10 DON'TS of Making Comics as an ART CAREER

00:21:37
https://www.youtube.com/watch?v=oL_r8_WICU8

概要

TLDRIn this video, the host shares advice on pitfalls to avoid when making comics, drawing from their experience with self-publishing and graphic novels. Key takeaways include steering clear of exclusive agreements with comic platforms that limit audience reach, strategizing time management, and emphasizing the importance of clearly showing emotions through visual storytelling rather than excessive dialogue. The creator encourages artists to embrace their unique styles, even if they evolve over time, and highlights the benefits of seeking professional guidance, such as hiring an agent. Overall, the video serves as a motivational guide for aspiring comic creators to start producing their work without fear of imperfection or lack of experience.

収穫

  • 🚫 Don't sign exclusive agreements with platforms.
  • ⏰ Manage your time wisely when creating.
  • 🖌️ Consider hiring a colorist for your work.
  • ✨ Focus on starting your comic, not perfection.
  • 📅 Mix detailed and simpler pages in your workflow.
  • 📚 Seek a good agent for publishing help.
  • 💬 Show emotions through visuals instead of dialogue.
  • 🎨 Your style will evolve over time; embrace it.
  • 🤔 Brain dump ideas instead of overthinking structure.
  • 🎥 Start creating to learn and improve your craft.

タイムライン

  • 00:00:00 - 00:05:00

    In this video, the creator discusses the don'ts of making comics, emphasizing the importance of establishing your own brand and not signing exclusive agreements with comic platforms. They share personal experiences from their graphic novel release and self-publishing endeavors, advising against exclusivity that could limit your audience growth. Instead, they recommend building a personal platform through social media, Patreons, and community engagement to maintain creative freedom.

  • 00:05:00 - 00:10:00

    The importance of time management in comic creation is highlighted, suggesting artists should prioritize clarity in drawings over perfection. The creator emphasizes the need for a structured workflow and planning, advocating for breaking the comic into manageable sections for more efficient progress. They also stress that not every drawing needs to be a masterpiece, focusing on the overall storytelling rather than individual panels.

  • 00:10:00 - 00:15:00

    The video encourages artists to embrace their creative process without overthinking narrative logic or worrying about consistency in style. The creator suggests a method of capturing ideas through brainstorming or using physical notes to alleviate the pressure of storyline structure. They advocate for a flexible approach in art, reminding viewers that comics are a fictional medium where creativity should thrive without the constraints of realism.

  • 00:15:00 - 00:21:37

    Finally, the creator discusses common pitfalls for artists, such as procrastination due to fear of inconsistency and not starting projects. They emphasize that artistic style can evolve over time and that it's okay for projects to be imperfect. The conclusion encourages viewers to take action, learn through the process, and embrace their unique artistic contributions to the comic-making space.

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マインドマップ

ビデオQ&A

  • What should I avoid when sharing my comics online?

    Don't sign exclusive agreements with comic hosting platforms that limit your ability to share your work elsewhere.

  • How can I manage my time effectively while creating comics?

    Use techniques like a kanban board, and don't feel pressured to complete all pages in order; mix detailed and easier pages.

  • Is it necessary to hire a colorist for my comics?

    While not mandatory, hiring a colorist can allow you to focus more on drawing and storytelling in your comics.

  • What if I'm worried about the consistency of my comic style?

    It's common for styles to evolve; focus on starting your comic rather than being perfect from the get-go.

  • How can I find a good agent for publishing my comic?

    Research successful comic artists and look up their agents; this can help you find representation in the industry.

