I’ve had a post about WRITING THE THINGS knocking around in my head for a few weeks now. It was going to be a bit about my experiences in publishing so far–comics specifically–some tips on getting started, pointers and pitfalls and the like.

Then I got a bit shy about it: who the hell am I to be waxing philosophical about a business I’m only just starting in myself? Takes a bit of hubris for me to do that, especially since I can’t talk about my more recent exciting book thing yet.

But yesterday I came across an excellent blog post by Jim Zub about the difficult pitch process comic creators endure when trying to bring their projects to life. While I was reading it, I started thinking that though it might be silly to post about my “expertise” in the field, it might actually be helpful to share some of the tools I’ve used to learn about writing comics from those who actually are experts, along with the tools I wish I had when I was starting out.

For me it was sort of like cobbling together a sledgehammer from a broken chunk of curb and a stick. What you’ll find below is a fine selection of precision tools. You’re lucky. And because I do have just a bit of ego, I’ll color some of the links with suggestions, notes about my own work style, and my experiences. Because it’s my blog and I can and you can’t stop me nah nah.

A small disclaimer though before we get into the list: you can spend your whole life reading how other people do things in search of The Secret Way To Get Famous And Write Better And Be Loved By Readers Everywhere. I know, I spent years looking for it myself. Wanna know what it is?

Write.

That’s it. And reading, of course, but that goes without saying. The number one way to get better at what you want to do is to do it. Make mistakes. Improve. It may not feel like it at the time, but when you look back you’ll be surprised at how much of your own growth you recognize (and groan at, looking at your old work).

So don’t mistake the links below as some kind of Great Secret Grail, and definitely don’t get too lost following link after link into an inescapable pit of perpetual “education” in the field. Learn by watching those you admire, learn by reading all the time, learn by asking questions. And when you’re done with the links below, turn off the wi-fi, unplug your phone, and lock up the PS3 controller until you have a solid, unshakable writing routine. It’s the only way.

Learn by doing.

Now that we’re settled, let’s open up the toolbox and see what we find. I’m going to separate these links into a few categories and try to organize them as best I can. These are all going to be links to free online resources, though there are TONS of excellent books about both writing in general and, specifically, creating comics. You’ll hear about them in some of these links and I might chat about my favorites in a future post.

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Comics 101

Want to learn the basics of writing and pitching a comic? Warren Ellis wrote a fantastic three-piece series for Comic Book Resources way back in 2000 that fits the bill. Covers all the basics, from basic tools to concept to pitch.

• Part 1
• Part 2
• Part 3

 

Writing All The Things

Alright, you’ve read the posts above and STILL really want to make comics? Really? Okay, cool. But how do you turn our brilliant idea into a story? What about writing a script?

There’s no “industry standard” format for scripting, though there are commonly accepted rules and standards out there, and there’s certainly no “right way” to come up with your story, but the links below might help you find your own method to do both.

• The Comic Book Script Archive – a great resource for professional examples of comic scripts from across the industry, including Brian K. Vaughan, Grant Morrison, Warren Ellis, Brian Michael Bendis, Neil Gaiman, Matt Fraction and more.
• My Own Meager Contribution – two of my older scripts, posted with warts intact. One of which, RUSTED: FADED SIGNAL you can compare directly to the finished story here on the site.
• Antony Johnston: My Writing Process – Antony is the writer behind books like WASTELAND and THE COLDEST CITY over at Oni, not to mention working on video games like the DEAD SPACE series and ZOMBIE U. His process is almost identical to my own and, after years of trying to figure out how I work, is where I’ve set up camp. I like making notes and I like planning (to a degree) where I’m going. Most times I veer away from the plan, but having one in the first place gives me confidence to go forward, even when I wind up some place completely different.
• Jim Zub: Rambling About How I Write Comics – Jim is the writer of the rather awesome SKULLKICKERS. That he’s giving away his secrets for free is something you should be grateful for. His essay on writing comics appears in five parts, but each one links to the next, hence the single link here.
• BONUS LINK: Antony Johnston’s “Scrivening Comics” – I can’t tell you how much easier using Scrivener has made my writing life. If you’re a Mac user I strongly recommend you consider checking out Antony’s guide and grabbing Scrivener for yourself.

