Category Archives: Tutorial

Creator-Owned Economics: The Changing Market

It’s been two and half years since I posted up my ‘Reality of Mainstream Creator-Owned Comics’ article that kicked off a furious online discussion about where money goes in the retail market and what creators are paid on small print run creator-owned comics. There’s rarely a week that goes by where someone isn’t linking to that article, tweeting at me about it, or otherwise asking for clarification about ‘how things work’.

Even when some people pointed to that article as ‘proof’ that Image Comics wasn’t all it was cracked up to be, Image stuck with me, kept publishing Skullkickers, and continued to make incredible strides in expanding the market for creator-owned comics. I’ve always been thrilled to have my creator-owned books published by Image because I knew why the company was formed and how it’s always worked: Creators are in complete control of their comics and they’re compensated based on its success.

The comic industry in 2015 is a very, very different place and a big part of that is thanks to Image Comics’s tireless efforts to show retailers and readers the strength of new ideas and new stories.

SKULLKICKERS #1 (September 2010) and WAYWARD #1 (August 2014).

The Image model has always been about investing in yourself and reaping the benefits of that investment if sales are strong. I knew that going in with Skullkickers back in 2010 and, even when our sales were borderline unprofitable, I stuck with the series as a way to establish myself as a writer and show people our team could produce a high quality comic month after month. Now, four and a half years later, I’m seeing the benefits of that consistency and the growing creator-owned market with my new Image series called Wayward.

How much of a benefit? Well, let me show you…


Wayward’s first five print issues have sold more than two and a half times as many as Skullkickers did over the same period 4 years earlier. As you might imagine, that’s an impressive jump and I think there are a bunch of reasons for that climb:

• Improved Visibility for Comics: Comics sales are growing in print and online, graphic novels are the buzz-worthy darlings of the book market, and comic-related movie and TV shows are more mainstream than ever. The ripple effect of that is a greater acceptance of comics from the general public and a more diverse fanbase looking for new stories.

• Image’s Success and Subsequent Growth: The success of the Walking Dead, Saga, Sex Criminals, and a host of other incredible titles have increased visibility and market share for Image. This is especially true with launch titles as readers and retailers look to these new series with excitement, hoping they’ll be on the ground floor for something special.

• My Career Growth: In 2010 I was practically an unknown creator in the mainstream comic market. Four years later I have quite a few other comic titles under my belt – Samurai Jack, Figment, Legends of the Dark Knight, Pathfinder, and a bunch of others. I’m not an industry powerhouse by any means, but the readers from those series seemed curious about what my next creator-owned title would be and jumped on board Wayward to check it out.

• Retailer Outreach: I’ve also done a ton of retailer outreach over the past four years. Having well regarded work is wonderful but only if retailers feel confident they can sell the books. As we headed towards the launch of Wayward, the crew at Image and I did a lot of communicating with retailers about the series, showing them exclusive artwork and previews, doing everything we could to prove to them that this was a series they could confidently sell to their customers. That lead to several comic shop and convention-exclusive variant covers for Wayward #1, bolstering our launch numbers by thousands of copies while creating extra interest in the series.

• Press Outreach: In the same vein, it’s a heck of a lot easier to get press coverage when you’re more established and we (Image’s PR crew and I) did a lot of press outreach as well to make sure Wayward was visible on every comic news and review site we could muster. The last couple months before the launch of issue one was a dizzying promotional tour of interviews, podcasts, exclusive sneak peeks, and more.

• The Series: Wayward is a very different series than Skullkickers. I love them both, but I’d be foolish not to note that Wayward as a concept is more inclusive and taps into a much larger potential readership than Skullkickers does. Cute supernatural teenage girls (surrounded by cats) kicking the shit out of monsters on the street of Tokyo plays to a bigger audience than a bro-centric slapstick violent D&D tale, especially in 2014-2015.

Okay, sale numbers are spiffy but how does that translate into relative profitability? Wait ‘til you see this…


I know you’re looking at that bar chart and can’t fathom how 2.5 times the sales magically turns into 7.5 times the profit. Trust me, I’ll explain.

Here’s the real beauty of the Image model when it’s running at full steam and, as far as I know, it’s something no other creator-owned publisher can match: Image has a flat administrative fee for soliciting and releasing each issue of a series. That amount does not change no matter how much the issue sells. On a relatively low selling comic (like back in 2010 with Skullkickers #1) that base fee can eat up most of what’s left over after the printer, distributor, and retailer take their cut but, on a strong selling comic that amount stays the same and the issue becomes a lot more profitable. A lot.

This is why that pie chart from my original retail post doesn’t scale well to different print runs and doesn’t perfectly sync up with the Image model. A 5000 copy comic has a very, very different money breakdown than one that sells 10k or more. Printing large quantities of something vastly decreases the cost per copy. The “price per unit” drops and the profitability per copy increases, but Image’s base fee doesn’t change.

Each issue and cover breaks down differently in terms of percentages/costs, but here is an approximate rundown of how our best one fared, WAYWARD #1 Cover A:

As you can see, it’s a seismic difference from the chart I posted in 2012 based on a much lower print run/lower sales.

Skullkickers #1 went through three printings, but each one was a small run, which made the “per unit” cost quite high on each issue. Wayward #1’s first printing was a much, much larger run done all at once and, in turn, the profitability of that first issue was geometrically larger. A lot more copies printed, a lot more sold, and each one cost a lot less to produce, making us a lot more money when it was all said and done.

Cranking up that profitability even further, Image has been able to leverage their increased market share and larger print runs to aggressively keep their printing and shipping costs low even as their sales increase, leaving even more money for creators after the fees are covered.

