Benalee books is gearing up to relaunch the book and hoping to continue on to complete a trilogy. That’s right, if everything works out there will be three issues of Sissonne! We just need to get the first one funded, and we could use your help.
You can sign up at this link to be notified when the Kickstarter goes live. Of course, we understand if now is not a good time, but if you could maybe share the link and help us spread the word that also helps greatly.
Thanks!
https://www.kickstarter.com/projects/miskatoniac/sissonne-1-deluxe-edition-springs-into-action
I was chatting with someone recently, and all of this comes from that chat I’ve had a few times over the years. So, I need to vent a bit about a few things that keep coming up when I offer to help new creators. Basically, it involves these two things:
1) “I have a thousand characters and hundreds of worlds ready to go.”
2) “I’m writing a 100K word long novel so readers can get caught up and understand my 22-page comic book.”
Creators who cannot write a story tend to overcompensate by making exhaustive lists of characters and worlds.
I do not mean this to be condescending (that’s when you talk down to someone). Still, I’ve learned that when someone truly wants to be a creative storyteller and they don’t know how, that desire usually manifests itself in long lists, very detailed lists of characters and worlds, ‘story ideas,’ and so on. I don’t mean this to be demeaning; most of these people I’ve chatted with were very sincere and earnest. They wished they could just get it done. So, all that creative energy becomes a tidal wave of lists. I get it, and I do not envy that feeling.
I touched on this in Part Two when I said to choose one character and tell their story. But, seriously, you have to narrow your focus, tell one story, and leave all the rest behind. It needs to happen; you have to let go.
And there is a practical side to this you must also consider. In indie comics, you are probably looking to crowdfund, and no one wants to pay a lot of cash to get just an intro to part two. The backstory is not the story. Plus, if one ever comes, they must wait months to get a part two. So it would help if you had the story firmly established in issue one, or you’ve lost your backers. It’s like a foundation, a single brick. It needs to be a single brick, then another, and not just the first few feet of some everlong foundation.
There is no way to have an instant familiarity with your universe or world.
You need to understand that there is simply no way that you will have a ready audience, people familiar with your universe, without putting it out there repeatedly. I’ve seen this before, so forgive me, but you cannot go from no product to instant recognition and being understood. Too often, I see creators that ‘simply’ want to go from nothing to a known universe, like skipping the first draft and just writing a masterpiece. It just does not work that way; think about it. You must finish something, put it out there, and start the next part. That thing can be short or long, but it needs to stand on its own, even if another volume is coming later. You must build, one brick at a time, your foundation.
I’ve literally had one person say the bit about writing a novel so readers would understand his comic book. That is insane. Others plan to make 12 comics at once, all interweaving. But, again, most creators, or half (?), never finish issue one. Going from nothing to 12 is a bit extreme, folks. Plus, there are cost constraints; you could buy a car for the cost of making those twelve books. Plus, you’re new, so you are not going to try doing something small to learn the ropes and make mistakes? Nope, let’s get right to the masterpiece! Insanity.
One last thing, a piece of advice on choosing how you proceed if any of this applies to you. If you are doing it for them (a commercial product), do it the way they want. Please don’t make it about you. On the other hand, if you are doing this for yourself, do it your way and have fun. When it’s done, you can share it with those that want to read it, but that would not be the point. In this case, your satisfaction is the key, so do what you like. Do it for yourself or for them. Pick one.
Making indie comics can be soul crushing, if you give a shit. Seriously, I just look to indulge a hobby of mine and make books nowadays. I’ve cut costs and kept it ‘doable’, but when I look back I sometimes have just a wee bit of regret for the cost. Not the content, the time, the other stuff…just the cost. And that’s with spending the limited amount I currently do, keeping the costs low, which most people doing indies would perhaps be shocked at.
I am not going into actual numbers here, but making comics is not cheap. Even at the level I am doing it the costs can add up, plus I have to deal with my worst employee…myself. At one point I realized I had 8 books (8!) with art finished and some in coloring (more on that later) that just needed letters and to be made ready to print, and so on. That’s all me, and I was behind 8 books. 8…books. That is a lot, folks.
Some indie creators come into this looking to make ‘A THOUSAND BOOKS’. No, really, we see one every few months, ready to become the next Disney…and he just needs your content and you will both be rich! Sigh…
Still…8. Well, now it’s more like 6 1/2, I did some work. But it’s all got me thinking about 2 things, and the first is to stop hiring people to do art for more books. Love you Jo, but I’ve got to stop.
Look, I used to really want to collect original comic book art, and I did. Now? That itch has been scratched and I’m ready to sell most of it off. Making comics is a lot the same for me. I now have 15 books in print and 8 more to come…I think I am done. These books still in the pipeline may be the last.
This allows me to also not worry about saying a few things about making books that others do not say out loud, like cost. Like page rates. Maybe I’ll get into all that, but for now I KNOW that I am on the tail end of making books.
When making your comic it is important to think of the ‘branding’ of the book. If you are making the book simply for your own amusement and want to call it ‘BS I Like’, well, good for you.
But most people making comics realize at some point that if they want others to pick up the book and read it, well it needs to appeal to them at least a little bit.
And this is where the logo and the titles come into play. Sure, you have a great cover, and a great name for the book too. But what if that name just doesn’t look appealing on the cover? What sort of book does your logo say the book will be? Is it a dark logo, for a Batman type adventure? Or perhaps it’s a period comic about some fantasy world, so you’ve used a Gothic font? Continue reading »
And according to him, that’s a bad thing.
His name is Aravind Menon, and he’s fucking retarded. All I was looking to do was buy a few scripts for some comic books on Facebook, and this guy thinks he can demand, yes…demand, that I ‘publicly declare my intentions for using the scripts’. Continue reading »