terribly particular about formal education. They are more concerned with execution--can the artist tell the story clearly and to the standards set by editorial, including meeting deadlines, making requested revisions, not deviating from model, etc. I, and other editors, also sometimes work with colleges to do events and do portfolio reviews for students and recent graduates, and sometimes people get work from that.Â
I am often very happy to work with new talent. I like seeing people at the start of their careers and watching them grow and being a part of that.Â
@lurkingsupport asks: "Thank you for the opportunity! For someone's first indie comic, what's the best strategy for publishing? Should an artist consider keeping the comic online at first?"
The best strategy for publishing is going to depend heavily on your comic and there isn't a clean one-size-fits-all answer, I'm afraid. If it's a 4 page pastiche of another popular comic, yeah, you're probably fine having it mostly exist digitally. Or printing it as like a little zine that you can take around. If it's a standard 20-24 page one-shot, or series of 20-24 page issues, maybe look into getting it printed. I've heard good things about both RA Comics Direct and Comix Well Spring for indie comics, particularly if you're looking for a smaller print run. All the comics I've made have either gone through larger printers we work with at IDW or are things that I've printed at home (we have a nice printer for stuff my fiance Becca makes), so I can't speak to their services firsthand, but I've heard good things. The biggest factor is ultimately what do you want out of publishing? If it's supposed to be a portfolio piece that you'd want to give out at conventions, or you're interested in having a comic to table events with, I'd say get it printed! If you just want to have a comic done and out in the world, maybe it is better for it to just exist digitally and save the expense of printing for down the line.Â
There are other variations--this is not getting into the differences between posting a comic on socials vs. posting it on a subscription site vs. posting it on a webcomic service vs. hosting your website for it or seeking a publisher vs. self-publishing or looking into crowdfunding. And a lot of that comes down to the quality of the work, your comfort with exploring these avenues, your time and finances, and what your starting support base looks like.Â
@CalamityCons asks: "How does an editor usually keep track of things like timelines and character rules? Do you have a spreadsheet? I would make a spreadsheet."
It only just clicked for me that you're probably asking about "timelines" in a continuity sense, more than a deadlines sense. But I'm going to answer for both!Â
In the deadlines sense, I have a whole suite of programs that I'm using to keep track of things. I do use spreadsheets. I have multiple business software sites that I use--from project tracking sites to file transfer sites to internal product databases to external product databases to collaborative sites for art and reference sharing. I mark stuff on my digital calendar and keep track of my daily projects in a notebook (see next question). I have licensor submission sites that help keep track of things. I work with a team of very talented people who help build and watch schedules and readjust when needed. All sorts of stuff!Â
In the continuity sense, it varies by editor and property. I tend to work more with documents and decks. So, sometimes I'll be adding new rules to a Google Doc that I share with anyone else working the property including other editors, proofreaders, sometimes talent, etc. Or I'll be reviewing a PDF or Powerpoint from a licensor outlining certain guidelines for us to adhere by. A lot of it is repetition and practice and learning as you go. When I was working on Transformers, I always kinda had a loose timeline written down in a doc for how stories fit together and what happened when, but it was also loose enough that we could make adjustments if a new story needed it.Â
@rileysauruss asks: "How do you keep track of everything in that one notebook that seems to have no system? (respectfully) Whatâs it like working with me? Do you like doing balloon guides?"
The notebook has a system. It's organized chronologically. Every day, I go in, write down my to-do list for the day and as I accomplish things, I cross them out. Generally it's high level information, but I will drill down into something if I know I have multiple tasks to do with it. If I have a meeting that day, my meeting notes go under the day's to-do list. Most things are kept track of by the daily to-do. It's easy to track "finish this issue because it isn't printed yet and it was on the list yesterday." New items are added as I go, so they get incorporated too. Bigger notes that don't fit the "to-do" style--say licensor update type stuff--often has some level of follow-up sent via email or is otherwise added to one of our other tracking mechanisms so it isn't lost in the shuffle. And sure, sometimes I'll be like... figuring out page turns on a Best of and making sure it all works or whatever and will want to eventually go back to that, but then I just sorta flip through and look for it because I usually give those things their own page rather than squeezing them between the daily stuff.Â
Pretty great. I like working with you, Riley. You remember stuff because you don't just write it like a mad man in a chaos notebook. You give good feedback. You tell good jokes. It's a really great experience and other people are also lucky to work with you.Â
Yeah, actually, kinda? I am very glad that I don't have to do them all the time because they can be kind of a timesuck, but I do like having the extra chance to go through the script and look for typos and adjustments as I'm reviewing the art and I like thinking about balloon placement. It can be almost relaxing. But don't think this means you're getting out of balloon guides.Â
@GigiDutreix asks: "Can Luna be a comic?"Â
Ask Riley. Luna's her cat. I would say yes, but in this case, it is Riley's decision.Â
(This weirdly is a very basic example of how licensing works. Swap "Luna" for "Sonic" and "Riley" for "SEGA".)Â
@KWalthersArt asks: "How does one go about working for companies like IDW and what difficulties that might entail especially for people with chronic health issues and/or introverted and anxious?"