You might look at that chart and imagine Steve Cummings (the artist and co-creator of Wayward) and I pelting each other with giant wads of cash, but it’s not like that. What those numbers mean is that we’re thankfully in the black right from our first issue, which is obviously where we want to be. Steve gets to make drawing Wayward his full time job (I’m still teaching at a local art college and freelance writing), and the color flatter, colorist, and letterer all get paid without me having to dig into my personal savings (like I do on Skullkickers). On top of that I can finally put some money into my “war chest” for convention travel and future creator-owned projects. If sales continue strongly I’ll make extra payments on my mortgage so I can be debt free that much faster.

It’s a solid start and miles ahead of where I was in 2010, but that doesn’t mean we can rest on our laurels. Strong launch numbers are one thing, but finding a loyal sustained readership is our long term goal and that requires a lot of work. By the time our first arc ended, Wayward seemed to be settling into a reasonable sales bracket, now we have to do everything we can to try and stay in that stable sales range over the long haul.

Image is bolstering our chances by releasing Wayward Vol. 1: String Theory on March 25th as a value-priced $9.99 trade paperback. We’ll make less money per copy on that first volume, but it’s a very smart way to increase our readership as retailers up their orders, new readers give the series a shot at a sweet price point, and current readers ideally pick up the collection for themselves or buy it as a gift for their friends (Pssst~ Have you pre-ordered your copy yet?).

Our standard TPB cover and the Emerald City Comicon exclusive hardcover.

We’re also releasing Wayward #6, the first issue of our second story arc, on the same day as our volume 1 trade paperback as a way to create extra sales synergy. Savvy retailers can bundle both together to get readers on board the new storyline, hopefully leading to additional subscriptions for their pull files.

On top of that, Steve suggested we create a series of connecting covers for our second story arc and I happily went along with the idea (leaving the logistics of that artistic monstrosity to him and Tamra, our kick ass colorist). We’re hoping fans will want to keep buying the single issues to create a sweeping 5 issue cover panorama. Here’s how the first three covers (issues #6-8) look when they’re connected together:


Quality, consistency, and outreach. With a bit of luck those three things will convince retailers and readers to stick with us.

At the same time, Skullkickers is heading into its final story arc. Financially it’s always been a bit rocky but it’s proving robust with a long tail of digital and collection sales and has a strong audience online as a serialized webcomic. It’s the project that pushed my comic writing career to the next level and I’m incredibly proud of the work we’ve done. Nothing else I’ve worked on since then would have happened without it.


If we maintain our current production schedule on Wayward we’ll have two trade paperbacks out and be starting our third story arc in time for Christmas 2015. Skulkickers’ final arc, final trade paperback, and final deluxe hardcover will arrive before Christmas as well.

At each step we’ll be juggling solicitations 5-6 months ahead, scripting 3-4 months ahead, line art 2-3 months ahead, coloring 1-2 months ahead and letter proofing a few weeks before each issue heads to print. It’s a relentless game of “Scheduling Tetris” but, when the momentum is rolling, I actually enjoy it. There’s a constant influx of inspiration as line art and coloring samples pop into my inbox almost every morning. It reminds me that all of us on the team are working hard to create something that wouldn’t exist if it wasn’t for our efforts and the support of amazing retailers and readers like you. I love creating comics and want to keep this dream rolling as long as I can, learning more about the craft and business, year after year.

In the end, I think that’s what creator-owned comics are all about – charting your own destiny and growing creatively with each new project.

If you found this post interesting or helpful, feel free to let me know here (or on Twitter) and share the post with your friends. Please consider buying some of my comics online, from your local retailer or from me in person if you see me at a convention.

Conventioneering – Part One – Getting Ready

I’ve talked about a variety of different subjects related to creator-owned comics- writing craft, networking, promotion, and economics, but one of the areas I haven’t focused on (until now) is a big one: selling at conventions.


I’ve been attending conventions as a professional since 2002 and in the past 13 years I’ve exhibited at over a hundred conventions of all stripes- big pop culture shows, indy comic markets, educational festivals, library conferences, and classic comic cons. Each one has its own feel and its own set of challenges. There’s no possible way for me to give advice that can cover every convention eventuality, but I wanted to put together some key points for things I’ve learned through trial and error that now saves me a lot of stress and is helping get my work out to a larger audience.

First off, let’s talk about expectations and being prepared.

If you’re heading to a convention with the intent of selling or promoting your work and getting your foot in the door but you’ve never done this before, you need to make sure you’re realistic about your goals. You will not make piles of money. You will not sell hundreds of books. You will not be plucked out of a crowd by your favorite publisher and be given a contract that promises fame and fortune. Get that crazy crap out of your head. Conventions are great, but don’t spend money you can’t afford with delusions of grandeur.

If everything goes well you’ll have some fun, make some new friends, and could make a bit of money. As I’ve covered in my post on networking, some of the people you meet may end up being valuable contacts down the road, but it’s hard to tell where these things will lead.

Start local. If your city or a city within driving distance has a convention, that’s a safe bet. If you’re lucky enough to live in a well known convention city (I’m sure we could name a dozen, but off the top of my head let’s say New York, San Diego, Chicago, Seattle, or Toronto) then that’s no problem but with the proliferation of convention culture it’s easier than ever to find somewhere to set up.

Plan as far in advance as you can, especially if this is your first time travelling to a particular city. You’re better off pushing a convention appearance to next year than you are rushing into a show without a plan or proper materials. I can pull together a convention trip last minute now if I have to, but I’d much rather not.

Here’s how my table looked at Fan Expo Canada in 2014:

(My new banner is a set of four that roll up quite small and, thanks to the grommets on each one, I can swap in new ones depending on which projects I’m promoting at each show. I also have a free-standing banner for shows where they don’t have pipe-and-drape set up.)

It’s the largest solo set up I’ve had at a show so far and, thankfully, it ran pretty smoothly because I planned ahead.

Here are some basic questions you should be able to answer while you’re getting ready:

What is the focal point of your table and how are you going to display that in a way that’s clear and easy to interact with? This is where attending other conventions or checking out photos of cons online can be a lot of help.

