Discover and read the best of Twitter Threads about #ComicsBrokeMe
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I Got Canceled.
The last 24 hours have been insane.
These last 24 hours have resulted in me getting harrassed and mobbed, LOSING MY PUBLISHING DEAL, and more.
So. I've come out of retirement of indie comics to do the following TWO THINGS
👇👇👇👇👇👇
The last 24 hours have been insane.
These last 24 hours have resulted in me getting harrassed and mobbed, LOSING MY PUBLISHING DEAL, and more.
So. I've come out of retirement of indie comics to do the following TWO THINGS
👇👇👇👇👇👇
#1 - I have officially launched SUPER PLUMBER SISTERS #1 on Kickstarter! It's a super fun comic. I always had it planned to launch today...I just didn't think it would be under these circumstances...
kickstarter.com/projects/kingo…
kickstarter.com/projects/kingo…
#2 - I'll be doing a LIVE STREAM tonight where I make my statement regarding me losing my publishing deal, the events that happened that made this happen, and calling out EVERY CREATOR who tried to play angel in all of this and mobbed the publishers
Okay. I don’t feel I get to speak much about #ComicsBrokeMe. I have had some shitty experiences in comics, including some I didn’t recognize at the time. But overall, I am very happy and comics have been great to me. I see the pain of my colleagues and it’s horrible.
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But there are some red flags I would tell aspiring creators to watch out for.
I hope these will help some folks avoid some heartache. Note that none of these are the creator’s fault, no one gives classes for this stuff. You’re kind of just thrown in the hopper.
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I hope these will help some folks avoid some heartache. Note that none of these are the creator’s fault, no one gives classes for this stuff. You’re kind of just thrown in the hopper.
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Get your deal in writing, even with friends. Maybe especially with friends. Some of the biggest breakout multi-media hits that came from comics started as limited partnerships. Almost none stayed friends and a LOT of litigation has gone on.
Get it written out.
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Get it written out.
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#ComicsBrokeMe
L’idea di affrontare questo argomento mi crea una immediata ansia, quindi abbiate pazienza se ne uscirà un discorso un po’ confusionario. Ci provo. Vi avviso preventivamente che sarà un thread intenso 🧵
L’idea di affrontare questo argomento mi crea una immediata ansia, quindi abbiate pazienza se ne uscirà un discorso un po’ confusionario. Ci provo. Vi avviso preventivamente che sarà un thread intenso 🧵
Quando ebbi la chance di lavorare per la prima volta come autrice ero in un periodo di forte insicurezza e di ricerca lavorativa, per cui mi era sembrata una bellissima opportunità. Indubbiamente lavorare con una delle “case editrici italiane più prestigiose” era+
incredibilmente allettante, soprattutto per una neofita autodidatta che non bazzicava strettamente l’ambiente quale ero io all’epoca. L’anticipo era di 3000 euro per una GN per ragazzi di circa 140 pagine a colori. Mi ci vollero due anni per completarla.
Cuando no especificamos significa que lo que ese precio pretende cubrir es tanto el guion como el dibujo de la página.
Muy preocupados por las condiciones laborales del cómic en EEUU pero te acusan de manipular cuando hablas de las condiciones en España, que son mucho peores.
Aquí es cuando se nota quien de verdad defiende a les autores y quien es amigo de la patronal.
#ComicsBrokeMe
Aquí es cuando se nota quien de verdad defiende a les autores y quien es amigo de la patronal.
#ComicsBrokeMe
Ahora es buen momento para recordar cuánto se paga en editoriales españolas, ya que se ve que eso pone nerviosa a mucha gente.
Por cierto, aunque el cómic lo hubiera hecho una sola persona (cosa que no fue así y lo dejamos claro) y no se descontara IRPF, seguirían siendo 2000 euros por el trabajo de un año.
No sé a cuál supuesto defensor de les autores le puede parecer eso un buen trato.
No sé a cuál supuesto defensor de les autores le puede parecer eso un buen trato.
.@EricDJuly is not wrong exactly,
the problem is only in the last decade impressing your peers became different that making a great comic to impress your readers
before then they were one & the same
the problem is only in the last decade impressing your peers became different that making a great comic to impress your readers
before then they were one & the same
Comics used to be healthy, the industry promoted quality work, and the ecosystem, besides being more extensive, was relatively more focused; people knew they were there to make comics.
yes politics at the office existed, but the Modus operandi was making comics that could sell twitter.com/i/web/status/1…
yes politics at the office existed, but the Modus operandi was making comics that could sell twitter.com/i/web/status/1…
But after the comics crash in the 90s, comics failed to learn the lessons about distribution & selling product & would lean into social politics & major media.