Let me begin by saying comic companies employ people in two ways. You have people like me who are staff and you have freelancers who work on contract for certain projects. The necessary requirements of each are pretty different and so the difficulties can be very different too.Â
As a staff person, comic companies are ultimately creative office jobs. You start by applying when there's a job posting and take it from there. Most companies have at least one in-person office still and may ask you to regularly show up. Some have gotten a lot better about working remotely over the last couple of years, which I know is a boon to a lot of folks who do have chronic health issues. It is also a job where, besides if there is an in person expectation, a lot of business can be conducted via email. There are often calls--both on the phone and on Zoom and other video calling platforms, but I usually have at least a day a week where I am allowed to work from home and the only people I speak to are my fiance and my cats. Again, that is not necessarily uniform, but sometimes a possibility.
And, like many office jobs, there are also other major drawbacks to all of that. I know a little about how office jobs can be very unfriendly to people on disability and to disabled folks who may not be on disability specifically because of the limitations the American disability program forces upon them.Â
From a freelance perspective, a lot of getting work early on is some level of networking, which is tougher when you're introverted or anxious (though TBH, I think a lot of comics people are, which sometimes makes it easier). The whole of the con circuit is different now in many ways, but like... I don't think "bar con" is as much of a thing, which is probably a relief to a lot of folks. I don't drink very much either and do a lot of my social time at shows with people I know, so that pressure is very different. But when it comes to doing the work, I think you just have to be as upfront as you are comfortable with. Like, you don't have to explain everything, but know your limitations and be willing to take on work that matches. Comics often moves quickly and has hard deadlines and needs you to make them, so figure out what is reasonable within your life and schedule and keep to it so that you don't burn out or make yourself sick. Â
@Rechi_CÂ asks: "Very important question, do your cats like to read the comics you work on or do they prefer to sleep on them?"
My cats can't read. They too dumb. Real cute though. Honestly, more or less sleep? Credit where it is due, they largely leave my comics and books alone. They don't claw at them or chew them or lay on them very much. Sometimes they'll sit on a few, but fairly space-dependent. They are however monsters in basically every other way.Â
@RikDraws asks: "Where did you bury the diamonds?"Â
This is not the real Rik Mack, this is obviously Rouge the Bat posing as Rik and you're never going to find out!Â
@spacecolonie asks: "I'd love to hear your thoughts on specific things an editor may look for for when hiring cover artists! any big green flags in portfolios, ways of networking etc. thank you so much for the opportunity to ask! đâ„"Â
Yay! It's fun to talk green flags and things I like!Â
This may sound a little strange, but I don't look for cover artists very often. A lot of the artists I work with--not all, but a lot of the artists I work with on covers--also are interested in sequentials. I think that practicing staging moments in panels and taking the time to consider what information is key to communicate what you want in a smaller space, as well as how that moment connects to the next in a flow of action, often strengthens people's cover compositions.
Like think about a movie. When you're watching it, all the film is running at a pace that creates consistent moving images and carries you through the story. But if you were to break it into the film strip (or the storyboards), you'll see only key frames are really needed to convey the information when it is still. And one of those key frames might be stronger than the rest and make for a compelling single image. That's kinda what making a cover often is--figuring out what your one compelling image is from all the images that could create the story and that may encompass a story unto itself as a microcosm. And being able to sort through those with a stronger eye makes your work better.Â
Rarely are the covers to books I work on character portraits. There are some amazing cover artists who do primarily do portraits, but I often gravitate toward covers with strong action, backgrounds, and/or contrast. Solicits went live this week and we announced a new Godzilla book with some killer covers! And while only one of them is mid-battle, all of them convey really strong action and story, right? Even if they are non-literal to the story inside (which I also kinda like for covers a lot of the time and find compelling), they convey a sense of what the book is about from first glance. And, of course, being able to draw licensed characters on-model while still maintaining your unique style is really important, too!