When you’re just starting out you probably don’t have much product, so this is pretty easy but, even still, early on I would measure a plot on my dining room table equal to the Artist Alley space I was about to get, tape it off and then pre-set up that space to see how it looked from both sides of the table. From there I could make adjustments and double check that everything fit properly. Once you do that a few times you’ll get a good handle on how much space is needed for product and signage.

If you’re going to be sketching at the table, is there enough room to do that? Self explanatory.

Do you have an inventory list and are you keeping track of your expenses? Even if you’re just doing this for fun, it’s helpful to know how much you’ve spent versus how much you make when you’re setting up at a show. It doesn’t have to be high tech. A simple check list for product and envelope to stuff receipts in is good enough to start.

Do you have supplies you might need over the course of the day? Here’s a quick list of basics that are always helpful to have in your convention travel pack:
• A money float so you can easily make change
• Your business cards
• Your portfolio (physical or digitally on a tablet)
• Book or other display stands
• Charge cords for your tech (If you’re a real keener, bring a power bar/multi-outlet too.)
• Pens, pencils, sharpies (thick and regular) and any other art supplies
• Post-it notes, extra paper
• Invisible tape and packing tape
• Clips, rubber bands, and safety pins
• An exacto-knife and pair of utility scissors
• A few feet of dark fabric to cover the table/product when you’re not there
• Granola bars and a couple bottles of water
• A small bottle of Aspirin and/or Tylenol
• Hand sanitizer and breath mints

At the end of each day/end of the show you should look over that list and restock anything that ran out.

Here’s a photo of my convention supplies for a typical show. It all fits in one backpack and is pretty easy to carry around. The only thing not pictured is my banner and books:

Speaking of which, is your set up portable? Getting your supplies and product manageable and moveable is important, especially if you’re setting up by yourself. Get everything you need gathered in one place and make sure you (or you and people helping you) can actually carry it all. Imagine you have to do that while using an escalator or a packed elevator.

On the other hand, if it’s going to take multiple trips to get all your stuff into the show, do you know where load-in is happening and where you’ll need to park? Save yourself frustration and find out ahead of time.

Do you know where things are at the show? Find your table on the map. Write it down so you don’t forget. Locate washrooms and key booths you might want to visit ahead of time so you’re not scrambling trying to figure that out when the show is under way and probably crazy.

Do you know the area around the convention center/hotel? If not, do some research on restaurants, parking, the closest copy shop, and closest post office or Fed Ex. The better informed you are about the area, the easier things will be over the weekend. It’s also nice to be able to recommend places to go after hours.

Going to conventions has proved to be a big boost for my career. Many of the comic projects I’ve done can be traced back to the wonderful people I met at shows and the conversations we had there. A great convention reminds you about the energy and excitement that comes from this industry and, ideally, puts a few bucks in your pocket at the same time.

In future articles I’ll talk about pricing, selling, and travelling to other countries for shows.

If you find my sales and tutorial blogposts helpful, feel free to let me know here (or on Twitter), share them with your friends, and consider buying some of my comics to show your support. Thanks!

Creator-Owned Sales – Nov 2014 Update

Just over a year ago I put together a second pretty extensive post all about how long term sales were going on Skullkickers. I wanted to give people an understanding of the economics of what I’m doing without revealing the exact dollar figure amounts involved (that information is between Image Comics and the creative team).

Since then I’ve received two more accounting accrual statements from Image and also had a chance to dig deeper into the numbers and chart them a bit more accurately.

Here’s an updated look at where we’re at and some of my thoughts. I’m not going to repeat the same info from before, so feel free to check the earlier article for analysis of 2011 Q2-2013 Q2.

Here’s how Skullkickers has performed from our launch back in 2010 through to the first half of 2014:


2013 Q3-Q4: As I expected in my previous update, printing the deluxe Treasure Trove 2 hardback ratcheted up our expenses, but print sales are pretty much neck-and-neck, with digital keeping us slightly ahead.

2014 Q1-Q2: Reprinting our Volume 3 softcover built up some cost but we’ve been able to stay ahead with accrual sales. Digital sales are now becoming a larger factor overall as well. How much so? Well, let me show you in more detail.


Keep in mind the above is profit, not sales.

Digital sales continue to grow. Since there’s no print run or storage limit with digital they continue to build profitability over the long haul (particularly with the early issues as new readers sample the series during comiXology sales). Many issues that lost money in their initial print release have been able to make back their losses thanks to digital.

You can also see the effect our goofy reboot promotion (where we released five new #1’s in five months) had during issues 19-23. We’d never be able to do that sort of thing again, but it was a nice way to extend the life of the series a bit. I can see why Marvel and DC hit the relaunch button so often. Fans may say they’re sick of new #1’s, but the truth is that it can stir interest/sales.

Let’s look at the current state of the collections.


In my update a year ago Skullkickers Vol. 1: 1000 Opas and a Dead Body and Skullkickers Treasure Trove Vol. 1 weren’t profitable but now, thanks to longtail sales and digital, they’re making some money.

Skullkickers Vol. 3: Six Shooter on the Seven Seas sold through its initial print run and needed a reprint, so it’s back in the red (but will hopefully recover over the long haul).

Skullkickers Vol. 4: Eighty Eyes on an Evil Island hasn’t been out very long so there are more copies in stock than have currently sold. Thankfully digital sales are helping.

The deluxe Skullkickers Treasure Trove Vol. 2 hardback is, like the first one, very expensive to print and will take quite a while to make its money back. Even still, with a higher cover price it’s a great archival item to have available. The deluxe volumes sell well for me at conventions and, although it looks brutal right now, I think it will climb its way out of the red just like Treasure Trove 1 did.

A year ago our print expenditures had finally popped into a tiny bit of profitability. How are things looking now?


Okay, so that tiny breath of profitable fresh air in the green was temporary, but that’s okay. Things actually aren’t as dire as it may look, given all the data.