 

Selling Your Goods

So you want to try selling your comic, huh? Well, it ain’t easy but it can be done. The key to a solid pitch is brevity: be quick, clear, and get out. Put as much info in as little space as possible – and that doesn’t mean using a tiny font. You have to distill your story into the most concise description possible. Doesn’t matter how much work you’ve put into it, remember that most editors probably haven’t heard of you if you’re just starting out and don’t have time to read a phonebook. You may not get to include your favorite sub-plot about the funny robot’s bottle cap collection, but that’s okay; if an editor likes what you’ve put together you’ll get to tell them alllll about it.

But enough from me.

• Here Comes The Pitch – Jim Zub (that guy again?!) is in the process of posting a series of articles about the pitch process. Only two are live so far, but he’ll keep linking to future entries in each post so be sure to keep checking back.
• Honestly, there’s not too much out there that doesn’t say the same thing I did and Jim does (in greater detail): keep it short, get an editor’s attention with a solid hook, etc. Most importantly, stick to the posted submission guidelines on a publisher’s website. Show them that you went to kindergarten and can follow basic instructions. You’d be surprised how many pitches get tossed just because they don’t fit the posted format requirements. Stand out, by all means, but within the guidelines.

 

Need an Artist?

Most publishers searching for creator-owned comics (Image, Dark Horse, Oni, etc.) tend not to accept submissions without artists already attached to projects. And unless you have experience under your belt, Marvel and DC aren’t going to hire you yet. So even if your greatest dream is to write superheroes for the Big Two, you’re gonna have to do something on your own to get their attention first. That means finding an artist.

Very quickly before we get to some resources: etiquette and professionalism, people. Remember, as a first time comic creator an artist has no reason to take a chance working with you. What you’re asking them to do for you is a big deal. You want them to give up time and resources to help bring your dream to life. Depending on the artist, where they are in their career, and what they’re currently working on, you need to be prepared to pay them.

Some artists will take a paycheck for the pitch and accept a rights split if the book gets published (they get 50% of any profit, you get 50%) in place of a page rate. Some will do the pitch for free if they love it and you let them be your creative partner rather than a wrist-for-hire, because then it’s as much their baby as it is yours. Some will need a page rate for the whole book because they have families to feed. Always show an artist that you respect their time and skills by asking what their rate is for a pitch in your inquiry email (unless you’re a poor kid that doesn’t know any better, you should try not to approach a potential partner in a public forum).

Be upfront about what you can afford when you’re speaking to an artist. And come prepared with a budget you’re prepared to lose if the book doesn’t get picked up. After your bruises heal you save up and try again with the next story.

But where to find an artistic partner?

• Penciljack – a strong community of aspiring and working comic creators. Good place to find some support, critiques on your work, and a collaborator.
• Digital Webbing – similar to Penciljack, these forums are a great resource for new and seasoned comic creators, particularly if you’re looking for a partner in crime.
• deviantART – more of a free-for-all here, but still a good resource. Do a search for “comic pages,” “sequential art,” and so on. If you see someone(s) you want to reach out to, send ‘em a message.

 

Lifestyle, Storytelling, Revision, and Inspiration

So you’re sure you want to make comics, you know how to write them, and you’ve got an artist to help with your clear, concise pitch, but you’re having a rough day and need some inspiration, a point in the right direction as you revise your work, or even just a kick in the pants to get you back on track. Don’t worry, I’ve got you covered.

• Survival Tips for the Newbie Writer- Awesome comic writer Gail Simonedrops some knowledge about what to do once you’ve actually gotten your foot/arm/other expendable limb wedged in the industry door. Important reading for anyone who is, or plans to be, writing as a career and not just a hobby.
  