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  • 00:00:00
    So today we're going to be talking about
  • 00:00:02
    the don'ts of making Comics because here
  • 00:00:04
    on this channel I feel like I talk a lot
  • 00:00:06
    about an art career social media
  • 00:00:08
    animation but I haven't really dug too
  • 00:00:11
    deep into the world of comics even
  • 00:00:13
    though I just released my first graphic
  • 00:00:15
    novel Mish the bad demon so check it out
  • 00:00:17
    in the links below if you would like to
  • 00:00:19
    read it and I also do publish my own
  • 00:00:21
    self-published comics on my Etsy shop
  • 00:00:24
    where I have succubishes doodlebishes
  • 00:00:27
    Vera the siren and also just some print
  • 00:00:30
    and other downloads but I also would
  • 00:00:33
    like to share some of my experiences and
  • 00:00:35
    what I've learned from just making
  • 00:00:36
    Comics as a whole whether it's on
  • 00:00:39
    webtoons publishing a comic
  • 00:00:41
    self-publishing a comic or just posting
  • 00:00:44
    it on social media a lot of the rules or
  • 00:00:47
    a lot of the things that I'm going to
  • 00:00:49
    mention today will pretty much cover for
  • 00:00:52
    any type of comic that you make if you
  • 00:00:54
    want to make either better Comics or be
  • 00:00:57
    better at making comics and by no me
  • 00:00:59
    means am I saying that I'm like a
  • 00:01:02
    perfect comic artist either I'm just
  • 00:01:04
    really going to be discussing things I
  • 00:01:06
    learned on my journey what worked for me
  • 00:01:08
    and what didn't so the first don't and I
  • 00:01:13
    really mean do not do this hopefully
  • 00:01:15
    some of you will listen to me is don't
  • 00:01:18
    sign exclusive agreements with any of
  • 00:01:21
    these comic hosting platforms where
  • 00:01:25
    you're only allowed to share your comic
  • 00:01:28
    on their platform for like either some
  • 00:01:30
    time and then you can post it later on
  • 00:01:31
    your own thing I won't say any names of
  • 00:01:34
    what platforms are out there but if you
  • 00:01:37
    ever do receive an email asking for you
  • 00:01:40
    to share your comic on this one comic
  • 00:01:43
    reading platform but to only allow them
  • 00:01:46
    to have access to your comic either
  • 00:01:49
    indefinitely Or for a certain time
  • 00:01:52
    period and then you can release it on
  • 00:01:54
    your own social platforms later I would
  • 00:01:57
    highly suggest not doing them especially
  • 00:01:59
    if they don't pay well and most of them
  • 00:02:02
    that I've ever heard of don't really pay
  • 00:02:04
    well sure if it really is the only thing
  • 00:02:07
    that you can do go for it but I feel
  • 00:02:09
    like this really holds you back from
  • 00:02:11
    reaching out to an even greater audience
  • 00:02:13
    and establishing a name for yourself
  • 00:02:15
    rather than just being represented by
  • 00:02:18
    this one platform that will be
  • 00:02:21
    representing you and you don't have the
  • 00:02:23
    access or freedom to do what you want
  • 00:02:25
    with your own work I feel like that time
  • 00:02:27
    is better off invested establishing your
  • 00:02:30
    own name on a social platform and you
  • 00:02:33
    develop your own Comics develop your own
  • 00:02:35
    following set up a patreon or set up
  • 00:02:37
    some exclusive like Community where
  • 00:02:40
    people can get like Early Access or
  • 00:02:42
    behind the scenes or something like that
  • 00:02:44
    which again if you want to check out my
  • 00:02:46
    patreon I have that where I am now doing
  • 00:02:49
    exclusive podcasts live streams and
  • 00:02:52
    email consultations in addition to the
  • 00:02:55
    behind the scenes and Early Access just
  • 00:02:57
    be very wary of any extra exclusivity
  • 00:03:01
    types of agreements and again if that's
  • 00:03:04
    like the only option for some reason and
  • 00:03:07
    you really can't do anything else this
  • 00:03:09
    is the only way you can get paid
  • 00:03:11
    sure but maybe have another comic that
  • 00:03:14
    you're doing on the side that you will
  • 00:03:16