First off, Image paid us an accrual cheque based on digital sales in 2013, so when they had to print Treasure Trove 2 and Volume 4 and reprint Volume 3 that put them back in the red. Keeping the series in print and available is crucial for our long term viability.

Secondly, notice that digital sales continue to climb and that profits from digital are actually keeping pace with losses incurred through print. Digital is keeping us skimming along the break even line. I’m still hopeful that, once the series ends in 2015, we’ll end up in the black.

Compare the current situation to the low point of the first half of 2012. I can’t state enough that Image has been a rock through all of this, making their base amount and sticking with us, paying printing/distribution bills while we looked towards longtail sales for the series.

Keep in mind this is just analysis of one creator-owned series. As interesting as it can be, I can’t speak to anyone else’s sales or their financial situation. This sales cycle does not correspond to all creator-owned books. Please don’t make your own financial decisions based on what I’ve done. Everyone’s risk threshold and situation is different. You may end up throwing good money after bad. Wayward, my new creator-owned series that launched in August, has a completely different sales/profit situation and, if I have time, I may analyse that as well once we have our first trade release.

Note that this is not the full financial picture. The above charts don’t include convention sales, which are still going strong. The money made from direct convention sales, sketch covers, commissions and selling original page art has helped keep us going and viable. I exhibited at 11 conventions this year and, even though it was exhausting, it paid off in terms of sales and visibility for the series. It also doesn’t include money made from web ad revenue generated at our webcomic site.

Also note that none of the above takes into account freelance work that’s come from working on Skullkickers. If you factor in money made from the writing jobs I’ve done for Marvel, DC, Dark Horse, IDW, Valiant, Dynamite, and UDON since the series began, it has turned a substantial profit in that way even after paying the art team out of my own pocket (which is not factored into the above. The charts above represent only Image Comics’ profit/loss). Skullkickers has been the foundation where I’ve built a 2nd career as a professional comic writer over a relatively short period of time.

Most importantly, we put out a comic that stands favourably beside some of the best titles in the industry and I’m incredibly proud of that. As we head towards our sixth story arc we’re going to have over 30 issues, which is pretty rarefied air for a creator-owned series in this day and age.

If you find my sales and tutorial blogposts helpful, feel free to let me know here (or on Twitter), share them with your friends, and consider buying some of my comics to show your support. Thanks!

Comics Survival Kit

Gail Simone, award-winning comic writer and long time friend/supporter of my work, has put together a new Tumblr called the Comics Survival Kit filled to the brim with resources for aspiring comic creators.

Compiling articles and information from artists, writers, and editors across the industry, it’s a great resource and quite interesting even if you’re not looking to make your own comic stories. Check it out!


Comic Story Critique

One of my students from Seneca College (where I teach Animation courses) sent me two finished comic scripts for feedback. I don’t normally have time for this kind of critique, but we’ve talked quite a bit in the class about his desire to create comics and I wanted to encourage him to continue and push him to dig deeper. Here’s the feedback I sent, since I think a lot of the critique I write applies to new writers just starting out.

(Please do NOT send me your pitches/scripts for feedback. I really don’t have the time to review them. I did this as a personal favour for someone I know. I can’t spend all my time critiquing the work of strangers, especially with my insane work schedule right now).

Hi (name removed),

Sorry for the delay in getting back to you on this.

First off, congrats! Writing stories is tough and creating something new for yourself, especially the first few times, is always an intense uphill battle. You’ve finished a draft and that’s worthy of praise.

I read through both scripts and have quite a few thoughts, but I want you to know that I’m giving critique because I want your skills to improve and feel you’re capable of learning from the feedback rather than taking it personally. Tastes vary and what works for one person won’t necessarily work for another, but getting feedback and deciding what criticism is valid for yourself is key.

TITLE: I’ve been told by several people that titling a story something negative can create a subconscious negative impression of the story itself. I know what you’re going for with that title and it’s okay, but I thought I’d mention that right out the gate.

FORMAT: Many of your panel descriptions are too brief and far too generic. You don’t have to create flowery prose for a comic script, but you do need to have enough material in there for the artist (unless you’re drawing it yourself?) to draw inspiration from. Using terms like “the city”, “the bank”, “the police station” doesn’t give us a sense of the place or atmosphere. What kind of city is this? What impression do these places give? Rich, poor, modern, historic – what do we need to know about these places to help us visualize them?

Always impart relevant information the very first time it’s required. You have several pages mentioning the crowd of people at the start of the story before you include information on the fact that there are mutants mixed in with that crowd. You also don’t mention that the main hero guy is wearing tech on his wrist until later when he uses it.

Remember that ‘page turn reveals’ happen on even page numbers. You have several surprise/big reveal moments happening on odd numbered pages, which means that if this was a printed comic the reader would already have seen the big moment with their peripheral vision as they read along.

PLOT: Your core story (cops investigating a superhero murder, a lesser hero murdering the #1 hero they’re jealous of) is really, really well worn cliché ground that’s been done many times before. Every twist and reveal is exactly what I expected it would be as I was reading. There’s nothing new here that hasn’t been done in other places.

One of the toughest things about creating new stories and being inspired by all kinds of different sources is that your earliest stories tend to be Frankenstein monsters of all your influences as you learn about form and storytelling methods. In that way, that’s exactly what you’ve done here. It’s competent, follows narrative logic and all wraps up cleanly. I think you’ve learned a lot just by writing this… BUT, it doesn’t have anything new/different/unexpected to say about superheroes, murder, or police work. The tropes are locked in place and a reader who knows the genres you’re taking from enough to want to read this will also see nothing here to excite them.

