My Substack, now running a FREE series chronicling publishing misadventures, with advice for now because nothing has changed at all.
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A survivor's guide to being a working comic book creator
Living and dying in four-color time: the ballad of the working comic creator
by Joseph Illidge, comics writer, comics editor, Comic Book Legal Defense Fund board member, and owner of a movie production company.
The issues of being a creator of comic book issues
Honestly, though… do projects from top 10 publishers provide the income needed for a comfortable life? How many comic book pages do YOU need to produce to make enough money to cover the dollar amount of your monthly expenses?
Whatever the number is also has to take into account the deductions for your annual taxes.
Do you live in the East, West, or middle of The United States?
Do you live somewhere in the world where the U.S. dollar is stronger than your national dollar? If so, any given publisher knows they can pay you less than they would for an American counterpart… unless you have a really good agent. If you’re a U.S. creator, publishers can use the pay structures for non-U.S. creators against you when it comes to negotiating rates.
Do you have dependents? Are you saving up for your child’s college education? Do you own a house, which is your own personal money pit?
Are you saving money on a regular basis? Maybe…but how many hours a day do you have to work for it? The average is 10 hours a day, but is that really enough…or do you have to push it to 15 hours a day?
Is that a five-day work week? Unlikely. So six days a week. Maybe seven.
That’s anywhere from 60 hours to 105 hours per week. Which means you’re going from working 50% more hours than the average 9-to-5’er to approaching burnout levels. But burnout is inconvenient. You don’t have the time to get sick and take a few days off to recover.
Do you have health insurance? Good health insurance? Or is it an expense you can’t take on, hoping against hope you never get into an accident or have a need for regular medication?
READ MORE
This is an excellent article, first in a series from Joe Illidge, covering models of working in comic books, issues of being a creatore, and a breakdown of pager rates. Informative and well worth the read if you are at all thinking of a career in comics. ~eP
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I got the chance to publish a comic from JulyDotComic in the student paper Veto. It’s interesting to see my comic on newspaper-paper. Wouldn’t mind publishing more in newspapers, hihi! Thanks for publishing me.
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This will be gold for those interested in writing in or outside the comic book industry. Shelly Bond has written the first ever handbook.
Shelly Bond, Editor-at-Large @sxbond posted this on Twitter • Pre-Orders are critical for any book, to ensure we don’t destroy too many in our quest to make comics! I’m talking at you about “The Comic Book Editor’s (Secret) Handbook” of course. If you want a copy, pls tell your retailer to order by 9/4 and keep reading to find out what @definitelyvita has to say about it…
“FILTH & GRAMMAR is my new favorite book on the craft of making comics! Shelly has written the perfect mix of concrete 'this is how the sausage is made' style guide and 'you won't believe what happened to me on the way to my career,' storytelling, and I couldn't put it down.”
“I anticipate re-reading this until the pages fall out!" —Vita Ayala (New Mutants, Submerged)
FYI—Shelly Bond • Bossy Editor of Eisner Award-winners Bitter Root, Fables, Sandman Overture, iZombie. Creator of Black Crown & Minx. Worked at original Vertigo for 2+ decades.
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About A Civil Dawn
A Civil Dawn is a nonprofit publishing company focused on ensuring the creation of media which is educational and positive representation for LGBTQIA+ and neurodivergent people. We aim to do this by enabling and amplifying creators whose work aligns with our mission and goals. Our current focus is on web comic creators but we are excited for future projects like publishing zines and graphic novels, children's books, and other media from creators who match with our mission and values.
This blog will be used for announcements about the company, reblogs of content from our creators and other posts which align with our goals, and original posts and links to content created within ACD. Please feel free to send asks and DMs but please direct any business inquiries or non-Tumblr related discourse to us at
[email protected].
This post will be updated as we add to the below list of creators who we work with: @brooke2valley @alienbycomics @kaylasartwork @deadeyedfae @welldrawnfish
Manifesto
To be a person is to overcome Ick - trauma, fear, pain, and shame. By shining a light and promising hope we will reduce and heal the collective Ick to make the world brighter for everyone.
Because everyone deserves hope.
Mission
Reaching out to hearts and minds to wipe away Ick and empowering great people to reach even farther.
Values
Broadcast Hope
Partner for Good
Foster Understanding
Represent Everyone
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comic sales are down because the industry is inaccessible and expensive, not because piracy exists
Higher piracy rates are what happens when you make buying comics expensive, difficult, platform-dependent, and inherently exclusionary while pretending trades and digital don't count as sales.
if any single comic book company decided to be a competent publishing company for even a year comic piracy rates would plummet
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the endemic interpretation of tim drake being a coffee addicted, sleep deprived, isolated guy who’s trapped in a perpetual victim complex but is also the smartest person ever when for thirty years he was a narcoleptic skater with a mile long linkedin page is fascinating. reread batman prodigal and like…. o yeah this is a fun little dude with a terminal foot in mouth disease. the most little brother ever. i miss him.
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VERY BAD PUBLISHERS Part III, now FREE TO READ on my Substack.
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On th evolution of color in comics from dots to digital. If you are in San Diego this is a neat exhibit but if your not this is still an informative little video. Worth a watch.
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