    be releasing on on your own terms and
  • 00:03:20
    just leave this one comic specifically
  • 00:03:22
    for this comic platform that offered you
  • 00:03:25
    that offer if you are ever approached by
  • 00:03:28
    any of these webcomic platforms that ask
  • 00:03:32
    for some sort of exclusivity I really
  • 00:03:35
    think it's gonna hold you back because
  • 00:03:37
    during that time you could also be
  • 00:03:38
    developing your own brand and business
  • 00:03:40
    and really branching a lot of things off
  • 00:03:42
    of your own work and that's why I'd like
  • 00:03:43
    to thank today's sponsor skillshare so
  • 00:03:46
    skillshare has really been evolving as
  • 00:03:49
    an online learning community lately and
  • 00:03:51
    I have to say that they've come a long
  • 00:03:52
    way from just having classes that teach
  • 00:03:55
    you how to develop your skills and
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    talents certain niches and now they're
  • 00:03:59
    expanding so much further and teaching
  • 00:04:01
    people how to do things like develop
  • 00:04:03
    their own career or brand for example
  • 00:04:06
    I've been taking this moment of Hiatus
  • 00:04:08
    from animation to take my personal
  • 00:04:09
    projects such as my books and social
  • 00:04:11
    media further and explore ways to
  • 00:04:13
    potentially turn it into a full-time
  • 00:04:15
    career someday and by no means am I
  • 00:04:17
    planning to quit animation I'm just
  • 00:04:19
    saying that during the times I'm in
  • 00:04:20
    between gigs I still have control of my
  • 00:04:22
    life through financial stability and
  • 00:04:24
    fulfilling projects that contribute to
  • 00:04:26
    My overall art journey in life hopefully
  • 00:04:28
    one day syncing with animation the key
  • 00:04:31
    things that helped me so far in life is
  • 00:04:33
    time management having personal side
  • 00:04:35
    projects learning business skills and
  • 00:04:37
    growing on social media and I was
  • 00:04:40
    actually overwhelmed with the selection
  • 00:04:41
    of videos available to learn from but
  • 00:04:44
    I'll say my top favorites were
  • 00:04:46
    productivity for artists by Brooke
  • 00:04:47
    Glazier make creativity your career by
  • 00:04:49
    Anne DJ Pizza start your creative career
  • 00:04:52
    by Sonia rasula finding success online
  • 00:04:54
    by Kate Ahrens and because I juggle so
  • 00:04:57
    many projects at once I figured that
  • 00:04:59
    productivity for artists by Brooke
  • 00:05:01
    Glacier would be really helpful for me
  • 00:05:02
    in just amping up my time management
  • 00:05:04
    skills for any of you who are struggling
  • 00:05:07
    to find a strategy that works for your
  • 00:05:09
    personal time management skills I think
  • 00:05:11
    Brook's class is great for you to figure
  • 00:05:13
    out which method might be more
  • 00:05:15
    appropriate for your art and craft
  • 00:05:17
    making so here I'm trying my own little
  • 00:05:20
    kanban board I've actually never really
  • 00:05:22
    done one of these before but I thought
  • 00:05:25
    it would be a good idea to try so here I
  • 00:05:28
    put my to-do list of stuff ranging from
  • 00:05:31
    Niche work YouTube stuff and Instagram
  • 00:05:33
    comics and then I put the stuff here
  • 00:05:36
    such as line arting Mish editing my
  • 00:05:38
    YouTube video and sketching my Ig comic
  • 00:05:41
    stuff that's currently working in
  • 00:05:42
    progress then for example reviewing
  • 00:05:45
    Niche color is in the waiting phase
  • 00:05:47
    because I submitted some feedback and
  • 00:05:49
    I'm just waiting to see what the
  • 00:05:52
    reception is on my feedback or if the
  • 00:05:54
    feedback is addressed by my colorist and
  • 00:05:56
    then once all of these things are done
  • 00:05:58
    I'm gonna move it down here but I
  • 00:06:01
    thought this was such a great like
  • 00:06:02
    physical way of feeling the progress
  • 00:06:05
    being made with your work and it's also
  • 00:06:08
    really fun to just you know have your
  • 00:06:10
    own little craft to do with this so I'm
  • 00:06:14
    happy to offer that the first 1000
  • 00:06:15