RESEARCH: After reading the story I don’t get the impression that you’ve done any research at all in to how actual murder investigations are conducted. Go beyond base level clichés and easy 1 note solutions. Even if you don’t use 90% of the research you do on actual police work, you can enrich the story with a 10% extra dose of reality by doing the legwork and finding out about the real thing. Everything goes too smoothly for your loser cops. They stumble across evidence and solve everything without breaking a sweat. They don’t follow any kind of protocol and just sort of stumble along and have it all go their way.

Same thing with the technology. Everything comes across as generic and too simple. They don’t give a sense of high-tech/future tech or any kind of specific reality. They’re just sci-fi-style shortcuts without anything new/unexpected.

DIALOGUE: If the entire story played out in a generic way but the characters were unique and witty the story could still be entertaining. What really hurts it for me is that your dialogue is just as cliché as the plot. Every character says the expected thing in the blandest way possible to move the plot forward. Everyone’s dialogue is interchangeable. There’s no personality coming through in the way they speak or their attitudes. They spout plot facts and move to the next scene.

This is where research can really come into it. Enrich the characters with facts about their lives, the city the story takes place in, the things that are happening before the story ever began. How did they end up where they are in the police force? What do they do when they’re not working? Who are they and why should we care?

Read the dialogue out loud. Get into character and say it differently for each person. How can you make the characters more distinctive sounding? How can you strengthen their personalities through the way they speak?

Again, I get that you’re playing with clichés, but would it kill you to have a woman (multiple women) in this story anywhere? Two superheroes, multiple bank robbers, cops, the police chief… they’re all guys. Don’t fall into the toxic head space that guys are protagonists and women are background material. It’s bullshit.

THEME: What is the theme of the story? What are you trying to say above and beyond the basic sequence of events? Not every story will be deep and meaningful, but finding a message/theme can be a helpful way of pushing yourself with bigger ideas to help drive the story.

I’m not saying you have to force a ‘deep’ moral core into it by any means, all kinds of fun stories can be built on silly/slight premises, but right now there’s absolutely nothing beyond the sequence of events and those events are generic.

Say something you believe in, not just what you think the audience wants to hear.

I know the above may come across as harsh, but I really do want to reinforce that you’ve done a good thing by completing these scripts. The only way to really learn storytelling is to do it. Reading tutorials and how-to books can’t replace the work itself. These scripts are the building blocks towards your improvement and you should be proud of that, even when I’m cutting deep with my criticism. I hear far too many people tell me they want to write stories and create things and then lament that they never have the time or make other excuses. You’re doing it and that is worthy. Keep doing. Keep building, self analysing, and improving.

Networking Is Not What You Think It Is

“Networking” is one of those broad social terms that get tossed out in conversation, and everyone who’s been around a while nods their head knowingly when the word comes up, but it’s something I think is quite misunderstood by a lot of people trying to get their start in comics or any other creative business.

Networking is not entering a social setting, finding the most “powerful” person there and trying to dazzle them so you can become “friends”.

It’s not sending lists of questions to professionals so they can “help” you break in.

It’s not tagging people on Facebook so they see your artwork or writing.

It’s not about dominating a conversation or hogging the spotlight.

It’s not nepotism or elitism, contrary to what some may think.

At its root, “networking” is about expanding your social circle in your related field. It’s casual conversation, shared enthusiasm, good manners, kindness, and common sense, whether those interactions are online or in person. Through the bonds of friendship and trust that build over time you’ll broaden your perspective on the creative and business sides of the industry and, eventually, find out about opportunities before people who are not as involved in those areas.

Like any kind of socializing, networking can be difficult to navigate at times. Everyone is doing their own thing and has their own wants and needs, both in the immediate and the future. There’s no perfect path for networking, but I can give you some quick tips gained from years on the convention circuit and working with publishing, video game, movie, and other entertainment companies.

• Friendly, casual: Networking isn’t contract negotiation and it’s not a job interview. Over the long, long haul it may lead to that kind of stuff later on, but don’t over formalize something that’s not all business.

• Be yourself at your best: Don’t try to put on airs or be something you’re not, but also try to be the best version of “you” that you can.

• Don’t come on too strong: I know it can feel like the current social interaction you’re having is the only time you’ll ever get the chance to sell yourself or make the big pitch, but fight that nervous urge and try to relax.

• Everyone is worth meeting: A lot of people want to meet celebrities, editors, art directors, and other decision-makers, but some of the most enjoyable and valuable networking I’ve done is with people who weren’t instantly recognizable as a “big deal”. Introduce yourself to someone you don’t know and you may be surprised at who they are and what they do.

• Listen and Ask: Engage the people you meet instead of just talking about yourself. Listen to where they steer the conversation and go with the flow. It’s not all about you.

• There is no perfect conversation: Don’t rehearse what you’re going to say and don’t expect to check off a list of “key points”. Try to enjoy the interaction for what it is instead of trying to make it something it’s not.

In my experience, the best kind of networking is the stuff that feels almost effortless – enjoyable conversations about shared interests, enthusiasm for the work of others, catch-all chatter about people and places. It’s a relaxed baseline of socializing that lets people know you’re decent and worth getting to know more about. I know that doesn’t sound like it’s going to get you a job but, believe me, it’s an important first step into a larger community where those kinds of first impressions mean a lot.

People tell me that they don’t know “how” to network, but they’re usually over thinking things. Do you like meeting people who like the same kinds of things you like? Do you like talking about those shared interests? Are you in for the long haul? In my experience that’s 90% of what networking actually is.

Everyone wants to work with reliable people. Getting to know you, or hearing from other trusted people that you’re one of the “good ones”, can open up doors. It’s frustrating when that “in or out” mentality pushes away good people or doesn’t embrace a proper range of diversity, but that’s not exclusive to comics by any means. It’s something a lot of creative businesses are grappling with as views broaden and the market for stories becomes even more global.

People in these businesses talk. They weigh opinions. They gossip. I can’t tell you the number of times a name will come up in conversation and I hear the exact same feedback coming out over and over from completely different people. Word gets around, both positive or negative. Good networking (and, you know, being a decent upstanding person in general) is a valuable way of making the right kind of impression and building a solid reputation. It doesn’t get you a job all on its own, but coupled with a quality body of work and a bit of luck it does help bridge the divide from aspiring amateur to paid professional.

