Impostor syndrome is a challenge that many artists face. But I’d like to share some thoughts that might change the way you think about it — and about yourself.The content you are trying to access is only available to members.
ComicLab Ep 206 — Book-signing blues
This week, we discuss all of the hidden challenges in signing a book! Questions asked and topics covered… How to sign a book Sketches and Artist Editions Bookplates Losing focus on a project Offensive humor Dave Kellett’s Memento Mori Brad […] ↓ Read the rest of this article...Read more
December To-Do List
It’s already December. It’s a month dominated by holidays — both preparing for and celebrating them — and it’s the end of the year. It’s probably the most challenging months for a webcartoonist, so let’s get organized.Read more
Blambot’s Cyberweek Sale
Blambot’s biggest sale of the year is happening now! Save 30% off of Blambot’s already low font prices with code CYBERWEEK at checkout. Sale ends December 5.Read more
Nobody wants to buy a T-shirt with your character or your logo on it. It’s not that your original character is bad. Rather, it’s the fact that you don’t understand why people buy (and wear) T-shirts.Read more
What size should your graphic novel be?
Beginning cartoonists often ask what size they should make their comic. Many are looking for “standard” sizes. The answer is a little more complicated than you’d expect — and it means focusing on what’s really important about the comic you’re doing.Read more
Patreon Pro Tip — Record a Walkthru
Patreon has proven to be a game-changer for may people pursuing webcomics. But some new patrons have a hard time navigating the Patreon interface to get the most out of their patronage. While I don’t mind seeing “my financial situation has […] ↓ Read the rest of this article...Read more
ComicLab Ep 205 — Drawing challenges
Today’s show is brought to you by Wacom — makers of the powerful, professional, portable Wacom One! This week, we discuss writing character motivations. What’s the difference between Want and Need? Questions asked and topics covered… Drawing challenges Kaijus and Cowboys Steve Jobs on […] ↓ Read the rest of this article...Read more
Social media is among the most frustrating elements of an independent artist’s life. We struggle for engagement, we wage constant battles with “The Algorithm,” we scramble for every last clue to success… and we lose. Time and again, we lose. It’s a little overdue to take a closer look at what’s really happening here.The content you are trying to access is only available to members.
An ISBN is a 10- or 13-digit number that is used to identify a book from a specific publisher. Once your book is in print, you can register the title and link it to the ISBN here.
Do I need an ISBN?
Honestly? Not really.
However, you definitely need an ISBN if you’re planning to release the book through a distributor (like Diamond Comics Distributors) and/or to a retail outlet (like Amazon).
If you’re just selling books directly to readers through your site, you don’t need an ISBN.
Where do I get an ISBN?
I recommend that you buy your ISBNs from R.R. Bowker. POD companies may offer an ISBN, but if you buy it from a reseller, you take the risk that you may not be listed as the book’s actual publisher. CreateSpace is a notable exception. Their ISBNs are legit.
Where do I put my ISBN?
The ISBN is printed on your book’s copyright page, and it is incorporated into the barcode that should appear on the book’s back cover.
The retail price is coded in a five-digit number.
- The first number denotes the currency: 5 is for U.S. currency, 4 is Canadian, and I’m not sure what the others are.
- The next four numbers represents the price in cents. In other words a $19.95 book is 1995
You print the barcode on your book as part of your back cover. Here are some guidelines — including how to place it properly on the back cover.
Questions asked and topics covered…
- Long form comics
- “Substandard fan-created content”
- Kickstarter minus social media
With recent articles such as “Email newsletters — Everything old is new again,” and news of Substack luring away top talent from Marvel and DC, many creators are laser-focused on email outreach. They’re eager to leave behind social media and jump to a delivery system free of algorithms! However, that leaves an important question: How to get new people to sign up!The content you are trying to access is only available to members.
Today we’re going to talk about a sentence that every last one of us have uttered: I really feel like if I could get more people to see the comic they would actually like it… There’s not a comics creator alive who doesn’t feel that way. But it’s a mindset that misses an important point, and until you understand it, I think it’s going to hold you back.The content you are trying to access is only available to members.
The Crossbar-I rule is one of the few “cardinal” rules in comics. Everyone tells you to follow it, but few people explain why. It actually has very simple typographical roots that make it a must-follow guide to good lettering.The content you are trying to access is only available to members.
In the early days of webcomics, a preferred method of promotion was the ol’ link exchange. “I’ll link to your comic if you link to mine.” Today’s crowdfunded business model requires a little twist on that old axiom.
The content trade
Exposing your patrons to someone else’s Patreon campaign isn’t only a good idea, it’s great content!
Here’s what I mean. I found one thing to be unquestionably true for me: The more content I post, the more pledges I get.
This is especially true for exclusive posts (as I discussed in my piece on scarcity).
So, every once in a while, I search Patreon for people who are doing something similar to what I’m doing.
Then I approach the person about a content trade. I’ll post something of theirs exclusively to my patrons. (Something they’ve already offered to their patrons.) And they can post something from my Patreon archive for their patrons.
It’s a win-win.
We both get content that we think our patrons will enjoy. We both get an opportunity to expose our work to the people pledging to the other person.
And, of course, when both of you promote the exchange on your own social-media networks, it’s twice the promotion.
I know the fear. “They’ll like the other person better, and ditch me in favor of them.”
I can tell you from experience, I get a lot of new pledges who are continuing their pledge to the other person. (I know, because I always click that button to see who else they’re supporting.) For me, it has been a “rising tide lifts all boats” situation.
How to handle death in a comic storyline without offending your readers. Also — facing Writer’s Block wile writing a long storyline requires special handling.Questions asked and topics covered…
- Death in comics
- Getting stuck writing a long story
- Don’t comics writers like prose?
- Habits and routines
Today is a great time to bump up your ComicLab membership to the $10 tier! Patreon backers at that level will get exclusive access to livestream recording sessions — as well as an archive of previous livestreams!Brad Guigar is the creator of Evil Inc and the editor of Webcomics.com Dave Kellett is the creator of Sheldon and Drive.Listen to ComicLab on…
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