Photographers got it easy, right? All they have to do to tell their stories is point their magic box at their subject and hit click. Cartoonists, on the other hand, have to create the reality of their work from scratch. Surely photographers have zero insights to offer cartoonists.
Of course we know that’s a bunch of troll talk. So this time I’ll be joined by photographer and designer Peter Baker. Together we’ll talk about how cartoonists might benefit from looking at how photographers tell stories through their medium.
Links mentioned in this episode (thanks to Eric Klooster for collecting the links!):
Hooray! Thanks to services Kickstarter and Indiegogo, we finally have a mechanism to fund our dream project! But is it as easy as just asking your friends or audience to support your thing? It sounds like a lot of work. And how do you avoid annoying everyone with tweets and updates during the campaign’s run? Suppose I raise a boatload of money during the campaign: Do I get to keep the extra income, or does it have to go back into the project?
I’m joined by C. Spike Trotman and Laurianne Uy on how to run a successful Kickstarter campaign. Spike and Laur spill their secrets to engaging an audience, managing costs, and building a system of reward tiers that will elicit support for your dream project.
We also have our regular round of book recommendations with AADL PLA Rachel Moir!
What is the benefit of working with public domain characters and stories? Is it just fun to play in “someone’s sandbox,” or is there a larger cultural benefit to authors building on and expanding the works of those who came before? What might happen if more creative works were to enter into the public domain? And is copyright “stealing” from the public?
It’s hard enough to learn how to draw, but things get even dicier when we start talking about what it takes to create appeal. Fortunately I’m joined by Chris Giarrusso of the eminently appealing G-Man series and Dave Carter of the University of Michigan comics and video game Library. Together we discuss how using kid logic, exploring character choices, and trusting your voice are essential elements to creating a story with appeal.
How do you design awesome action sequences? What’s the secret to writing scenes that make the audience roar with laughter? I know I couldn’t answer these questions on my own, so I’m grateful to be joined by the perfect roundtable for the job: Tony Cliff, author of the soon-to-be-released Delilah Dirk and the Turkish Lieutenant, and Chris and Shane Houghton of Bongo’s Simpsons Comics, Adventure Time comics, and Reed Gunther! Together we explore why understanding character is so crucial to comedy, and why understanding movement is so crucial to action.
What better medium than comics to capture the majesty and mayhem of Greek Mythology? Especially in the hands of celebrated cartoonist George O’Connor, creator of The Olympians series from First Second books. Together we talk about kid logic, how an author must get to the heart of their characters, and how the poetry of a visual medium like comics can be utilized to express larger-than-life (yet true-to-life) ideas.
Links mentioned in this episode (thanks to Eric Klooster for collecting them!):
I’m excited to talk with Calista Brill, Senior Editor at First Second Books, about the entire process of developing and publishing a graphic novel. What does a good pitch look like? What qualities are editors looking for in a graphic novel proposal? Once the book is acquired, what happens then? How does the editor/author partnership work?
It’s a really fun and instructive conversation with one of the people responsible for the terrific changes happening in the comics publishing landscape.
This time we discover that Sumo wrestling can be a metaphor for the creative life thanks to the work of Thien Pham, author of Sumo from First Second Books. Together we explore how the philosophy of “every moment is the moment of truth” applies to just diving in and making comics, and how a methodology might distract one from the task at hand or drain some of the life out of one’s work.