    people to use the link will get a one
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    month free trial of skillshare thank you
  • 00:06:20
    to skillshare for sponsoring this video
  • 00:06:22
    and let's get back to the don'ts of
  • 00:06:25
    making Comics so one of the biggest
  • 00:06:28
    problems that I've seen most comic
  • 00:06:30
    artists including myself experience is
  • 00:06:33
    spending too much time on it and not
  • 00:06:36
    knowing when to move on I think one of
  • 00:06:38
    the things you have to accept is to know
  • 00:06:40
    to make your drawings clear over making
  • 00:06:42
    them perfectly beautiful or rendered
  • 00:06:46
    because I do feel like yes there are
  • 00:06:48
    comics where it looks like someone
  • 00:06:49
    spends so long on each and every panel
  • 00:06:52
    it might have taken them a really long
  • 00:06:54
    time but it depends on how soon do you
  • 00:06:56
    want to get this released and get it out
  • 00:06:58
    because there are things to consider
  • 00:07:00
    such as will you be paid if you spend so
  • 00:07:03
    long making on this comic are you
  • 00:07:05
    hindering yourself from future projects
  • 00:07:07
    and moving along so even if your comic
  • 00:07:09
    does not look the way that your usual
  • 00:07:11
    rendered work looks like just remember
  • 00:07:14
    that this is the comic book version of
  • 00:07:16
    you not the entire artist version of you
  • 00:07:19
    like it's only one part of you as an
  • 00:07:21
    artist so don't fear these like less
  • 00:07:24
    rendered drawings being the full
  • 00:07:26
    representation of yourself because it's
  • 00:07:28
    the whole book that matters not this one
  • 00:07:30
    drawing on this one panel that not many
  • 00:07:32
    people are going to care for all they
  • 00:07:34
    care about is making sure that this
  • 00:07:35
    panel serves the rest of the story what
  • 00:07:38
    comes before and after it and then that
  • 00:07:40
    brings me to not having a pipeline that
  • 00:07:43
    works for you because I feel like a lot
  • 00:07:45
    of comic artists maybe just go into
  • 00:07:46
    comics and just don't really have a plan
  • 00:07:49
    of how they're approaching this and
  • 00:07:51
    sometimes that works better for people
  • 00:07:52
    you know to each their own but I do feel
  • 00:07:54
    like if somebody finds themselves
  • 00:07:56
    wasting a lot of time it's probably
  • 00:07:58
    because they're figuring things out as
  • 00:08:01
    they're doing it which is gonna happen
  • 00:08:03
    on your first comic like that's where
  • 00:08:05
    all the learning comes in but there are
  • 00:08:06
    things like not knowing when you should
  • 00:08:08
    do rough sketches or when to do
  • 00:08:10
    revisions or want to do the find a line
  • 00:08:12
    art and stuff like that in what order
  • 00:08:13
    should you approach these things because
  • 00:08:15
    there will be times where you're doing
  • 00:08:17
    the line art from some pages and rough
  • 00:08:20
    sketch is still for other pages and
  • 00:08:22
    managing that can get really chaotic so
  • 00:08:25
    you have to figure out what might work
  • 00:08:27
    best for you and for me personally what
  • 00:08:30
    I do is I always section out my Comics
  • 00:08:32
    especially for things like Niche the bad
  • 00:08:35
    demon or traditionally published Comics
  • 00:08:37
    into parts so I will usually have a part
  • 00:08:40
    one part two part three part four and I
  • 00:08:42
    really just focus on those sections at a
  • 00:08:44
    time like if I have all of the rough
  • 00:08:46
    sketches for part one done I'll write
  • 00:08:49
    I'm gonna move on to line art for that
  • 00:08:51
    because the rough sketches for that is
  • 00:08:53
    locked but whatever is happening in
  • 00:08:55
    sections two three and four if they're
  • 00:08:57
    still in rough sketches I might still
  • 00:08:59
    need to rework them but maybe I have
  • 00:09:01
    part three figured out so that can be
  • 00:09:03
    line arted that's just what personally
  • 00:09:06
    works for me is when I associate my book
  • 00:09:08
    with different sections and these are