• Pixar Story Basics – I don’t care if you love or hate Pixar movies (though if you hate them you can JUST DIE), these rules are the most concise and clear guides to coming up with, writing down, and releasing your story to the world I’ve ever seen. Every writer, no matter what medium, should read these.
• Joe Hill: Pour Me Another Draft – Joe Hill is the writer of two fantastic novels (HEART-SHAPED BOX and HORNS), my favorite short story collection (20th CENTURY GHOSTS) and the amazing comic series LOCKE & KEY. So, yeah, he’s sort of a hero of mine. Here, he walks you through his revision process, which you may find to be way over the top or just right depending on your level of dedication and OCD. I happen to fall in line with this pretty well.
• The Importance of Frustration – “…the act of feeling frustrated is an essential part of the creative process.” ‘Nuff said. Good to read/watch when you’re feeling beaten down by your story.
• Five Ways Your Brain Sabotages Your Writing… And What To Do About It - I’ve experienced ALL of these. I’ll bet you have too. Good advice and good for a laugh, too.
• Explore.com’s “Writing” Tag – this site is full of inspiration by way of filling your brain with all sorts of amazing, beautiful, and inspirational posts about the world: current events, science, history, the arts. I’m calling out the “writing” tag here because that segregates posts specifically about the act of writing, but I strongly recommend you favorite place the main page and check it often.

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So there it is. I may eventually turn this post into a standard page on the site to be updated periodically, but until next week it sits on the front page.

Have some suggestions on additions? Wanna chat about breaking into comics? Found a broken link? Let me know in the comments section or send an email to Nick.Tapalansky[at]gmail.com.

 

UPDATE: As of tonight it looks like the Tumblr post in question has been deleted. It took a few days, but I’m very glad it happened and appreciate the creator recognizing that it should be removed. I’d like to think they reached out to the young girl whose question inspired and was included in that post, and if so I hope it was in private, with a kind word.

The creator did leave up their second Tumblr post, the one which removed the original questioner’s name and query, and I like that just fine. Their career is their business and there’s no reason anyone should hate them for not wanting to work for free (who does?), take certain types of work, or feeling a certain way about how projects outside of their work environment (read: comic lit/book pubs with graphic novel imprints) are put together. There’s also nothing wrong with them posting about it online, regardless of presentation. Do I agree with the message and attitude? Nope, and I discuss that in the original blog below alongside my issues with the ethics of the original Tumblr post and its target.

But the wonder of the internet is that it’s open to all. There’s nothing wrong with this creator having their say in whatever way and tone they see fit and I support that. Period. Full stop. I have to think that they support me having mine, too. I mean, that’s sort of the bedrock we all stand on as professional working adults and, really, as people, isn’t it? Not everybody can agree all the time, but engaging in and encouraging discussion and expression, especially if it’s heartfelt, is what separates us from poo-flinging monkeys.

In that spirit, I think the conversation about professional-to-fan interaction generated by the creator’s original Tumblr post is a great one, so I’m leaving the blog below in its original form for continued discussion here and anywhere else on the internet that a link to this place ends up.

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Alright, I’m gonna put my rant hat on. Take my thoughts for what they are, but writing, and comics specifically, are the source my living wage at the moment, so the point at issue is something I have experience with, from both sides of the fence.

I read a professional creator’s (read: a working creator, not somebody trying to “break in”) Tumblr post today that had me seeing red, a response to a person, a self-professed fan, asking to work with said creator (FYI on Tumblr users can ask each other questions and recipients can choose to approve and answer them as public blog posts. When this happens, the user’s Tumblr ID and original question are at the head of the recipients public response post). The response from the creator was rude, snotty, and unprofessional. Yet, somehow, it’s being reblogged, favorited, and tweeted across the universe. Because the question didn’t include any mention of payment, the creator assumed that the fan in question likely wanted the creator to work for free. The creator then used it as a springboard to tar and feather the person. Publicly. On the internet.

