Convention Confi·Dants #2

Me Time Is Mine Again

After all that time with catch-up, it’s time for some reminders.

Heroes Convention is one of the biggest conventions that are comics-first. Compared to NYCC or SDCC, this is the place for all comic creators and fans to be. Big time professionals, indie creators, and it’s not limited to glossy paper either. You might even find some creators from a Webtoon you’ve read.

As an indie first fan, this was a con I had to go to. Not only did I get an impressive haul of comics you can’t find anywhere else, but I asked a few creators on a few things.

Publishers and Premier Platforms Can Limit Everything

Better start with the most bitter piece I came away with. While most creators wanna get the biggest possible audiences, there’s a chance that even if you keep the rights to them, things are not gonna be in your favor.

This is definitely NOT limited to print comics. I stand by what I said about Webtoon being a consumer’s best choice for webcomics, especially on phones. But I have to admit that changes they bring up aren’t for every creator.

K. Lynn Smith for example turned down the offer to go onto Webtoon Originals because the company wanted The House of Lowther in color. And that clashed with the mood and setting she wanted to tell.

Other times you’re not even gonna know why your publisher/platform doesn’t want certain material to show up. Like with Boom! Studios and Bodie Troll.

For reasons that Jay P. Fosgit wasn’t quite sure of, some parts were taken out of Bodie Troll’s first outing. So when he got publishing rights back after his time there ended, he rereleased Bodie Troll the way he wanted. With all the parts Boom! left out as an uncut edition.

With a followup that he couldn’t get at Boom! too.

Everyone wants to have those true fans. But it’s times like these where a creator really has to reflect on what they want.

Not just artistic integrity but whether you can work with your fanbase to make what you want. Like give them more from what they already love or use them to prove to another publisher to do it in your preferred style.

Use Comic Making Services Wisely

I spoke to some people about Metal Ninja Studios and how much it cost to make a concept into a full (one-shot) comic book. And it’s a pretty penny compared to what I did to just get the Wire Fence done.

Services from editing, professional grade art, writing a story from the concept, the amount of pages, and more came out to $50,000.

I paid only a tenth of that to use Comics Experience and I wrote everything that went into it. I even tried to do the lettering…unsuccessfully. Props to all the people Comics Experience found.

So to hear all of the resources to get a comic going when you don’t have connections or skills to do much yourself can be…a lot.

You really have to choose carefully in this regard.

Metal Ninja is more about getting your stuff out as quick and professional as possible in sixth months. Depending on the complexity and team involved this costs from $3000-50,000.

Laymen’s: Metal Ninja is less steps but can be pricier.

From personal experience, Comics Experience can be a lot cheaper no matter how complex. Or at least that was the case with the Wire Fence. You just have to attend a class and then a manuscript in writing or art to get everything together. All that really needs to be done is communication between all parties.

Laymen’s: Comics Experience is cheaper with more steps, but you’ll have a little more control.

Get Advice, Don’t Suggest

One of the most surprising lessons came in Vaugh Coleman’s Rebel Oasis Studios. Well his newest collaborator for his shared universe.

I was already a fan of Phenomenova on GlobalComix, so the fact that there’s more intrigues me. See the guy Joseph Battaglia came to Coleman for advice on developing his comic, The Wraith Crown.

Little did he know, Battaglia would get the background he needed to develop the characters and setting through a shared setting.

I’ve always heard of how making suggestions to a creator of a work of their own stuff is a bad idea. But this…this is something else!

Now most people aren’t going to get opportunities like these, nor should they expect it to. But talking to a creator you respect for a direction is always fine. While they have their own stuff to worry about, they’re more than willing to help others out if they can.

Find Your Partners

Two people I regularly see together, G-Man’s Chris Giarrusso and Phantom Ink’s John McLaren were at this con too. It turns out they knew each other from a few other conventions and started up a partnership over the years.

Giarrusso wasn’t just the guy who got most people to their booth, he also showed McLaren how to improve color flats and lettering. McLaren meanwhile gave Giarrusso the rides over.

Put simply, never underestimate what you have. Even if it only makes things happen down the line. Having somebody around to help you in ways you don’t expect means a lot.

Partner With Locals

Found this in two places: Comicsburgh and Power Pulp Comics.

Both emphasize working with businesses in your area to help promote your stuff.

Whether that’s printing your zines or putting your characters on their products.

If you can grow your influence from somewhere; why not let it be in familiar places?

Put your comic in a diner as a promo item? Make sure it’s not corporate owned…

Find a local product you like? Hot sauce or toymakers? Make some mutual marketing!

Obviously you gotta like what they’re selling. And you gotta prove there’s demand to help with the supply.

But come on! This is the most affordable way to build up influence!

Just cuz you’re not gonna make sacs of cash from licensing doesn’t mean it’s not worth it.

Closing Out

Hopefully you can take a few things out of this more than I have.