Comic Project Work Flow for Indies

Work flow changes from person to person and from studio to studio, but many have several similarities.  I'm going to provide a simple work flow for a comic project from concept to finished product.  I'm not going to touch on publishing or distribution.  I'll save that for another post.

Practically these will be the steps you will more than likely take in create your comic.  Feel free to customize it to something you feel comfortable with.  This is the steps towards creating a comic project:

1. Concept
2. Story & Script
3. Pencil Sketching
4. Line Art or Inking
5. Coloring
6. Lettering
7. Editing of Final Draft for Print

Concept

Sand Still, Stay Silent Webcomic

If you haven't already, get yourself into the habit of brainstorming for story ideas as a daily thing.  Whether you're walking the dogs or doing the dishes (notice I'm picking simple chores and not during brain surgery or at your other job talking to customers...unless comics is your main job, of course) go through scenarios from your everyday and add something special to make it interesting.  You see the garbage man picking up the trash...so imagine if he found a dead body or some sort of alien device in the bin.  If you come up with something you really like then write a short paragraph like a pitch for it.  Keep it simple.

This is also a good time to come up with locations.  Draw some thumbnail sketches of places that you would like to use as part of your design.  Create rough design for characters for the story.  Come up with hero(es) and villain(s).

Story & Script

Putting together a story requires organizing those ideas you gathered during the concept stage. Decide how long you want to work your story, a one shot or spread throughout several issues.  The main difference is working with a story "Arch" in making several issues work together under one main theme and plot, while the one shot only deals with the story at hand.

Bul & Bal by Marko Djeska

Stories have a beginning, middle, and end.  Use a 3 act structure to organize your story.  When you feel a lot more comfortable with story telling explore other styles.  The beginning, also known as the first act, is used to introduce the reader to the characters and settings.  It also introduces o them the problem that will form the story known as the conflict.  Many story tellers use a "hook" to gain the reader's interest during the first act.  The hook is an enticing situation that creates excitement or intrigue. The second act plays out as the body of the story.  It illustrates the challenges faced by your hero(es) to find a resolution for the conflict.  At the end of the second act is the climax, or the main battle.  Finally, the third act is the resolution.  The villain is defeated or plan is foiled.  For series with several issues plan on having a cliff hanger at the end of the story to keep your reader wanting to explore the next issue. 

Once you have the story organized you'll want to break it down into a script format.  This is when you start creating scenes and dialogue.  Each page has panels.  You'll have to describe what's going on and add the dialogue, captions, and narration for each of these panels.  Keep in mind when describing the action in the panel that you're limited to an action or two.  There is also a limit on how many words per balloon per panel.  Pacing is very important in comics.  The general rule is fewer panels per page for action scenes and more panels for slower pacing to create tension.   

Pencil sketching and the rest will be explained in a latter post.

Concepts for Clients

One of the best ways to acquire new clients is to provide concept work.  You can't rely on a portfolio and a few booths setups at your local comic con.  Notice that clients aren't knocking on your door or sending you emails?  You have to get out there and work to build up your client bank and referral system.  What this simply means is that you have to go look for work by enticing writers or project managers to hire you.

There are many opportunities around you everyday, but many of us are so focused on our art projects and our tendencies to be a bit introverted that we let those opportunities slip away.  Share your art as often as possible.  Pull out your sketch book at a coffee shop or book store.  You're basically telling the world that you create art.

Writers interested in arts tend to ask lots of questions about your work habits and fees so be prepared.  Decide on your service...penciler, inker, colorist, etc.  Know your turn around time: the time it takes you to complete a comic page.  Have a page rate in mind: how much you charge per page of art work.  Its ok to be negotiable with your fee but have a ball park figure to start off with.  Most clients will find this convenient and will feel a bit more confident hiring you.

