I have to be honest, when young hopefuls ask established creators how to break into comics, I feel like answering with "just make comics" is largely unhelpful and kind of dismissive. Obviously most people realize they need to get out there and do the thing, but where to start?
IMO, I think the best place to start is by applying to participate in group anthologies or collaborative kickstarter projects—if you have the time and ability, possibly even creating your own and inviting folks you see as immediate peers/potential work partners to participate.
Doing smaller gigs like a 4 pager in an anthology will allow you to get your feet wet and gain some experience without having to commit to an entire project all on your own. It will also give you a reason to meet and network with more people at similar places in their careers.
Comics is (usually) a team effort, so starting with group projects can really let you know if you're cut out for working well with others. Kickstarter projects often come from smaller publishers or individuals, so while the pay can be lower, you will usually have more freedom.
Lots of beginners struggle with too MUCH freedom—it's sort of like playing a huge open world game vs. a simple platformer—when you're just starting out, sometimes it's nice to have some guidelines in place vs. leaving EVERYTHING up to you to worldbuild and manage on your own.
That's why imo, themed anthologies are a great place to start—they usually give you some basic constraints but still enough leg room to really refine your skills. And more often than not, they are also curated in ways that prioritize those with less access to traditional pubs.
And I bring "access" up because while comics is a comparatively accessible industry, there are still lots of road blocks and gates up for folks who come from marginalized backgrounds. Self-published/KS books often allow folks to bypass a lot of those barriers, which is helpful.
On top of that, one of the hardest hurdles for folks just starting out is that creating comics is more often than not, done in total isolation. That isolation can be really hard to overcome if you don’t have a group of “coworkers” to talk to occasionally. Friends are valuable.
3 years ago, before I had worked for any traditional publisher, I cut my teeth on anthologies, zines, and art books that were put together by folks I was interested in working with. (1001 Knights, Burl and Fur, etc) Those books introduced me to many of my (now) best friends.
Comics is a unique industry where you definitely can make it on your own and do your own thing, but most of us need help, and the best way to make authentic friendships is to engage with your contemporaries rather than fixating on your idols.
Anyway, just my two cents. "Make Comics" is pretty non-specific, and while it is totally doable if you have the drive and grit to persevere, for a lot of folks, starting with a small 2-4 page story in a group project is more realistically achievable.
Oh and, read this thread from Tres because it's very good and we literally started yelling about this same exact thing at the same exact time, lol. Something in the water, definitely not a subtweet, etc etc:
Ok, I know that everyone who has already “broken in” is tired of seeing this get talked about, so if that’s you, just mute this conversation or scroll past it 🤷🏻♀️ I feel like it’s worth adding a few more of my thoughts for those of you who actually do find value in this thread:
A big reason why so many pros answer the question “how do I break in to comics” with “make comics” is because it’s a really general and vague question. I honestly can’t fault anyone for answering with a general and vague answer, bc ultimately, “make comics” IS the answer.
It’s like if you want to become a professional driver and you ask someone how to do that, and they answer “drive cars.” They’re not wrong, but also you didn’t tell them if you want to be a racecar driver, a truck driver, a cab driver, etc—and each one warrants a different answer.
That being said, I’m gonna share some general tips because regardless of what kind of comics you want to make or what you consider to be “breaking in”, these things can apply to just about anyone (though, because I am an artist, they’ll be more relevant to artists than writers.)
A huge commonality between most successful people in any industry is that they didn’t get there alone. In comics, unlike illustration, there isn’t really an established culture of cold-calling or sending promos. Most publishers actively discourage sending unsolicited samples.
If your goal is to work on any kind of licensed properties, you’ll need a portfolio that proves you’re up to the task. If you want to draw superheroes, your portfolio should contain lots of superheroes. Dino furries? Sexy vamps? Draw them. This is effectively your job interview.
If your portfolio doesn’t have a single sequential page in it, no one is going to trust you with a monthly comic or a 280pg OGN. If it doesn’t have a single finished illustration, why would anyone think you could draw covers? You have to prove it.
It’s not rocket science, right? But how do you get the right set of eyes on this body of work you’ve slaved over? This is where networking and self promotion comes in. Don’t be slimey, don’t have an angle—but make authentic friendships with peers you like and get along with.
Participate in discords or other communities that foster real friendships between creators. It takes time to find your people, but it is so valuable to have folks you trust who you can bounce ideas off of, collaborate with, and yes, sometimes get intros or recommendations from.
And whether you want to work on licensed properties or creator owned projects, chances are you WILL need someone to introduce you somewhere along the line in order to get a foot in the door. There’s no shame in that. Most pros who “made it” got a favor from someone at some point.
Sometimes that favor is introducing you to an agent who can sell your creator owned GN concept to a big publisher, sometimes it’s sending your work to an editor at the Big2. Sometimes it’s as simple as sharing brush settings or script formats. Again, everyone’s path is different.
So, I obviously can’t tell you “how to make friends”.. that’s an entirely different discussion. But I WILL say there is a hell of a lot of value in basic soft skills. Can you interact effectively with others? Are you personable? A good communicator? Skills like that help a TON.
Once you feel you have a community of peers you can support and receive support from, a good next actionable goal might be to expand your audience. The best way to do this is to create and post your work consistently. It’ll feel like screaming into a void at first. That’s normal.
Don’t let it discourage you and try not to associate social media numbers with your value as a creator. It could take months or years before your work makes it in front of an editor or art director, but once that happens, they NEED to see that you’re consistent and active.
They also need to be able to easily find your contact info. Have a work/business email address visible on your social media. Have a website where they can easily browse your portfolio without excess clutter and shitposts. Be your own advocate. Don’t feel ashamed to RT yourself.
Once you get your first job opportunity, make it quality, turn it in on time, be nice and easy to work with. Start developing a reputation for those things, and you will get rehired. Prolific creators in comics don’t make things more difficult for their clients or collaborators.
If none of that sounds appealing, the other option is to simply be so good at your craft that you don’t need to hustle at all. Good luck 🤗
Anyway, that’s really all I’ve got. And frankly, it IS all encompassed within “Make Comics”. You gotta do the thing, one way or another.
Anyway, that’s really all I’ve got. And frankly, it IS all encompassed within “Make Comics”. You gotta do the thing, one way or another.