And maybe they were right and the person wasn’t offering payment, because the person didn’t specify. However, in the internet age, what the creator actually experienced was a tentative query from someone who liked their work. Maybe the inquiry in itself wasn’t 100% on the ball professionally, but it still represented a complement to the creator.

When you work in a creative medium, and we’ll focus on comics here, people are going to ask you to work for free. Maybe it’s just because you have a little more experience than they do. Maybe they actually like your work–the case here as indicated in the initial question–and, from where they are, don’t know what to do next beyond finding the missing member(s) of a creative team. They probably have no idea how the business works, that you’re trying to make a living, pay rent, buy a value-pack of instant ramen, or maybe even take your wife or husband or kid to the movies once in a while.

The bottom line is that this happens, more often to artists than writers, but it still happens to all of us. I’ve gotten a few requests along the lines of “I draw stuff, wanna write it? I don’t have money, but…” and I always politely decline, explain why and the basics of business in comics, thank them for thinking of me, point them toward a site like Pencil Jack or deviantART, and give them the info for my agent in case they want to hire me in the future. I’ve never once gotten a nasty email in reply, and usually get a pleasant “thanks anyway” for my trouble.

You might want to make an argument that nobody walks into a mechanic’s shop and asks them to change their tires for free, or walks into a restaurant and requests a free meal. I caution you not to bother trying that one with me. The comic industry is full of working professionals who got their start looking for a collaborator willing to take a chance on them for chump change. We in the creative industries make sacrifices for the sake of art, be it in comfort or lifestyle or sleep or sanity, just to earn the right to be paid something, anything for our work. We don’t start out there, we just hope to get to that point.

This creator’s Tumblr post, however, went out of it’s way to not only belittle the person who asked the question, not to mention creators who work together on spec, but also make assumptions about what the person wanted and that they weren’t offering any payment. I’m not going to name check them, if nothing else to maintain some higher moral ground and not be accused of starting a witch hunt. But if I can dramatize for a moment, it looked something like this:
——
Fan: Hey, I have an idea. Wanna work with me in developing it?

Creator: FUCK YOU BITCH YOU AIN’T GOT NO MONEY AND I’M SICK OF PEOPLE NOT UNDERSTANDING I DON’T WANT TO WORK WITHOUT A GUARANTEE OF PUBLICATION AND A LARGE SUM OF CASH. BESIDES, I ONLY WANNA DRAW MY OWN BRILLIANT IDEAS UNLESS YOU HAVE SAID LARGE SUM OF CASH AND A PUBLISHER.

Fan:

——

Now, maybe I’m more sensitive to this because I’ve been on that other side of the fence. Once, a young Nick sought out artists to work with and had no idea how things worked and very little money. He learned some hard lessons, got beat up a bit along the way, and eventually got a decent clue as to what passes for professionalism and etiquette in the comic world. And once I got published, yeah, it got easier. I made friends, some of my best friends ever, and we work together on things we’re passionate about. Some of them go places. Others don’t. We do it because we love it, between the cracks of paying jobs. We hope for the best, prepare for the worst, and try not to waste our valuable time.

But this creator presumes that any work done for free isn’t valuable. Untrue, if it’s creatively fulfilling to those involved. And if it works out, gets published, goes somewhere… Well, that’s the goal of any working creative, isn’t it? Nobody is suggesting any creator put off paying work in favor of non-paying work, but to suggest there’s no value in a project one or more people are passionate about is, frankly, short-sighted and ignorant. Everybody deserves to get paid for their hard work. Not everyone starts out at a point in their career where that can happen. Don’t devalue the work they do, or seek to do, because it doesn’t fit your rules for accepting a job. They want to be where you seem to be.

