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Ask the Right Questions

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Going to conventions is one of the best way to learn about the industry, meet new people and get advice from peers and pros. But often wannabe creators will waste the opportunity to learn by talking about themselves or asking the wrong questions.

“How do I break into comics?” is one of the questions I hear a lot by aspiring creators. The question is not easy to answer in a meaningful manner – and it certainly won’t be a short answer (my best and shortest possible answer is this podcast episode). It also requires a lot of background information on the person asking the question.
When not asking impossible questions like the one above, these creators will try and impress whoever they are talking to, pitch their comics ideas, tell rambling stories about their journey and aspirations – instead of using the opportunity to gain new insights and valuable knowledge. I’ve certainly been guilty of this myself. Becoming a better listener and asking smarter questions is something I would like to improve. So you could say this post is just as much for me as it is for you.
So instead of asking “how do I break into comics?” here is a list of smarter questions you may ask peers and pros alike, when you get a few minutes of face time at a convention or pin them down in a Twitter conversation:
  • What areas of my art do you see needs improvement?
  • What are your favorite cons to go to and why?
  • Who do you think I should meet while I’m here?
  • What is one thing people get wrong about the way the business works?
  • Is there any resource you can point me towards that could help me learn more about X?
  • What’s a mistake you see a lot of beginners make?
And then I also recommend taking notes! Either during the conversation or directly after. You can’t even memorize your Mom’s phone number so I’m willing to bet you can’t remember a key insight from a conversation a week later. It’s one thing to ask better questions but you also need to actually listen to the answers.
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If you have a question for me, leave a comment below!

Eating a Whale

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When you set out to write a novel, record an album or draw a graphic novel, it can feel like having to eat a whale. You don’t know where to start, you don’t see how it can ever be done, you wonder why you ever said yes.

I felt this every time I started on a longer comic. I felt like it would be impossible, I felt like I didn’t know how. So I had to look at my book shelf and the pages pinned to my wall to remind myself that I did it before. I sat down with a cup of coffee calmed myself down and opened up my calendar. I looked at the deadline and the number of pages I had to do, then divided that number with the number of weeks available to work on it. It’s stupendously simple when you think about it.

Large projects can be harrowing to tackle, even the ones you yourself set in motion, even the ones that don’t have a clear deadline (especially those!). You need to break it down into manageable chunks. Make a plan but be open for the deviations that will undoubtedly arise. Start with the end goal in mind and work backwards. Plant some goal posts along the way, cross every little task off on a list if that makes sense to you, time yourself if you can.

For my graphic novel STILETTO I decided the book would be 120 pages long. So I created a large sketchbook with 120 blank pages in it and started rough sketching. I had a script, mind you, and I had already broken it down into pages so I sort of knew what I was doing. Still having that sketchbook made it painfully concrete, very easy to oversee the entire book and see how far I was.

As I’m translating this book (which was originally published in Danish in 2017) I just started somewhere one fine morning, and then looked at the word count at the end of the work day. I’d managed to bang out roughly 3000 words so that became my standard. As long as I keep at it, and manage to swat away the swarming thoughts of inadequacy, I’m able to hit that word count almost every day.

I find that when I’m writing a book, it helps me to set the goal of creating a shitty first draft. It can always be edited later. If I set out to write a great book, I’ll never finish anything. In the words of Elizabeth Gilbert: 

“A good enough novel violently written now is better than a perfect novel meticulously written never.” 

For your own projects it’s equally important to set goals and deadlines or you’ll see it constantly get moved back when other, seemingly more important things come up. If you have all the time in the world, that’s exactly how long it will take. You need to make a decision. Saying to yourself: “I’ll do it when I get the time,” is basically the same as saying you’ll never do it.

Time is not something you get. It is something you take.

This post is an excerpt from my book SOLO – Survival Guide for Creative Freelancers – Order now on Amazon.

Case study: STILETTO

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While I was working on The Devil’s Concubine, I had the idea for sort of a sequel, involving the two cops, Maynard and Alphonse. The story is heavily influenced by 70’s cop movies like Serpico and French Connection (the sequel being my favorite) and the inciting incident is more or less lifted from Bullitt. Where The Devil’s Concubine was an attempt to make a slick action movie in comic book form, I wanted STILETTO to have a more gritty and realistic feel to it. 

