Comics for Beginners

How to Write & Draw Comics

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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!

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

Working from Home versus Getting a Studio

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As I’ve mentioned before, I wouldn’t have had the career I have today, if it wasn’t for my time at Gimle Studios. This is where I learned from the best, grew my network and got the jobs that laid the foundation for my business. Most importantly, being surrounded by other hard working professionals was how I built my work ethic and self-confidence as an artist.

Later on I got a spot at the larger co-op Republikken, which was as far from what Gimle was as I could get. I needed to shake things up a bit and sitting with designers, photographers and other types of creatives as well as entrepreneurs certainly helped me get a new perspective. This is where I came up with ComicsForBeginners.com and where I started to really focus on my own projects. 

After working out of my house for a year while I studied at Film School (yet another way I started to think outside the box) I’m not back at a studio space. I have my own room which is perfect for when I’m writing and need to concentrate, when I have people over for podcast interviews or I’m doing videos. In hindsight, I would probably have benefitted from isolating like this sooner, as I tend to get involved in conversations if I’m in an open office environment. I love having an office in town as it helps my focus to have a dedicated workspace and just a good reason to get out of the house every morning.

If you want to work from your house, an office space or the local coffee shop is up to you. Of course it depends on what you do, what area you live in and what your economic options are  – and what kind of set-up your work requires. I’m sure an opera singer will have a harder time working from a café than a blogger.

Pros and cons

To help you decide where to work from, here’s a list of some of the advantages and disadvantages.

Home office pros:

  • A pretty quiet work environment, no office chatter or ringing phones besides your own
  • No extra rent (and maybe even a tax deduction – check with your relevant authorities)
  • You always have all your tools and files at hand and can work anytime – even after the kids are put to bed
  • Speaking of kids, you may find it convenient to be able to take care of your young ones at home, while you’re running your business
  • Speaking of kids, you may find it convenient to be able to take care of your young ones at home, while you’re running your business

Home office cons:

  • Lonely lunch hours and probably nothing interesting in the fridge
  • Work habits can be hard to maintain and things can start to slide
  • Working alone no one will notice your procrastination

Office space pros:

  • Getting away from your house chores can do wonders for your productivity
  • You can take longer days and not be interrupted when the kids come home
  • Your friends tend to leave you alone and not lure you out for drinks if you’re in an office
  • No obligation to do dishes or laundry, you can focus on the work
  • Procrastination is harder to fall into when everyone around you is working
  • You have a support group of peers handy if you get stuck creatively or run out of work

Office space cons:

  • Commute
  • Rent
  • Other freelancers can be noisy and/or lazy too
  • Water cooler chatter can eat up your days

Alternative working spaces

More and more business hotels and co-ops are popping up, where you don’t have to have a desk but rather just plop down where ever is available. A lot of freelancers take their laptops to the local library or set up office at the Starbucks. Some people find it hard to work with a noisy espresso machine going on in the background, others find the buzz of people inspiring and appreciate the constant supply of coffee availabe. The coffee isn’t free though. You could end up spending more money on lattes than you would on an office space – and gain twenty pounds!

If getting a spot at a studio or a co-op is out of reach, try finding a peer group online that you can check in with on a regular basis. Committing to a weekly hangout or uploading new art every Wednesday can help you stay on track and keep you motivated. Accountability and moral support is solid gold for a struggling, self-doubting creative.

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

New Book: SOLO – Survival Guide for Creative Freelancers

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If you’re on the newsletter, you’ve no doubt heard about my upcoming English language book SOLO – Survival Guide for Creative Freelancers.

The book is an attempt to gather my 20 years of experience as an independant creator in several fields – writing, drawing, comics, YA, children’s books, podcasting, teaching.

It’s a well-known fact that more and more jobs will be outsourced to freelance contractors or be project-based. The so called “steady jobs” are a thing of the past. It is time to take control of your own destiny, ownership of your career and your future.

SOLO is written for people who believe in creative living on their own terms. It will focus on people who want a sustainable career, mixing freelance work with creating and selling their own art. My promise is that diving in to the tactics and strategies of this book will help you find a clearer vision to strike out your own path.

Here’s some of what the book covers:

  • How to get started with freelancing
  • How to create a network of people to help build your career
  • How to handle clients and pricing your work
  • How to handle the business side of things
  • How to gain new clients and create several income streams
  • What tools, tactics and templates you can use to sustain you over the long haul

The opportunities for running your own creative business have never been more optimal and the book gives concrete examples and ideas for what your next step could be, no matter where you are in your creative career.

Click the image below to download a free 20-page sample.

Dealing with Tangents in your Art

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One of the most important art lessons I ever got was when my studiomate Ole Comoll showed me what tangents are – and how to avoid them.

In this video I try to pass that lesson along while using examples from my own art. Tangents are everywhere – and once you see them, you can’t unseen them. You’ve been warned!