You know what though? Fine. If you don’t want to work with anybody but yourself or somebody who already has a deal with a publisher and a five-figure advance to offer an artist that’s your prerogative, and a fair one. Nobody is saying you need to work for free. In a perfect world nobody in comics ever would; every idea would earn a paycheck and we’d all be rolling in stupid amounts of money. So if you don’t want to be a part of the more bohemian dregs I count myself among I won’t judge you for it. Hey, you know what may help get that across professionally? A simple CONTACT PAGE ON YOUR WEBSITE, LIKE THIS.

And since you have specific requirements, like a publisher already in place with money in hand and an unwillingness to work on pitches used to get a publisher, maybe put that right there on the contact page along with information for your agent, if you have one (they do, by the way, just like me). And whenever you get a question from somebody who ignores the contact page and you don’t want to explain nicely in a quick, kind email what they’ve done wrong because you’re so busy? Just respond with a link back to the page. It’s still cold, but it’s better than spitting self-entitled vitriol at a well-meaning (potential) fan.

[EDITED 9/6 TO ADD:] So it turns out that said creator DOES have a non-Tumblr website that actually invites people to email her about small illustration projects:

Open for comic-centric workshops (children, teen & adult) and short term illustration/animation related work. Send an email for rates if you’re interested. VERY busy drawing comics at the moment, so if you have a long term project you think I might be right for, please consider emailing my agent first.

Rather than losing your internet mind on somebody publicly, and leaving up a rude and belittling Tumblr post directly addressing them, couldn’t you have just linked to the contact page and, if the information isn’t accurate, UPDATED IT FIRST?

So yeah, maybe your Tumblr post is getting reblogged and your tweet getting favorited, but do you know who’s doing that? Probably other creators who may want to have a freak out but realize it’s not the most charitable, intelligent, or professional of moves. By ranting on your soapbox at a fan, belittling a sizable portion of the working industry, and claiming artistic integrity with a desire to focus on your own work (unless there’s a publishing credit and a sizable advance, of course) you’ve only marked yourself as inaccessible, classless, rude, and unprofessional to the people who matter more than the peers who are, even now, throwing internet high-fives your way. You might remember them, vaguely. Who are they again? Those people who read and buy your books?

You know who won’t be reading your next book? That fan you just pissed on.

And this guy, who you pissed off.

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[POST SCRIPT ADDED 9/5 & 9/6] A few other creators have started weighing in:

My good pal and GRAVE DOUG FRESHLEY scribe Josh Hechinger has weighed in over at his site. I encourage you to give it a read for a different perspective, coming from another writer with feet in both the creator-owned gamble of non-paying (up front) personal work and work for hire. He asks you to remember that it works both ways – sure an artist is usually working longer on a spec package/book than a writer, but neither party is getting paid. Josh says:

“See, I ask artists to work for free a lot. I know what I’d want to get paid if there was money on the table, but 99% of what I do anymore is without anyone involved but the creative team. Meaning there’s no money to be made until there’s something to monetize, unless we want to pay each other to work together.“

A quick, interesting read, so head over to his site, NOBODY DIED to check it out in full.

Incidentally, he also links to the Tumblr post in question that I went to great pains not to name-check here, but I think his perspective is worth visiting for anyone remotely interested in this developing conversation. If you want to know who/what I’ve been talking about, the info is there. If you want to stay pure, steer clear.

Also, comic and prose scribe Adam P. Knave drops in with a balanced look as both sides of the argument. He says:

“Nick’s points are not lost on me, any more than [Creator's Name] are (I know Nick personally, which is why I call him Nick. [Creator's Name] I do not know and am not sure what she would like to be addressed as and so I keep using her full name – sorry if that cadence throws you) and that’s interesting to me. I see and feel both sides. The more I look at both arguments the more I agree with both. “

You can read his whole post at ADAM P. KNAVE.COM. Have a look-see, but mind that he too linked to the creator’s Tumblr.

Of note: the Tumblr post both Josh and Adam link to is the second in question from the creator I’m leveling this open rant at. The first was the actual question exchange with a fan/Tumblr user, which the creator then tweeted out to the masses with the Tumblr user’s ID and original question intact. The only reason the creator posted a second entry, with just her answer and a brief summary of how it began (sans the questioners ID this time) was because the creator didn’t know questions can’t be reblogged. Not supposition folks, just from the creator’s Twitter feed.