& the focused on a more feminine demographic
Once you get to 2014; all new hires are dirt-cheap social justice kids
& the focused on a more feminine demographic
Once you get to 2014; all new hires are dirt-cheap social justice kids
I’m seeing lots of losers trying to well actually the #ComicsBrokeMe tag but Ian McGinty was the perfect example of how the comic industry takes passionate, loving and excited comic creators and throws them in a meat grinder. He loved to draw and his love and talent was exploited
I think it’s very important and appropriate to mention that it’s not public how Ian passed and frankly that’s no one’s business but it was not a secret that he would constantly post about doing all nighters and crunched on projects. This is our industry and that’s not sustainable
Ian just wanted to pay his bills and make cool shit and make people happy with his art and many companies took advantage of his skillset and passion.
#ComicsBrokeMe At the age of 22, when I still was in art school, I had my very first non-experience in comic industry. Me and my partner proposed a story to a publisher and after an initial approval the editor asked us to rewrite the subject.
We did it. And then they asked it again, and again, and again, and again then they ghosted us for months and when they reached back to us they rejected the project. (At that point I was so relived, we were working our butt off for free)
On a second attempt at proposal we received an email saying they were personally disappointed in a very unprofessional way. Me and my partner moved on but I still wonder how certain behaviors could be possible in a work environment, especially toward young authors.
#ComicsBrokeMe This is why every hopeful who asks me how to make it in this industry gets the same advice: start your own webcomic and keep it off Webtoons. These corporations will use you up and ditch you the moment your suffering is a mild inconvenience
They've got a thousand bodies to replace your spot in the machine. You do not. Protect yourself, your time, your energy. It's all you have in this life.
Part of how we have made Atomic Robo a success for FIFTEEN YEARS was by never attempting to do monthly issue. We average six to eight a year. This is a pace that is sustainable and healthy for us. It gives us the space to rejuvenate, to have hobbies, to start other projects, etc.
#ComicsBrokeMe 🇮🇹 italian edition:
I'd have loved to do comics in Italy but that's pretty much impossible since the whole industry is based on exploitation.
That's why 🧵
I'd have loved to do comics in Italy but that's pretty much impossible since the whole industry is based on exploitation.
That's why 🧵
The average payment for a GN goes from 1500€ to 3000€ (almost never) for ~120 pages (sometimes even more). That means 12€/page and includes EVERYTHING: writing, art, colors, sometimes even lettering. When there are 2+ people involved the payment is the same, just split up
All the comic industry is based on ONE comic convention (Lucca Comics, in October) so everyone just have to rush to hit that deadline, sometimes you have less than a year to do ~120 pages. If you miss that deadline publishers can decide to not release the book until the next year
The worst part about the #ComicsBrokeMe posts is that so many people didn't feel comfortable talking about the issues they've had until a friend and colleague died.
We make comics because we love comics. No one should ever have to sacrifice their well-being for that.
We make comics because we love comics. No one should ever have to sacrifice their well-being for that.
I stayed at my full-time day job as long as I could while writing comics so I could keep my (very good) health insurance.
Decided it wasn't worth it after I cracked two molars grinding my teeth in my sleep from stress. Killing yourself for health insurance is counter-intuitive.
Decided it wasn't worth it after I cracked two molars grinding my teeth in my sleep from stress. Killing yourself for health insurance is counter-intuitive.
I'm very lucky that I've been able to freelance full-time and get (not nearly as good but still okay) health insurance from the CA exchange.
But. I'm a writer. It's a lot easier for me to pile on the work than an artist. Writing is both quicker and less physically demanding.
But. I'm a writer. It's a lot easier for me to pile on the work than an artist. Writing is both quicker and less physically demanding.
I was paid $25/pp for colors on an Eisner award winning series. I once colored a 200+pg gn in 2 months. It is on the NYT bestseller list. I had arm pain for months after. I do not get royalties for anything I've worked on.
I love my job but I can't do this forever #ComicsBrokeMe
I love my job but I can't do this forever #ComicsBrokeMe
There are many creators who do treat me well and I'm very grateful for them. I'm proud of my work. But when a major book publisher just this past year tried to offer me a coloring job at $28/per page, I know things are not going well in this industry.
I do not blame any of the editors I've worked with. They're all just as passionate about comics. They love comics, and I know (the ones I've worked with) do as much as they can with the power they have. They're also just as tired. This broken system goes higher than them.