I'll also say, huge green flag in portfolios: knowing what you want to do and who you are presenting your portfolio to! This is probably the thing I harp on the most, but there are a lot of jobs in comics. Some people feel really comfortable doing a lot of them, some people feel comfortable with just one or two. Don't try to force yourself to do/present things you don't feel comfortable doing professionally. Obviously, feel free to work on things and grow your skills, but a portfolio should be the best representation of who you are as an artist at that moment. The other part of that, knowing who you're presenting to, is not to say you should always (or will always be able to) tailor your portfolio to the hiring person you're showing it to, but it is to say it helps to know who you are showing it to and to have a reason to have them review it. Like... I love superhero comics! No doubt! But I don't edit a lot of superhero comics, so I'm not always the best at providing feedback to superhero heavy portfolios, nor do I necessarily have a lot of openings that fit with the work I'm being presented. And someone who edits horror comics primarily might not have a lot of good feedback for a Disney heavy portfolio. Or a person who excels in character design like for animation might not always work with a comics person because we don't hire a lot of folks just for character design, and most of the ones we do are people who are already in our wheelhouse.Â
Finally, networking green flags! Honestly, the big ones there are just being like... a cool person. Pleasant professional interactions go a long way. In this day and age, it's really easy to build a parasocial relationship with someone via social media or whatever and remembering when you're communicating with someone that for as fun as comics are, it is a job is really important. Business cards are good. Respect people's time and learn to recognize when the interaction is over. And if someone says something along the lines of now is not the time to shoot your shot, respect that and wait.Â
@DaveScheidt asks: "What was the most unconventional way you have found an artist/writer to work with?"
Unconventional? Uhh... I brought a stack of comics to a zine making night for the feminist group I interned for in college and a person really lit up when they saw them and was like "who brought the comics" and then we flirted and went on a date later that week and now we're engaged and also make comics together sometimes, so I guess falling in love. (Hi Becca!)
@tintinpantoja asks: "What's the best way to learn story structure for graphic novels? Do you rely on a certain system, similar to screenwriting?"
I find the best way to learn most things about comics storytelling is reading other comics and experimentation. I don't know that every graphic novel has to follow your traditional three or five act structure. And I find a lot of ones I love actively defy it! Not to be a total cop-out, but I think that the structure is highly dependent on the outline. Answers to questions like to what extent is each "chapter" (regardless of whether your book is formally separated in to chapters or not) it's own smaller narrative or what is the intended narrative density of each spread are going to really change things.Â
Story structure for a periodical is different, right? Like... you want every 20-ish pages to end in a cliffhanger or some sort of resolution (even if it remains somewhat open-ended). You want your story structure to work across however many issues you're telling the story in, while leaving each hunk as satisfying. But with a GN, sometimes the rhythm of those peaks is going to be different.Â
All of which is to say, I think it's something beyond just winging it, but I find it so unique to the work that I don't personally have a systemic version of what I'm looking for/writing to.Â
@AndrewCramer78Â asks: "How does one get more editors eyes on a colourist portfolio if one is unable to attend US based conventions? Are there preferred online platforms that editors browse for new/undiscovered talent? Thanks!!"
That's a good one! I tend to browse Twitter the most, TBH. The real advantage to Twitter over everything else still at this point is the sharing ability. I'm now on Instagram and some of the other sites, and I check in, but I find the discoverability can really wildly vary there and when it comes to coloring (and lettering) other sites tend to drown out their portfolios. I am curious about Cara and InkBlot, but they are not yet regular haunts for me.Â
My other recommendations are collaborate with folks, of course, and have people who can advocate for you to color their work. Check to see if publishers have submission pages or emails because if they do, they do check those, though they might not always be able to quickly reply or be able to use you at that time. Depending on where you are set up, look for bigger international shows you can attend because those do often bring in US based editors. My last big recommendation is getting an agent/manager. I get emails daily or weekly from agents who want to put their people forward for projects and, yeah, have hired folks from those.Â
@genderdestroyer asks: "What are the best parts about your job as an Editor? What kind of challenges do you come across in that position, especially with overseeing more than one IP/series? Iâd also love to know more about your editorial process and how you work with the artists on these comics! âđ»âš"
Not to sound too sappy, but I like seeing people succeed. It's really satisfying knowing that like, Riley has become such a strong editor in her own right. Or seeing folks who I gave their first jobs pop up on other books/sometimes be too busy to do stuff for me. I also like getting to reach out to people whose work I admire and get to collaborate with them in my way. Also, I dunno. I like getting to talk to people about comics--including sometimes doing stuff like this. I like helping people figure out what ideas will work best--both on a creator side and a licensor/company side. And sometimes my job pays for stuff. That's nice.Â
