It was an innocent enough comment. A beginner cartoonist was lamenting their social media results: “Now that I’m publishing my comic, I’m a little restless between the weekly updates, wondering if there’s more I can do to market it. I don’t think there’s much I can do at the moment largely, beyond sharing on social media on update day and responding to comments.”
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A lot of cartoonists hear the phrase “marketing funnel” and immediately picture something gross, corporate, and manipulative. But a marketing funnel is really just a map of how a casual stranger becomes a regular reader — and how a regular reader eventually becomes a supporter.
For a webcartoonist, the funnel usually has four major parts: social media, your website, your newsletter, and your crowdfunding platforms like Patreon or Kickstarter.
The mistake many cartoonists make is treating all four of those outlets as if they do the same job. They don’t.
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What seems like a simple question about exclamation points opens up a much bigger discussion about the power of comics lettering. Brad and Dave talk about punctuation, word balloons, font choices, and the unique grammar of comics — and why cartoonists have tools that prose writers can only dream of. They also share thoughts on staying creative during major disruptions, from studio moves to home renovations.
On today’s show…
Exclamation points in comics: how many is too many?
Whether to use one, two, or three exclamation points
Why comics grammar differs from prose grammar
Using lettering, font size, bolding, and balloon shape instead of extra punctuation
When punctuation becomes unnecessary in comics lettering
I’m a big believer in brainstorming on paper. Once I have my plan, I switch to digital, but there’s something about the visceral connection of using paper that connects better for my brain.
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I’ve advocated converting your comics into a panel-by-panel scroll for smartphone users for a while. I think it’s a good reading experience for Instagram, and I think it’s a good use of the multi-image post feature on Patreon. If you’ve taken that advice, then you’re already prepping the files, and I have another way for you to use these files. And if not, I will give you another reason you should.
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This week, Dave returns from Alaska Comics Camp with a glowing review of what he calls one of the most meaningful experiences of his professional life. He explains how the camp blends education, community, mentorship, and artistic growth in a remote setting that forces attendees to disconnect from technology and reconnect with one another. Along the way, Brad and Dave discuss what makes the camp special, the value of peer-to-peer learning, the recent panic over Kickstarter’s updated NSFW guidelines, Eisner nominations, and the realities of pursuing recognition in comics.
Alaska Comics Camp
Alaska Robotics Comics Camp is a four-night creative retreat in the southeast Alaska rainforest for comics pros, visual storytellers, and adjacent creators — writers, game devs, filmmakers, journalists, musicians, and more.
You have to apply to attend. It’s not a standard “buy a badge and show up” event; accepted campers attend after the Alaska Robotics Mini-Con in Juneau.
Cost: Camp is listed at $800, which includes four nights of lodging, meals, and transportation to/from downtown Juneau. Financial aid is available, and asking for aid does not affect application review.
What to expect: workshops, presentations, peer conversations, campfires, board games, hanging out, and wandering through the woods and nearby ocean beach — basically “a professional development conference for people who don’t like conference rooms.”
Comfort level: rustic but not brutal — heated cabins, bunk beds with mattresses, flushing toilets, hot showers, power outlets, meals, snacks, coffee/tea, towels, and comfort items are provided. There’s no regular Wi-Fi or cell service at camp, though service is reachable by hike or ride.
How to participate next year: watch the Alaska Robotics Mini-Con / Comics Camp site and their social channels for the next application window. Recent camps have used an application process with deadlines months ahead of the event, so don’t wait until spring to start looking.
https://minicon.alaskarobotics.com/comics-camp/
Topics Covered
A complete tour of Alaska Comics Camp and how it evolved from a small Juneau event into an international gathering of cartoonists
School visits, library presentations, the Alaska Robotics Mini-Con, and the camp experience itself
Why the lack of cell service is one of the camp’s greatest strengths
Classes taught by attendees on topics including storytelling, lettering, humor writing, character development, publishing, and business
An NSFW-comics discussion that impressed Brad with the camp’s openness and professionalism
The importance of “Comics Rules” (similar to Chatham House Rules) in creating a safe environment for sharing industry information
Real-world discussions of publishing contracts, agents, income, and career sustainability
The anonymous income survey that helps attendees understand the wide range of successful cartooning careers
Why Alaska Comics Camp has become one of Dave’s favorite events in all of comics
Stories from ComicLab listeners who attended camp after hearing about it on the podcast
Dave’s observations about Alaska’s landscape, culture, and strong sense of community
The tale of a failed camp water pump and Pat Race’s MacGyver-level solution involving a distillery, a fire department, and a garden hose
The viral misinformation claiming Kickstarter had banned pornography
What Kickstarter’s updated NSFW guidelines actually said
Why Stripe — not Kickstarter — is the real concern for adult-content creators
Brad’s emergency solo Pro Tips episode explaining the new guidelines
How creators can avoid overreacting to social-media panic cycles
Listener feedback about what Brad and Dave’s voices sound like to non-Americans
Congratulations to friends of the show, including Ryan North, Glenn Fleishman, Tony Cliff, and Steve Lieber, on their Eisner nominations
A discussion about award submissions, advocacy, and why creators must nominate themselves
The realities of comics awards, including Eisners, Ringo Awards, Hugos, Reubens, and Ignatz Awards
Whether award nominations come from changing your work — or simply years of steady improvement and persistence
If you’re writing a longform comic, you know the challenge all too well. You’re telling a continuous story, but many of your readers are coming in at the middle. Every day, someone is reading your comic for the first time, and that might mean they’re discovering you on Page 12. If you’re going to build an audience successfully, you need to include two things in every update.
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Out of all the social media newcomers, Substack has shown the most promise. It’s an email newsletter delivery system with social media and subscription features. But like every platform, it has its own norms, quirks, and community expectations. So, let’s discuss Substack’s best practices.
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