Let me give you a personal example – Back in 2002 John Barber and I were both amateur webcomic artists putting our work online. John’s comic was a superhero deconstruction tale called Vicious Souvenirs and mine was a surreal coming of age comic called Makeshift Miracle. The two of us met socially through the late Joey Manley as part of a webcomic collective called Modern Tales. While promoting my webcomic at that time I met all kinds of different creators and attended conventions across North America, slowly building up my skills and body of work.

Now, in 2014, John’s a Senior Editor at IDW and we’re talking about a new project I’ll be writing that’s set to launch in the Fall. In the 12 years inbetween these two select points John and I have seen each other dozens of times. We’ve chatted, laughed, and built up mutual respect for each other. There’s a professional but casual friendship that’s grown over time and it gives John confidence that I’m a capable creator who will deliver the goods. I didn’t meet him back in 2002 expecting one day he’d hire me to write a comic, things progressed naturally out of shared social contact as part of this community. John is just one of literally hundreds of people I’ve met in the business over the past 12 years. When I look back through my career I can see weird and wonderful connections between the people I met over a decade ago and the work I’m doing in the here and now. That’s how it works.

Networking is easier than you think – Be social, be decent, and be involved. Don’t try to over think the destination, just focus on the journey itself and enjoy meeting people along the way. You’ll make lifelong friends, broaden your horizons and then, when you least expect it, professional opportunities may come your way.

If you find my tutorial blog posts helpful, feel free to let me know here (or on Twitter), share them with your friends and consider buying some of my comics to show your support.

Time-Saving Tips for the Creative Crunch

After my previous post about my output in 2013 and some thoughts on writer’s block, I received a lot of wonderful comments and messages. Quite a few people asked about ways to be more productive/save time while they work, so I thought I’d cover a few things that have worked for me in case they’d be helpful to a wider readership.

Although creativity and writing can be driven by inspiration and there are more/less productive cycles, there’s also a lot of repetition that can take up undue amounts of time if you let it. Whenever I notice I’m doing the same kind of thing again and again during my work process I look for ways to automate parts of it to save myself time later on.



When you’re constantly communicating with clients, publishers, other freelancers, and conventions you’ll notice that the same information is required over and over. Do it once, do it right, and save it so you never have to put that information together from scratch again. It’s easy to update and adjust once you have the foundation in place.

• I use a script template (It’s based on Fred Van Lente’s killer script format and the latest version was put together by the incredible Rob Marland, which you can download right HERE) that auto formats and auto numbers pages, panels, and dialogue lines so I don’t have to waste time doing it myself. It sounds silly and unnecessary but, trust me, when you have hundreds of pages of script and multiple panels per page it’s really helpful to just hit Enter→ and immediately roll into the next sequence without hitting Tab>Bold>and typing “Page” and “Panel” over, and over, and over again. The other nice thing with auto numbering is that if I take a line or panel out of a script, it cascade renumbers everything to match the new sequence, which is a real sanity saver. The technology is there, so I might as well use it to my advantage.

• I put together a standard intro paragraph about myself and my work so I can easily cut and paste it into an email and then customize it from there for introducing myself to new clients. The same goes for review copies and press contacts.

• I have a short 50-80 word bio and a longer 100-150 word one along with a recent photo of myself (both print and web-sized) so I always have them for conventions, signings, whatever.

• Publishers always need mailing information and that info tends to get lost so, as soon as I start working on a new creator-owned project, I get everyone’s updated contact info and put them in a text file ready to go. It’s also helpful for sending people I work with little surprise gifts or Christmas cards.

Basically, whenever I’m typing up information that seems generic enough that I may need it again, I’ll save it to my cloud storage with a self-explanatory title so I have easy access to it later. Speaking of which…



I used to walk around with 3 or 4 USB thumb drives with iterations of my latest work and was in a constant state of ‘version madness’ trying to remember where I’d saved the latest document or cursing myself if I forgot to back-up a copy somewhere safe.

Now I have a set of organized folders on Google Drive (Dropbox or any other comparable service should work just as well) that automatically uploads the file I’m working on to my desktop computer, my laptop, my office computer at the college where I teach, and online to my Drive account. It’s goddamn magic. I no longer have to worry about losing my work or wondering if I’m working on the latest version of a story. All of them are current, all of them are safe.

Even if I do some writing on a plane or somewhere else without an internet connection, the minute I hook up to the internet again (at a hotel or a coffee shop while I’m on the road) it propagates the newest save and every version is up to date again. With small files like documents the process is practically instantaneous and, since they don’t take up much space, I can keep a full archive of every script I’ve ever written in the cloud so it’s easy for me to access old or new work wherever I am, whenever I need it. The same goes for pitches, outlines, contracts, logos, and key reference documents I use all the time.

I even have my email signature in a text file in the cloud with every email program (software or online) pointing to it, so if I ever need to change my signature all of them are the exact same and up to date. Anal, yes, but also very convenient.



Photoshop has a wondrous feature not enough people use – Actions.

When you’re producing 20+ page stories month after month you’ll end up doing the same things to art files time and time again. With Photoshop Actions you can set it to Record you doing the sequence once, then do it as many times as you want by clicking on the new Action you’ve created. You can even point an Action towards a folder and Batch Process the whole damn thing. Set it up and walk away while Photoshop chugs through the files. It’s glorious.

• Publisher needs cover art in 3 different sizes/formats for solicitation? One-click Action.
• I need to resize page art to a standard size and create a ‘floating’ line art layer before sending it to the color flatter? One-click Action.
• I need low rez pages with a watermark for reviewers? One-click Action.
• I need differently sized page files for the letterer? One-click Action.
• One of the colorists I work with has consistently dim colors? One-click Action.