Since my original post I’ve worked my way backwards in these links. Wanna know more about the person who asked the question that started this? It’s a real kicker:

She’s a young girl, a high school kid based on her Tumblr post about her parents letting her get her license. She’s not just any fan, but someone that could have walked right out of the creator’s own most recent book and certainly didn’t deserve a broadside smack like this. This wasn’t appropriate for any professional/fan interaction, but a kid? Really? Likely she was inspired by the creator’s book–she does say she’s a fan of the creator’s work in her question about working with them–and has no idea of the inner workings of our little world. Her question wasn’t rude or presumptuous; it was a bit more innocent than all that, which is what keeps me from agreeing with Adam’s take. 

Sort of deflates your righteous indignation, not to mention your “girl power” platform, doesn’t it, creator? Just a bit? Unless you’re proud of bullying a kid, who happens to be one of your fans and could pass as a template for your own character. In that case you might be bragging about your victory on Twitter.

Huh. You are.

Way to empower and inspire, creator. Stay classy.

I find myself ranting about digital comics with a fair amount of regularity; let’s talk about it, hm?

 

There was a time in my life, not so long ago, that the title I held in my day job was “bookseller.” I remember the advent of the eBook

(current era, not the turn of the century Stephen King digital experiment where he allowed readers to download serialized chapters of an exclusive story on the honor system, charging $1 for most chapters. The experiment failed when the price moved to $2/chapter, even though the chapters had double the content)

and can clearly recall thinking that this whole writing thing better work out quick-fast, because selling physical books in the retail sector isn’t going to last much longer.

Just two years later and Borders is gone, Barnes & Noble is selling kitchenware on its website, not to mention devoting more store space to both NOOK and toys and games, and there’s that Amazon Kindle thing folks keep talking about. More traditional publishers are getting on board with digital, and though pricing is still shaky in some cases–I firmly believe that eBooks should be priced lower than the cheapest print edition available, something traditional pubs don’t quite seem to agree with yet–for the most part, authors, readers, and everybody between seem to be getting on board with creating a somewhat uniform marketplace, including a basic pricing structure, content availability, and the freedom to enjoy reading on the device of your choice. Digital is here.

That’s traditional publishing. Comic publishers seem to have their heads up their asses.

There are two clear areas of digital comics, both of which are in dire need of an overhaul: pricing and distribution of digital content also available in print (think of that stupid phrase, “day-and-date”), and new digital-first content. The former is, probably, less egregious than the latter, so we’ll start there and end on a high note.

If somebody, ANYBODY, can explain to me why I have to pay $3.99 for a book that costs $3.99 in print on the same day, I’d be thrilled to hear it. Bonus points if you can do it with a straight face. While you’re at it, tell me why most publishers are keeping collected editions off the digital market or, if they are available, setting them up with exclusive deals limited to proprietary hardware that isn’t even well suited to reading comics (I’m looking at you, 7″ tablets).

Publishers need to be creating the content themselves and then offering it through distribution channels, just like they do with print books. If you want to partner with Graphic.ly or ComiXology, be my guest, but the available content should be bookstore-style: the same thing available in each, you just choose your preferred reading app and vendor. It’s up to those services to differentiate themselves by way of reading interface and pricing, where possible.

(and P.S. the content you buy from one vendor should work with the other’s app. Sorry guys, but I don’t have to put on a different pair of glasses to read physical books I ordered from Amazon when I’m done with one I bought from Barnes & Noble. At the end of the day, I want the book that I paid for to be on my device and available to read wherever I please, however I please)

And pricing! For the sake of all that is holy in Geekdom, pricing on comics HAS to fall below print editions. For that matter, I’m of a mind that if you buy all of the issues in a particular collection, you should have the option to compile and upgrade for free if there’s no additional content in the collection or a small fee if there is. Here’s a great opportunity for publishers to convert some trade-waiters into digital-first customers, and some single-issue collectors into trade readers via an “up-sell.”