  • 00:09:10
    not necessary necessarily chapters it's
  • 00:09:13
    just managing a somewhat equal amount of
  • 00:09:16
    chunks at a time so that I can also Pace
  • 00:09:19
    myself out so next I would say
  • 00:09:21
    definitely don't over worry about the
  • 00:09:24
    logic of your story I feel like this
  • 00:09:26
    even applies to animation or any other
  • 00:09:29
    sort of narrative art where I feel like
  • 00:09:31
    a lot of artists worry so much about how
  • 00:09:33
    is this logically going to work out does
  • 00:09:35
    this make sense I feel like for me I
  • 00:09:37
    just dump out everything that ever comes
  • 00:09:40
    up in my mind all in one page I brain
  • 00:09:43
    dump all the things I feel like should
  • 00:09:44
    happen in the book and then I start to
  • 00:09:47
    make sense of it later so what I would
  • 00:09:49
    suggest for you to do if you feel like
  • 00:09:50
    you are over worrying about the
  • 00:09:52
    structure and then maybe your book is
  • 00:09:54
    not fun anymore because you don't have
  • 00:09:57
    the time to really think about how to
  • 00:09:59
    place the more enjoyable moments of your
  • 00:10:02
    comic I would consider brain dumping
  • 00:10:04
    every single idea you have and then from
  • 00:10:06
    then on like just pretend you can just
  • 00:10:09
    grab and move those pieces you just
  • 00:10:11
    dumped out that is why some people use
  • 00:10:13
    Post-its if you like using Post-its do
  • 00:10:16
    that because you can move them
  • 00:10:18
    physically so having just a place to
  • 00:10:21
    dump out all of your ideas and worrying
  • 00:10:22
    about structure and there are even going
  • 00:10:24
    to be moments where just let the story
  • 00:10:26
    stay fictional this is a fictional world
  • 00:10:28
    this is fake even if you're making a
  • 00:10:30
    slice of life this is still fake it's
  • 00:10:33
    just art let's just remember that art is
  • 00:10:35
    something that should be enjoyed and not
  • 00:10:37
    everything that we do about it has to
  • 00:10:39
    imitate reality like exactly a hundred
  • 00:10:42
    percent I sometimes feel like this kills
  • 00:10:44
    creativity that's why some animations
  • 00:10:47
    just use cartoon magic all I'm saying is
  • 00:10:50
    just remember to have fun and be
  • 00:10:52
    creative with your work instead of just
  • 00:10:53
    worrying about the logistics so another
  • 00:10:55
    problem I find is telling more than
  • 00:10:57
    showing I think this could be a
  • 00:11:00
    preference for some people some people
  • 00:11:01
    really prefer just writing a lot in
  • 00:11:04
    speech bubbles and boxes and sure maybe
  • 00:11:07
    to each their own in that case but for
  • 00:11:10
    me I'm always is a show don't tell
  • 00:11:13
    preferer I guess because I come from a
  • 00:11:17
    storyboarding background and that in
  • 00:11:18
    itself is already like show don't tell
  • 00:11:20
    because your boards have to explain what
  • 00:11:23
    you're supposed to be pitching but you
  • 00:11:25
    don't explain what's happening in the
  • 00:11:27
    boards the same goes for Comics I just
  • 00:11:29
    prefer understanding what's going on
  • 00:11:31
    through the drawings and being able to
  • 00:11:34
    communicate that clearly because even if
  • 00:11:36
    you could not find the right dialogue or
  • 00:11:37
    text for it the story still makes sense
  • 00:11:39
    the situation still makes sense and you
  • 00:11:41
    don't need to rely on words to
  • 00:11:44
    compensate for like a not clear drawing
  • 00:11:47
    I also feel like sometimes this helps
  • 00:11:49
    with nuances like if a character is
  • 00:11:51
    feeling some sort of conflicting emotion
  • 00:11:53
    that might be better off shown through
  • 00:11:56
    facial expressions rather than having
  • 00:11:58
    them say like I'm feeling conflicted or
  • 00:12:01
    something like that but I've also gotten
  • 00:12:03
    some comments saying that like hey my
  • 00:12:05
    comics and books are not that wordy and
  • 00:12:07
    it's not a good or bad thing it's just a
  • 00:12:09
    comment that I noticed so maybe there
  • 00:12:12