Any time I can see that I’m going to end up doing something more than a couple times in Photoshop, I build an Action for it and automate that bastard. There’s no reason not to.



Funny enough, these tutorial posts here on my site are also, in part, a time saving measure. When people started asking me about how to break into the business, or how I write comics, I realized it would be something that would probably come up a lot. I decided to really hunker down and write up an extensive answer for each of those questions so I could easily point people towards it and not worry about brushing them off.

Everyone gets equal attention and a detailed answer instead of me ignoring the question or writing something vague and unhelpful because I don’t have time to deal with it when they ask. It’s a resource people can use and, if it’s helpful to them – great. If not – at least it didn’t take any more of my time.

Work time can be fleeting, especially when you’re trying to fit it in alongside a day job or other responsibilities. Working smarter with templates and automation can help you maximize your time and let you focus on the fun stuff – story building, art, and creativity.

Now, please enjoy the boilerplate finish to my tutorials below… :)

If you find my tutorial blog posts helpful, feel free to let me know here (or on Twitter), share them with your friends and consider buying some of my comics to show your support.

Feel free to share your own time-saving methods in the comments so other people can find and make use of them too!

The Writing Marathon – Motivation and Writer’s Block

I mentioned in my previous post that I scripted a thousand comic pages this year. That wasn’t hyperbole. The actual total was 1003 pages. I was backing up files and reorganizing old documents when I thought about the crazy productive year I’d had and got curious about how many pages I scripted in 2013 compared to previous years. Going back through my files checking old projects, here’s how it added up:


1000 pages is equivalent to 4 comics a month, which is solid output for someone working in the business full time, let alone juggling a full time day teaching job at the same time. I’m not saying that to brag, just trying to give some context.

That being said, it hasn’t been easy. In order to hit my freelance deadlines and stay on top of my day job, everything else in my life took a back seat in 2013. My social time with family and friends was fleeting. I barely played any video games or watched TV/movies. Almost every single trip I took was to a convention or signing. On top of all that, I stepped away from my Project Manager position at UDON, wrapping up ten solid years of working with people who have been like family to me. Writing consumed everything in its path.

My wife was incredibly patient through all of this, understanding that I had to make writing a priority to make the most of opportunities that came my way. Thankfully, she worked away on her own prose writing at the same time. We both have aggressive creative goals, which is one of the reasons why we’re a good fit together. :)

Producing stories week after week taught me how to ‘turn on’ productivity when I need to. It’s like any other kind of exercise – you start slow, keep practising, and bit by bit you improve. At this point I’m able to break down a story faster, pace out scenes better, and more quickly get into character when I’m writing dialogue. You can read tutorials and learn from other writers’ techniques, but there’s no replacement for putting in the time and building your skills through experience.

People have asked me how I stay motivated and push past writer’s block. I don’t have a foolproof system and I have unproductive days just like everyone else, but my answer is probably not what you might expect.

When I get blocked up and need to get writing work done, my biggest motivator is fear. I know that sounds weird, but it’s true.

I have a deep unshakable dread that people who are waiting on my work (the line artist, colorist, letterer, editor) will get screwed over if I don’t deliver when I say I will.

I’ve been in too many situations where people haven’t upheld their end of things and those experiences have branded into my brain what that feels like. When I’m distracted or seizing up I try to put myself in someone else’s shoes and imagine how frustrated I would be if I was expecting that script and didn’t get it on time. After that, my gut clenches up and shit tends to get done…

…And if it doesn’t, a rye-whiskey and a bag of Doritos works pretty good too. :P


Crown & Coke – Jim’s writing fuel. Always drink responsibly. ;P

Having concrete deadlines looming overhead is a definite motivator too. Starting new creator-owned projects is more difficult because it can always be put off compared to deadline-driven work for hire gigs. Once I have an artist attached to a project it becomes more ‘real’ and my guilt-fear complex takes over. I don’t want an artist to be waiting on me when I said I’d have a script for them. I do everything I can to deliver on time or let the editor/artist know ASAP if things aren’t going as planned. It’s a respect and integrity thing for me. The fastest way to my bad side is lack of communication.

I don’t want people to get the wrong idea. I’m not here to tell anyone how much work they should be producing. My output and schedule is different from anyone else’s. Everyone has their own situation and has to do what works for them. There’s no “one size fits all” solution, especially when it comes to creativity.

Some people write a little bit every day like clockwork. I tend to do story breakdowns and plotting for quite a while and then binge-script once I feel confident I have the story figured out. When I’m finally ready and in “scripting mode” I can pound out 8-10 pages on a good week night or 15+ pages on a Saturday or Sunday working through the day. If someone else does 3 pages a day for 7 days in a row and I plan things out and then script 20 pages over two days, it doesn’t matter – We both have a finished script ready by Sunday night.

Even then, I wish it was that simple. I can’t honestly say I produced a script a week. Deadlines overlap and outside responsibilities occasionally trump writing time, which translates into bursts of productivity between pauses trying to figure out plot lines or waiting on project approval. The flexibility of writing is both a positive and negative – You can work any time, but you always feel like you could do more. What’s important is finding methods that work for you and recognizing your own triggers, good and bad. The only way to do that is with time and practice.

My goal for 2014 isn’t about writing more, it’s about improving my overall quality and being selective about what I’m working on – Launching creator-owned projects that show a wider range of ability and taking on work for hire projects that inspire me and bring out my best. That’s where I feel I’m at right now. Look at that dorky 5 year bar chart above and understand that it’s a process that takes time. Everyone’s path is going to be different, but I can say without reservation that writing regularly will definitely help you improve, no matter what skill level you’re currently at.

For the first couple years I was worried about whether I’d be able to deliver anything at all. After that I fretted I was typecasting myself with too many sword & sorcery projects. Right now, I’m feeling a bit more balanced. It’s impossible to know if 2014 will be as productive as this year was, but hopefully I’m better prepared for the challenges to come. I don’t have all the answers, but I think I know how to keep some of this momentum going and enjoy the ride a bit more.