Feel free to explore ideas with writers.  Many of them have ideas brewing or work with other artists in the past and might be ready for a new project.  Use their past projects as a stepping stone and recreate their characters or settings in your art style.  People appreciate the enthusiasm and seeing their ideas come life.  But be warned, DO NOT USE THIS TACTIC IF THE WRITER IS ALREADY WORKING WITH ANOTHER ARTIST ON THE SAME PROJECT THAT YOUR PITCHING FOR.  This will create a rift and in
some cases result in legal issues depending on the contract in place between that writer and artist.

Fill your sketch book with other characters and places than the usual Marvel or DC.  Make your own.  This shows potential clients that you are creative and able to conceptualize ideas outside the usual mainstream.
       

Building Yourself up as an Artist

The reason many artist fail is because they don't get their name out.  The industry is very saturated, but even within that pool of artists some have very recognizable talent.  Sadly enough several of those waste their efforts in frivolous actions that lead nowhere and quickly become disappointed about the market.  Others have the mistaken notion that if they draw well enough opportunities will simply walk up to their door step and knock.  All of these artists wonder why they aren't making any money or getting more work.  "Exposure", that little word that has gotten so much negative feed back is actually the key.

Many upcoming comic creators have this idea that talent alone justifies them.   The almost cliche' argument of "Working for Exposure..." is the high light of almost every new artistic presenter...and yet these are the same artists that can't find new work.  As an artist myself I will say and stand behind saying that working for exposure is one of the greatest ways to acquire new and well paying clients and jobs.

The single most important thing to know when you work for exposure is the marketability vs work.  In simple terms, do your due diligence and evaluate the opportunity.  There is a big difference between working on a full 34 page comic for a first time writer and/or studio versus working a cover or 3 comic pages for a national recognized magazine.  Use a little common sense.  The opportunities are out there.

To get the best marketing out of it you will want to target national to global publishers and what you would consider small or simple jobs that you could showcase your best art.  You can even get some benefit from helping small publishers with small projects as long as they're well known in their local comic book scene.  Take on a few mini projects.

When you put your art out there with recognized publishers many clients can view your marketability for themselves.  In other words they'll be able to see for themselves that your work sells and is out in the market place.  When you help local small publishers the word spreads and others will want to hire you.  If you can be a bit flexible with your financing many publishers and writers will want to hire you.

The key thing here is to get your art out there in the market place through recognized publishers and local indies so that you're recommended to others.

Racism and How to Deal With it in Comics

Comics are not exempt from racism, nor has it been absent from it's pages.  We all understand what it is: the belief that all members of each race possess characteristics or abilities specific to that race, especially so as to distinguish it as inferior or superior to another race or races. And with recent events police shootings and other events have created a cultural divide and naturally cause an artistic individual to express themselves through their medium.  For us its comics, its the creation of stories that translate our opinions on such delicate matters.  This article was created to contain the tools necessary to express your thoughts through your comic without being offensive and carrying out your message.

I know there are readers about there that think "I don't care if I piss off some people!".  The reason this is wrong is because you'll limit your fan base and maybe put yourself in a bad situation that could cost you a publishing gig or burn some bridges with other great creators.  You can still get your message across and let people know how you feel without getting carried away.

Here are a few things we will cover:

Racial Comics vs Hate Speech
Working with Diversity and Culture
Colorful Language
Working with and around Stereotypes
Racial and Cultural Topics and Themes to Write About

This will help you navigate this complex territory without losing any friends and come out with a strong message.  Understand that racism and prejudice is making a come back so we as comic creators in touch with young readers have the opportunity to make a difference.

Racial Comics vs Hate Speech

You can write a story about racism and it will fall into one of two categories: a story about racism or hate speech.  When you write a story there's usually an under lined theme that is apparent in your story through a series of events and or actions.  The resolution should push forth that message by promoting what the theme or message is.  The messages used in racial stories illustrate the injustices faced by that particular group of people or culture BUT offer a positive resolution in the end.  It is when you finish your story with a negative message that you fall into the hate speech which will limit your success to get the book published or even read.