The style is a great departure from earlier, more inspired from my own sketchbook than anything else. Trying to draw in the very slick style of artists like Eduardo Rizzo or my own mentor Peter Snejbjerg never came naturally to me and the process frustrated me to no end. I decided to try “inking” in pencil and painting the whole thing in watercolor – something I was used to doing in my illustration work.

I did a few tests and quickly realized that not only was this drawing process much more fun for me but I could also work way faster. Since making comics takes sooo long, any way to reduce the amount of hours spent on a page is more than welcome.

For the coloringI went for a expressionist approach rather than realism. Since it’s a cop story, the use of the color blue would be obvious. So I decided NOT to use the color blue at all! I only use blue for flashbacks and dream sequences. Keeping the whole book in dirty yellowish clay tones creates a much more startling effect when the characters enter a bar where everything is red or there is a flashback or cut-away panel in blue.

By this point I had stopped comparing myself to Danish peers pretty much altogether and focused on the US market. I felt I had an intriguing premise, a solid script and a style that immediately got people’s attention, when I showed the book to people at cons. So I was surprised when IDW didn’t pick up the book. I thought I was in and then it turned out to be a revolving door!

Although STILETTO was released in Denmark to rave reviews and an award nomination, It took a few years before the book made it to the US market. It only happened because Greg Tumbarello, this guy Chris knew and we kept bumping into at cons, got a new editorial position at Lion Forge. If I remember correctly, I shot Greg a note on Facebook saying congrats on the new job and we got to chatting. He asked about STILETTO, if anyone had picked it up and I was like: “Er, no. You want it?”

Working with Greg on STILETTO (and this book btw!) has been an absolute treat and a truly humbling experience. Greg has turned out to be not only a fun guy to hang out with but also a smart and well articulated editor with a quality lacking in a lot of people working in publishing; he answers his e-mail.

Lessons learned:

Breaking in is a never-ending process and the quality of the work seems not to matter as much as luck or timing. Sometimes a project that seems like a slam dunk will have to take the long road before finding a home. Be patient and persistent. You never know where the next opportunity, ally or friendship will turn up.

This post is an excerpt from my book SOLO – Survival Guide for Creative Freelancers – Pre-order now on Amazon.

The art of Saying No

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There is such a thing as too much success. Meaning you go through periods where there is simply too many things on your plate and you have trouble keeping up. You have to take care of yourself and avoid burnout. Your energy is the most valuable resource of your company. Don’t squander it.

If you ever had a goldfish, you’ll know you have to take care not to overfeed them. The stupid things will keep eating until it kills them. Freelancers are basically like goldfish. We say yes to way too many incoming jobs because we’re afraid of starvation. You never know when you’ll be fed again, right?

While the overwhelm and stress it brings to take on more than you can handle probably won’t kill you, it could seriously damage your health both mentally and physically. If you crash and burn and need months to recover, it will also hurt your business. As a creative, you can’t just hire someone to do your job. Better to divert some of the incoming work before you’re unable to live up to your obligations.

When you say yes to one thing, you’re saying no to something else. While it’s tempting to take on every client, because we never know when they’ll stop calling, it’s a short term strategy that isn’t sustainable. You know how your computer slows down if you have too many open windows and programs running? Your brain is the same way. You don’t want it to crash on you taking you out of rotation for moths, unable to work on bring in any income. Better to say no up front.

Here’s a template you can use to get out of work:

Dear (name),

Thanks for reaching out! I’m sorry to say I can’t currently take on any more work as it would hurt obligations I already have.

I’d like to refer you to (name of colleague/other freelancer) who is both (reliable/insanely talented/great to work with) and (has a similar style to what you’re looking for/not too pricey/smells nice). You can find examples of (his/her) work at (website/Instagram page).

I’m sorry I’m unable to help out this time. Don’t hesitate to reach out again if the opportunity to work together should arise some time in the future.

Best,

(name)

Giving a respectful no is a tricky thing. Now I just saved you the trouble of figuring out how. You’re welcome. Please note that the above template is also applicable to any type of pro-bono work. 