Colorist Wanted: Coloring Notes

I’m on the hunt for a colorist for a creator-owned comic project I’m looking to release in 2014. I posted about this position earlier today on Facebook/Twitter and the response has been strong. I’m hopeful I’ll find the right person for the job. Yay, internet!

Anyway, here’s the quick skinny-

Need colorist for creator-owned comic coming out in 2014.
Starting coloring rate will be $35/page.
Pages will be pre-flatted for you.
Email portfolio links to jimzub(at)gmail(dot)com

In addition to that Want-Ad style brief, I’ve been sending more extensive style notes out to the colorists who got in touch and have work in their portfolio that looks compatible with what I’m looking for.

I realized it might be helpful for other people to see those notes as well. Every project has different requirements, but you may find it helpful to see what I’m looking for and why.


Stylistically, I’m looking for the following on this comic project:

• Color palettes that help sell the mood of the scene instead of just blue sky/green grass/blue water kind of obvious local color choices.
• Clean cut light and shadow reminiscent of animation. This will require a solid understanding of light direction, cast shadows, and volume even though the coloring ‘cuts’ may look deceptively simple.
• Light effects created by coloring the line art itself and using solid highlights instead of a lot of airbrush/gradients over top of the line art. I’m not looking for a soft/fuzzy/rounded rendering style for this project.

Here’s a zip file with colors done by Bill Crabtree on the Image series ‘Invincible’.



It’s a great example of what I’m looking for. I don’t mean Bill’s specific color palette choices but the way he uses hard cut areas of light and shadow to create mood, show depth, draw attention to characters, and instantly identify a change of scene or location. It’s not about detail as much as it’s about strong staging choices and powerful color palettes.

If you can deliver that kind of clean cut moody coloring, then you’d be a perfect fit for this project.

I have three sample pages completed by the penciler so far. I’ve sent them off for flatting, but should be getting those back by end of the week. Once I have those flats I’ll send over a layered-flatted page file along with color ref for the characters and the sample script. If you could color up one page as a test, that’ll help me compare coloring approaches and make a decision on the creative team.

Jealousy Is Creative Poison


Here’s a piece of advice very few people talk about but, the further I get on this weird and wonderful creative journey, it’s something I feel is absolutely crucial to bring up.

Avoid being jealous of other people’s success. It will never help you achieve the things you want. Focus on your own growth, not a scale set against someone else’s achievements or timeline.

Does that sound obvious? It doesn’t matter. You still need to hear it. I still need to hear it.

Being part of a roller coaster creative community like comics involves seeing a nigh-constant stream of promotion for new projects, big and small; Press releases, interviews, reviews, tweets, conventions, panels… It’s a barrage.

Every week it seems like everyone else is doing amazing things while you are standing still. That feeling can breed an intense amount of fear and doubt. It can eat away at your confidence and poison your ability to create.

You put yourself into the work. Your ego is wrapped up in these creative projects. You can’t help but compare yourself to your peers and have a knee-jerk reaction that their success somehow reflects back as your failure.

Trust me – You’re not the only person who feels that way. Every single creative person I know goes through periods of doubt, periods of frustration, periods of jealousy. What’s important is the ability to recognize it and do everything you can to push past it.

Don’t let jealousy motivate your communication. If you’re going into this business to be a creator, I feel you should be focused on creating, not tearing holes in other people’s work. Read it, like it or dislike it, learn from it either way, and then move on. I’m not telling you to be fake and pretend everything out there is wonderful, but the old adage of “If you don’t have anything nice to say, don’t say anything at all” is pretty sound advice for a professional conducting themselves in public.

Is there crap out there? Absolutely, and more crap coming every week, but I rarely talk about that online or in public. I’d rather let people know about things I enjoy and spread the word about work that inspires me. It helps me maintain a positive attitude and reminds me what’s important – creating stories I’m proud of instead of trying to tear other people down.


Try not to flail when you feel like you’re falling behind. Focus will take you further than fear. If you lash out with desperation or anger you’ll push away the very people you’ll need later on.

If you try and those frustrations still hit you hard, walk away from outlets where you could do damage and not be able to take it back. Seriously. Step away from email, Twitter, Facebook, whatever. If you need to, contact someone you trust in private instead of broadcasting negativity out to the world at large.

I can’t tell you the number of times I’ve been to a would-be creator’s blog/twitter feed and seen a screed of negativity a mile long. It doesn’t impress anyone. It doesn’t improve the situation. It won’t open doors for you. If people are discovering your work online, your public persona matters. Attitude matters.

I can be neurotic at times about where my career is headed. I worry I’m not doing enough and wonder if I’m making the right choices. The more I talk to friends in this business, the more I realize it’s a common fear. It’s part of being invested in my work.

It’s easy to see everyone else’s career like a highlight reel while your own is lived out in slow motion. It’s a flawed perception. Purge it.

Instead of looking at someone else’s opportunities as ones I haven’t had, I do everything I can to appreciate where I’m at in the here and now – The work, my amazing collaborators, and the wonderful people who have shown me support so far. I remind myself of the distance travelled and stay focused on current achievable goals.

The audience for good quality work isn’t shrinking.
People are hungry for great stories and memorable characters.
There’s room for you to create and build your skills.
It’s an exciting and wonderful time to be creative.
It will never be easy, but it is doable.

I’m not a psychologist or therapist and I have good and bad days like anyone else, but the above thoughts have kept me motivated and moving forward on my creative journey so far. I’ve had my share of successes and setbacks, but I’m still plugging away and hopeful for the future. That’s a ‘win’ in my books.

If you find my tutorial blog posts helpful, feel free to let me know here (or on Twitter), share them with your friends and consider buying some of my comics to show your support.