Working with Diversity and Culture

Understand that there are many different cultures in the world with very unique views.  If you wish to work with different cultures you must first do your due diligence and research the culture.  Race is one thing but culture is another and usually the one you represent by the way your characters act. You can have a Black, Asian, or Hispanic character but the culture could be Haitian or American Black, Chinese or Japanese, Cuban or Puerto Rican.  There are very distinct characteristics about each culture to take into account.  Lucky for you, just like you are able to read this article you are also able to search the web for information about different cultures.  You will want to research:

• Slang
• customs
• food
• history
• current events

The CIA World Fact Book online is a great place to start along with Wikipedia.

Working with Colorful Language

Most cultures have a slang that is particular to them.  By using it in context and with the guidelines you have setup for your audience, you can easily submerge your readers into a rich story filled with diversity.  Remember to include a translation near the lexicon (slang).  Some slang may not be appropriate for your audience, especially if you market to younger readers. 

(To be continued in issue #1)   

    
 

Romance for Comics

Keep your audience engaged in your comics by the spell bounding effects of romance.  Many of the larger publishers know this and use it to add drama to their stories.  Romance is an addictive element that can make your stories provocative and suspenseful.  But adding romance to your story or even writing romance stories can be challenging.

Romance is the strong and intimate relationship between people.  The drama that extends from that relationship fuel many parts of a story.  There are many emotions involved in a romance story, but to understand which ones are more apparent you should know what sub-genre you may want to focus on.  Here are a few popular ones:

• Contemporary Romance: Romance novels that are set from 1950 to the present that focus primarily on the romantic relationship.
• Erotic Romance: Novels in which strong, often explicit, sexual interaction is an inherent part of the love story, character growth and relationship development and could not be removed without damaging the storyline. These novels may contain elements of other romance subgenres (such as paranormal, historical, etc.).

• Historical Romance: Romance novels that are set prior to 1950.

• Inspirational Romance: Romance novels in which religious or spiritual beliefs (in the context of any religious or spiritual belief system) are an integral part of the plot.

• Paranormal Romance: Romance novels in which fantasy worlds or paranormal or science fiction elements are an integral part of the plot.

• Romantic Suspense: Romance novels in which suspense, mystery, or thriller elements constitute an integral part of the plot.

• Young Adult Romance: Romance novels in which young adult life is an integral part of the plot.

       Also to keep up with current trends you can explore inter-racial relations and LGBT.

Remember who your target group is and create stories that would stir up ideas, debate, and awareness.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

Character Design Basics

 

Character design is very important.  As key element of your story they will add or take away from the comic.  Your audience should like or at least have a connection with your heroes and supporting cast while either understanding or truly hate your villains.  For comics, character designs also include costume design and powers.  Here's a simple guide on how to work the process.

Concept

This is the rough draft of your character.  Whether a hero or villain, you need to build them up and give them purpose.  Here's where you come up with the back story, name, powers, and motivation.  Make them interesting by getting away from stereotypes and the back stories.  Use things you know or stuff you research:

" Madeline, lost her sister in the war and blames Unicorp, a big war supporter and weapon's manufacturing corporation.  Madeline was trained to be the best infiltrator in the war and now after her sister's death she has gone rogue and infiltrates Unicorp for their true purpose in the war and to expose them to the world."

Get yourself a database of names.  many writers have a book of names from different cultures and nationalities.  Keep cultural websites book marked or keep reference material handy, especially if you plan to have authentic diversity in your comics.  You also want to have a list of super heroes and villain names that you might want to work with.  Try to accommodate the name to the super power or even function of your character

Choosing powers for your characters can be both awesome and frustrating.  The main thing here is not to over do it.  The more powers, the harder and more complex the challenges you have to create to keep your comic interesting.  Today's reader is constantly asking why or how come...you need to provide an intelligent and reasonable answer.  A quick search online will provide a list of common comic book super powers.

Costume design is important. Choose a design that builds or complements your character's role or power.