    are people out there who do prefer
  • 00:12:13
    reading a lot when they read comic books
  • 00:12:15
    but it's really up to you so then next
  • 00:12:17
    this kind of falls under the time
  • 00:12:19
    management section is just doing
  • 00:12:21
    everything in order from drawing all the
  • 00:12:25
    pages in the same exact order of the
  • 00:12:28
    story so this usually might not be good
  • 00:12:31
    for time management because there are
  • 00:12:33
    sections of your comic that might be a
  • 00:12:35
    lot more detailed than others and that
  • 00:12:37
    and those detailed sections might last
  • 00:12:41
    like a good number of pages or chapters
  • 00:12:43
    and when I say things like I do three
  • 00:12:46
    pages a day I don't do three extremely
  • 00:12:50
    detailed Pages a day and things that
  • 00:12:54
    usually make your Comics super detailed
  • 00:12:56
    is when there's like a lot of crowd
  • 00:12:57
    shots or if you're doing like a city or
  • 00:13:00
    like a very detailed background those
  • 00:13:02
    are the time consuming elements of my
  • 00:13:06
    Comics personally so I know that if I'm
  • 00:13:09
    about to approach doing like like a page
  • 00:13:12
    like that what I will do is I will take
  • 00:13:15
    three pages from totally different
  • 00:13:17
    sections of my comics in which the rough
  • 00:13:20
    sketches are approved to go and proceed
  • 00:13:23
    to line art so I would choose like a
  • 00:13:26
    page from chapter one a page from
  • 00:13:28
    chapter two and maybe another page from
  • 00:13:30
    chapter three where maybe only one page
  • 00:13:33
    is very detailed but the remaining two
  • 00:13:35
    are easier Pages because the thing is is
  • 00:13:38
    if I did all three detailed pages in one
  • 00:13:41
    day that day is gonna be a rough
  • 00:13:43
    freaking day like I'm gonna be up I
  • 00:13:46
    won't have time to cook for myself those
  • 00:13:49
    are the days I feel like I'm a prisoner
  • 00:13:51
    to my desk because doing three pages can
  • 00:13:55
    mean completely different things if you
  • 00:13:57
    are doing three detail Pages versus one
  • 00:13:59
    detail page and like two easy pages so
  • 00:14:02
    that's kind of how I like to Pace myself
  • 00:14:03
    out and that is why it's also important
  • 00:14:06
    to plan out what you're going to be
  • 00:14:08
    doing ahead of time instead of just
  • 00:14:10
    figuring it out on the spot because once
  • 00:14:12
    you figure out how your comic is going
  • 00:14:15
    to play out and you have all the rough
  • 00:14:16
    sketches or the thumbnails you can just
  • 00:14:19
    start choosing what pages to start
  • 00:14:21
    executing line art on instead of being
  • 00:14:24
    like Oh I gotta do it in order because I
  • 00:14:26
    I don't have the rest of the book
  • 00:14:27
    figured out or something like that so
  • 00:14:30
    another helpful time management tool
  • 00:14:32
    which could really depend on whatever
  • 00:14:33
    publisher or how much funding you have
  • 00:14:37
    available for this is to hire a colorist
  • 00:14:39
    for your comic because not all comic
  • 00:14:42
    artists are really the ones that color
  • 00:14:44
    their work I see I've noticed a lot who
  • 00:14:48
    hire colorists and even when you work
  • 00:14:49
    for a publisher they normally hire a
  • 00:14:52
    colorist for you and again Some people
  • 00:14:55
    prefer coloring their own Comics but I'm
  • 00:14:58
    just saying if you are someone who
  • 00:14:59
    prefers to spend more time drawing
  • 00:15:01
    focusing on writing story and line art
  • 00:15:04
    maybe you might want to consider hiring
  • 00:15:06
    a colorist to collaborate with of course
  • 00:15:09
    while knowing that this is going to come
  • 00:15:10
    with a cost and if you are somebody who
  • 00:15:13
    is considering the self-publishing route
  • 00:15:15
    I would definitely say think about be
  • 00:15:18
    realistic about how much you think you
  • 00:15:20
    can sell because I feel like I've
  • 00:15:22
    experienced this as well as other
  • 00:15:24
    artists have is over purchasing on
  • 00:15:27
    stocks of goods like this doesn't even