Now, if comic publishers can sort that mess out, we creators can start thinking seriously about digital-first projects. Successful webcomics are few and far between, and truly successful digital editions of books seem to be even fewer, though it’s hard to say when most publishers aren’t willing to share their download numbers. What’s missing is a middle ground.

Readers are adopting digital reading for comics despite the hindrances – in fact, ComiXology hit #2 on Apple’s highest grossing app list back in September. We also know that, by reader measure, webcomics have found dedicated audiences but have, in most cases, lacked to ability to monetize it in a meaningful way that supported the creators. Ad revenue may cover the server and domain costs, but rarely does it generate the equivalent of a page rate that might let you keep your lights on or eat something other than store brand Mac & Cheese.

That middle ground needs to buck this trend of emulation in digital comics – and by that I mean distribution ideas, not content, though exclusive, digital-first content seems to have been the graveyard of “projects we can’t justify printing” in many cases.

Part of the reason webcomics are successful is, yes, because they’re free in most cases. But the other part, the larger piece of the puzzle I’d argue, is the frequency in which they’re released. Faithful readers are treated to new content in regular, weekly doses. The conversation between fan and content, fan and creator, really, is treated less like a monthly subscription and more like a serialized TV show.

I’d gamble that, if properly supported by a publisher (or, in the case of self-publishing, properly advertised to an established fanbase and/or supported by industry notables), weekly or bi-weekly releases of six or eight page chapters for a $0.39 – $0.49 charge, would be picked up in a hurry by comic fans, especially with the first chapter or two made free of charge. Throw in a discounted subscription that asks the reader to pay for a full year up front (under $20 for a weekly release/two trade-sized books, under $10 for bi-weekly/one trade-sized book) and an app that compiles it into a single book as it’s released, downloading new chapters automatically each week and you have a winner. You can even toss in an option to pre-order a print edition if you’re so inclined and digital sales balance out to pay for a print run (or if pre-orders earn out).

There’s a much bigger name in comics than mine that shared some of these same thoughts a few months ago and started my wheels turning. In case you think I’m just spewing crazy talk, some of the above is his gospel; other bits I’ve added. It is, without a doubt, the way to go. Creators need to be willing to take a chance to reach readers. New creators, like myself, have already seen how unwelcoming the direct market can be. Digital distribution allows you to reach a broad audience, one that isn’t limited by the tastes and preferences of the one or two people responsible for ordering books for the shop. There are some great shops out there, ones that focus on well-rounded selections and hand-selling books to readers that they might not have heard of, but they’re few and far between. Digital distribution does away with the comic guy from The Simpsons and allows readers to experiment with everything that’s out there, not just what’s in front of them.

I believe in this enough that I’m planning to try my next-next book this way, if the publisher agrees. The actual next book is already set up with a tremendous publisher in the traditional publishing realm, but the one after is still being prepped in pitch to show the world. That’s the one I’m setting my sights on with this. If you’re a creator and you like what you see, go to town. I don’t need to be the first and, honestly, the more of us that go this road, the more attractive it becomes to readers and publishers.

In a lot of ways, I wish the Stephen King model had worked out better, an unsecured download based on the honor system. At the time we didn’t have standard high-speed internet in most corners of the country, nor did we have low-cost ereaders like we do today. People waffled at paying a capped price ($13, I believe) for a serialized ebook if the chapters cost more than a dollar. Now people are fast-adopting digital content and while traditional publishing is getting its act together, comics are being left in the dust and looking a bit silly.

I hope comics can claw their way back up the book industry heap and set a new distribution standard, one which could be adopted by other media, and even traditional publishing.

Won’t that be nice? To point at comics and say “Yeah, it’s cool that you like this, Random House, but THEY did it first.”

Let’s make that.