This post is an excerpt from my book SOLO – Survival Guide for Creative Freelancers – Get in now on Amazon.

Video: Unboxing SOLO

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SOLO is written for people who want a sustainable career, mixing freelance work with creating and selling their own art. My promise is that diving into the tactics and strategies of this book will help you set realistic, actionable goals and give you the tools to carve out your own creative career path.

Watch the video to find out what I value the most about my freelance life and download a 20-page sample of SOLO here: http://bit.ly/solo-book

Case study: THOMAS ALSOP

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I met Chris Miskiewicz at the MoCCA Festival in New York in early 2011. The Devil’s Concubine was set to be published in the US that year but wasn’t out yet. I carried a print-out of the book with me, as well as a sample of my upcoming book STILETTO. I was blown away by the response. I wasn’t used to that kind of praise, and for the first time, people seemed to really GET IT. It felt like I’d been in a box for ten years and now someone had finally taken the lid off. I didn’t know what to expect from the show but I certainly wasn’t looking for work.

I met Chris as he and Dean Haspiel were setting up a booth. Chris and I clicked immediately. He gave me a copy of his Everywhere! anthology booklet he had printed for the show and asked me if I would consider doing an episode. We exchanged numbers and continued to chat for almost an hour. I walked back to the booth this Danish cartoonist had set up in the corner of the con floor and started reading the booklet. I texted Chris 5 minutes after we parted ways: “I’m in.” For a guy who wasn’t looking for work, I was totally failing after just one day in the country.

We stayed in touch over the next months via e-mail and texts. Chris sent me a great script for Everywhere! episode, a heist story that was more or less written with my taste in mind. It was a great experience and Chris continued to bring up Thomas Alsop, a concept he had pitched me on the con floor that first time I met him. I still figured it had nothing to do with me, not ready to commit to anything that major and not sure how to go about it.

Later that year I heard of New York Comic Con for the first time and figured I would try to fly over for that. I’d already been to San Diego Comic Con and did a few signings on the West Coast. I reached out to Dean and asked if I could come sit at his studio for a week or so before or after the con and he said sure. I went and got to know both Chris and Dean a whole lot better.

Scripts and photo references for Thomas Alsop started filling up our Dropbox and we did a little teaser episode for Trip City called The Case of Dead Uncle. Google it, I’m sure it’s still out there. Again Chris was smart enough to lure me in with something short and doable rather than a full script for 8 issues.

Chris had already written the entire 8-issue arc before I even drew a single page. It was crucial to have the ending (and wow, what an ending!) in mind even as I was working on issue 1. Whether it would ever go anywhere was still in the wind, but when Chris spent his own money creating a live action trailer (viewable on the front page of thomasalsop.com) I was floored. It looked like a million bucks! This crazy New Yorker meant business and he clearly knew what he was doing. 

In July of 2013 we pitched Thomas Alsop to BOOM! at SDCC. We’d bumped into a friend of Chris’ on the con floor who introduced us to Matt Gagnon and we chatted for like 20 minutes. Only after parting ways did we realize he was the editor in chief. 

BOOM! eventually picked up the book and I started breaking down the script and drawing issue #2. We did hit a small snag when the publisher suddenly wanted to discuss a key point in the story revolving 9/11. If it had been a minor element we would have probably obliged to change it but since it was in line 2 of the pitch they bought and was a crucial focal point of the whole series, Chris and I stood our ground. We eventually agreed to a add little essays as back matter, making it clear for the readers that Chris was not just some douche exploiting a national disaster but was himself a New Yorker, born and bred. The book went forward and the controversy never happened. On the contrary, the respectful handling of 9/11 in the story seemed to land us an even more committed fan base and the book was dubbed Best Mini-Series of 2014 by USA Today. So even though BOOM! decided not to do a second series due to lack of commercial success, we still have a book we can be proud of out there. And who knows, maybe some day…

Lessons learned:

If I have any regrets in my career, it is not going to a US con sooner. Where the US has an actual comics industry, Denmark does not. I learned a lot from working with Chris, and found out I don’t necessarily have to be the one behind the wheel to enjoy the ride. 

This post is an excerpt from my book SOLO – Survival Guide for Creative Freelancers – Pre-order now on Amazon.