  • 00:15:29
    have to be for Comics or books that you
  • 00:15:31
    self-publish it could be for Merch or
  • 00:15:34
    pins stickers that maybe might not end
  • 00:15:37
    up doing well and you end up with just a
  • 00:15:39
    huge stock of items I would also say
  • 00:15:41
    this is why having your own social media
  • 00:15:43
    platform might benefit you instead of
  • 00:15:46
    doing something exclusive because you
  • 00:15:48
    have the right to do whatever you want
  • 00:15:50
    with your work and if you have your own
  • 00:15:52
    social media platform you can see how
  • 00:15:54
    people are responding to the stuff
  • 00:15:56
    you're posting at your own pace with
  • 00:15:58
    your own like commentary or whatever on
  • 00:16:01
    it then meanwhile I will say if you're a
  • 00:16:03
    person considering the traditional
  • 00:16:04
    publishing route I think the biggest
  • 00:16:07
    mistake you can make is not hiring a
  • 00:16:10
    good Agent to work alongside you because
  • 00:16:12
    I don't know how I would have gotten
  • 00:16:14
    through any of my book process without a
  • 00:16:17
    good Agent I feel like my agent is the
  • 00:16:20
    one that has really helped and educated
  • 00:16:22
    and guided me through the way of
  • 00:16:24
    publishing there were so many parts of
  • 00:16:27
    me going through my book deal that I
  • 00:16:29
    could have seen myself easily getting
  • 00:16:31
    taken advantage because I don't
  • 00:16:33
    understand the terms of so many things
  • 00:16:35
    either through my contracts or through
  • 00:16:37
    the marketing plan or even like these
  • 00:16:40
    subtle things that I wouldn't understand
  • 00:16:43
    because I'm not from the publishing
  • 00:16:44
    world I'm originally from the animation
  • 00:16:46
    world and I did not go to school for
  • 00:16:49
    this so it's really helpful to have an
  • 00:16:51
    agent who understands the world of
  • 00:16:53
    publishing and will be able to kind of
  • 00:16:55
    translate all of that for you and I do
  • 00:16:58
    think that the commission cost is worth
  • 00:17:01
    it at the end of the day like I would
  • 00:17:02
    say usually 15 is an average amount and
  • 00:17:05
    I would say anything like more than that
  • 00:17:06
    you should look into and question but if
  • 00:17:10
    you do not know where to start with an
  • 00:17:12
    agent this is the this is what I would
  • 00:17:14
    suggest for you to do collect all of
  • 00:17:17
    your favorite comic books that you've
  • 00:17:18
    ever read or that you've bought from
  • 00:17:20
    somebody and then just Google that comic
  • 00:17:24
    artist's agent on Google and they will
  • 00:17:27
    most likely show up because usually
  • 00:17:28
    whenever a book deal is announced the
  • 00:17:30
    agent is also announced with it or
  • 00:17:32
    usually it will just show up in the
  • 00:17:33
    Google results of the agency that
  • 00:17:36
    represents this author or artist and I
  • 00:17:40
    would make a list of all of those
  • 00:17:41
    different agencies and just because that
  • 00:17:43
    person was assigned a certain agent
  • 00:17:46
    doesn't mean you will get that same
  • 00:17:48
    exact agent you might get somebody
  • 00:17:49
    different that's still in that same
  • 00:17:51
    agency and at least for the most part
  • 00:17:54
    you can hope that they will have
  • 00:17:56
    similarly aligned values so that's a
  • 00:17:59
    method I would recommend of looking for
  • 00:18:01
    an agent if you don't know where to
  • 00:18:03
    start is to just base off of successful
  • 00:18:06
    Comics that already exist and the Agents
  • 00:18:09
    that have worked with these comic
  • 00:18:10
    artists but also do know that if you're
  • 00:18:12
    somebody who's just starting off in the
  • 00:18:14
    industry it might be a little bit harder
  • 00:18:17
    to land on an agent especially if you
  • 00:18:19
    don't really have much prior experience
  • 00:18:22
    in either art animation or publishing to
  • 00:18:25
    begin with I will say that my experience
  • 00:18:28
    in animation and my social media
  • 00:18:30
    presence combined I felt like helped me