To the point of collaborating, my editorial style is, I think, guiding more than defining most of the time. I want to hand my artists the reference they need--scripts, other art, whatever--and give them the space to infuse themselves into a project and sort of pull on the reins when needed, give notes when needed, but let them figure it out because that makes a lot of great work. And then in-between that, I play middleman with licensors and approvals type people and work with them and the artist to make sure everyone's expectations and needs are being met. I put a lot of faith into the people I work with and am often rewarded by that.Â
In terms of challenges, there are more than a few. Because things are happening so quickly, often the things that are prioritized are the most urgent/the most behind and sometimes having to make the call to fix that means the next thing is going to have less time and that will continue to happen. A huge reason why you see consistent creators--or a consistent pool of creators--on a book is because like I said earlier, I put a lot of faith into the people I work with, and sometimes that is a matter of necessity. I need people I know I can leave be and who will meet the expectation so I can fix the things that need it--especially because not every book gets the same amount of time. Scheduling is always tough too, and tougher when you're working with people who do crossover from one series to another. And problems always seem to come in sets, so if something is going wrong on one property's book, you can almost be assured something's going to go wrong on another. It is a stressful job and I wouldn't be doing it if I didn't love the parts of it that I do absolutely love.Â
@Astramyths asks: "Would absolutely love to know what you might look for in cover/concept artists outside of a person's portfolio? Like through their social media, etc. Do you mind if artists have side accounts for fandom stuff? Since I already saw a lot of questions Abt portfolios proper :)"
This is really interesting. Because I do find a lot of artists on social, yes, I do often check people's socials. It often is kind of a vibe check, for lack of a better term. I want my interactions to be pleasant ones and professional ones for both our sake, and sometimes you can tell you would not work well with a person for one reason. I'm not like... searching for a gotcha reason not to work with someone or only interested in working with people with certain follower counts or whatever, but when I do look, I am often interested in whether I think we'll be a good collaborative fit.Â
I don't mind fandom side accounts or (as long as the artist in question is an adult and is depicting adults) NSFW side accounts or whatever. I think it's nice to be engaged with the community in different ways. However, to that end, it can be complicated to interact with a fandom once you've worked on it professionally, or it can be complicated to just be in a fandom because communities are complicated, and so that can also sometimes be part of the vibe check too.Â
@JustOwenEÂ asks: "Hi, if someone is ever thinking of writing but has had no prior experience, what is the best approach; would you just go at it & hope for the best?"
Kind of? To the earlier question about story structure, I think it's worth it to read other works and get a feel for how they are written. I think outlining can be really helpful to develop a narrative skeleton for yourself to follow. And there are a TONNNNNN of good books about writing because--and I say this as a writer as well as an editor--if there's one thing writers like more than actually writing, it's writing about writing. But, yeah, at some point, it's good to just go for it and hope for the best. Start small and build. Not every work needs to be published or widely read and you can harness your craft slowly and build toward bigger projects. But really, yeah, the only way to start is to do it and to do it for yourself, get a feel of how you write, and then keep really doing it for yourself, but being willing to share it and see if it resonates with other people more and more.Â
What I enjoyed this week:
Blank Check (Podcast), Honkai Impact (Video game), Mass Effect (Video game), Rise of the TMNT (Cartoon), Craig of the Creek (Cartoon), Devil House by John Darnielle (Book), Trainspotting (Movie), Genshin Impact (Video game), Nadja's birthday, finishing this AMA!Â
New Releases this week (4/19/2023):
Sonic the Hedgehog #59 (Editor)
New Releases next week (4/26/2023):
Off week!Â
FREE COMIC BOOK DAY! Reminder that Becca and I are going to be at Geoffrey's Comics (4068 Redondo Beach Blvd, Torrance, CA) for Free Comic Book Day this year. As always, it's the first Saturday in May (the 6th). I'll have whatever stock I have left of all my comics after all our other recent shows, so still a pretty decent amount of TF/Terminator, some Hanazuki singles, and some Wreckers, plus a selection of titles I've edited like Sonic, Godzilla, and more!Â
Fangaea! I will be there as Becca's booth babe next Saturday, 4/29! Which also means next week's blog might be Sunday or we might be very short the next couple of weeks! This also means Becca's only doing Wednesday streams on Twitch the next two weeks, but you should definitely subscribe! They just hit their 50 follower goal and are on their way to affiliate, which is cool! Also they have a lot of rad art streams and game streams and stuff!Â
I was on this week's episode of The Comic Chronicle Podcast! Talking comics, conventions, good advice from Paul Levitz, and more! Give it a listen if you haven't somehow gotten enough of me talking about comics after this!Â
Pic of the Week:
Podcast promo and another good Nadja pic for her birthday!Â