  • 00:18:33
    land on a really good Agent and then
  • 00:18:35
    lastly I feel like all artists are
  • 00:18:38
    guilty of this but a lot of people don't
  • 00:18:40
    start their Comics because they just
  • 00:18:42
    worry about their style not being
  • 00:18:44
    consistent enough throughout the book I
  • 00:18:46
    remembered so many times when I was
  • 00:18:48
    about to start like a comic I would just
  • 00:18:50
    be like ugh I have to figure out like
  • 00:18:51
    what style I'm going for I don't know
  • 00:18:53
    like what is the tone of this comic like
  • 00:18:56
    stylistically yet and I would just
  • 00:18:58
    really procrastinate and hold my story
  • 00:19:00
    off but you just gotta do it because
  • 00:19:03
    first of all your comic style is most
  • 00:19:06
    likely going to change throughout time
  • 00:19:08
    no matter what like when you're drawing
  • 00:19:10
    in this comic you're going to evolve as
  • 00:19:12
    an artist because it's going to take a
  • 00:19:14
    lot of time to work on this it's kind of
  • 00:19:15
    like how when you read some of your
  • 00:19:17
    favorite mangas by mangakaz I feel like
  • 00:19:21
    you see their style kind of change by
  • 00:19:24
    like the most recent volume versus the
  • 00:19:26
    first book you ever saw like their style
  • 00:19:28
    changes over time and I think that it's
  • 00:19:30
    such a interesting process to witness
  • 00:19:33
    like who cares if it's inconsistent
  • 00:19:34
    people still know the characters are the
  • 00:19:37
    same but just know that one of the most
  • 00:19:39
    comforting things I think about is just
  • 00:19:41
    knowing about how there are so many like
  • 00:19:44
    either mediocre or below mediocre
  • 00:19:46
    projects out there now and even though a
  • 00:19:49
    lot of these things are not my favorite
  • 00:19:52
    at least they inspire me in the sense
  • 00:19:55
    that this person had such a lukewarm
  • 00:19:59
    story idea or just not the greatest
  • 00:20:02
    project at least in my opinion and that
  • 00:20:06
    should give me an excuse to make my own
  • 00:20:08
    lukewarm mediocre project so we all have
  • 00:20:12
    to start from somewhere you know so
  • 00:20:14
    don't be afraid to make your own thing
  • 00:20:16
    just because so many cool projects out
  • 00:20:19
    there exist and you feel like you might
  • 00:20:21
    not stand out or anything you never know
  • 00:20:24
    and I feel like there's just
  • 00:20:26
    so much to a comic it's kind of more of
  • 00:20:29
    a package instead of just like you only
  • 00:20:31
    look at the art and like that's it
  • 00:20:32
    there's so many other elements to it to
  • 00:20:35
    think about and that's why I would say
  • 00:20:36
    just getting started is the best thing
  • 00:20:38
    you can do because you don't learn any
  • 00:20:40
    of these things till you start so anyway
  • 00:20:42
    thank you so much for watching this
  • 00:20:44
    video thank you to skillshare for
  • 00:20:46
    sponsoring this video again check out
  • 00:20:48
    the links in the description box below
  • 00:20:50
    if you would like to get a one month
  • 00:20:52
    free trial of skillshare and if you are
  • 00:20:55
    interested in reading my comic book you
  • 00:20:58
    can check out Niche the bad demon in the
  • 00:21:00
    links below as well so I wish you all
  • 00:21:02
    the best on your comic making Journeys I
  • 00:21:05
    love that we're living in this day and
  • 00:21:06
    age where a lot of people are sharing
  • 00:21:09
    their comics online now and it's kind of
  • 00:21:11
    like a much more interesting version of
  • 00:21:14
    the comic strip section of the newspaper
  • 00:21:17
    except of course now the newspaper is
  • 00:21:19
    our phone and the comic strip section is
  • 00:21:21
    like social media alright so thanks
  • 00:21:23
    again for watching and I'll see you all
  • 00:21:25
    in the next one
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  • comics
  • graphic novels
  • self-publishing
  • time management
  • storytelling
  • comic art
  • exclusive agreements
  • hiring an agent
  • art career
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