On Substack, a cartoonist was struggling with writing a Halloween joke. He was experiencing a common problem. He was stuck in wordplay, when the really funny stuff often lies far beyond that. I offered some advice.
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When it comes to your audience, size doesn’t matter. A small and engaged readership beats a huge, lukewarm audience every time. Here’s why…
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While you’re stuck trying to find the right way to start your comic, someone else is starting a comic their way. That’s because the only way to start a comic is the wrong way. Confused? We’ll explain. Also — storytelling without conflict? Kishōtenketsu is a story structure that emphasizes contrast over conflict. But first, Dave’s Los Angeles may have the highest number of “perfect days” in the United States, but Brad insists that Philadelphians appreciate their sunny weather more when it does happen.
Summary
In this episode of ComicLab, hosts Brad Guigar and Dave Kellett explore the challenges of starting a comic, emphasizing that there is no right way to create comics and that experimentation is essential. The hosts provide practical advice on overcoming creative blocks, the importance of consistency in practice, and the necessity of starting, even if it means doing it imperfectly. In this episode, the hosts explore the creative process, discussing the fear of starting projects and the importance of embracing imperfection. They share insights from their recent social media challenge, reflecting on productivity and the benefits of reducing screen time. The conversation shifts to the discovery of non-conflict storytelling techniques, particularly the Japanese writing style Kishōtenketsu, which emphasizes character development over traditional conflict. Finally, they discuss updates to the Patreon app, highlighting user experiences and the implications of its new features.
Today’s Show
Selling original art is an integral part of the business model of an independent cartoonist who works with traditional media (pencils, inks, etc.). But if you use digital lettering, that final art might not feel so final to a prospective art collector. What should you do?
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Let’s face it. One of the biggest hurdles in growing a webcomic is reader retention. That’s why I encourage you to set aside time this month to develop (or improve) three ways to introduce your comic to a newcomer. Here are some ideas:
The content you are trying to access is only available to members.The Butso Method will change the way you think about writing.
It’s very easy to get hopelessly lost during the writing process. We often have vague ideas of the general direction in which we want the overall story to go but no idea how to make that happen. It’s also easy to lose focus due to the vast possibilities we face. After all, we’re creating this story from literal nothingness, meaning anything can happen. But out of an infinite number of “anything,” which is right?!
When that happens, I find it helpful to focus on the basics, and that’s where the Butso Method comes in.
The content you are trying to access is only available to members.Chuck Dillon joins us this week to talk about his work for Highlights magazine, designing the Costco Monopoly board, and his delightful children’s books like The Bravest Booger and The Most Serious Fart.
Chuck Dillon
Summary
In this engaging conversation, Chuck Dillon, a talented cartoonist and illustrator, shares his journey from early inspirations to his successful career in children’s book illustration. He discusses the challenges of client feedback, the importance of teaching in his artistic growth, and how boredom can spark creativity. Dillon also reflects on his notable projects, including the Costco Monopoly board and his children’s books, The Bravest Booger and The Most Serious Fart. Throughout the discussion, he emphasizes the significance of perspective in art and the joy of collaboration, culminating in a heartfelt acknowledgment of the recognition he has received from his peers.
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There seems to be some misinformation about whether it’s legal to ship comics using the Media Mail service of the U.S. Postal Service. Since this misunderstanding could cost you hundreds of dollars, let’s get it straightened out now.
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Cartoonists continue to use newsletters to leverage their audience-building potential, and they struggle with the same question: What should I write in my newsletter? To make this easier, I’ve delineated three basic types of newsletter posts — each with its role in generating new readers for your comic.
The content you are trying to access is only available to members.It can be frustrating to “hit the wall” in your creative output, but — speaking from experience — that wall isn’t a wall. And once you realize what’s happening, you’ll feel much better about your journey as an artist.
As creative people, we often feel exhilaration when our brains are storming, our synapses are firing, and our output is exciting. These are the moments we live for!
But it’s not constant. Sometimes, creativity comes much slower. During those times, it feels as if we’re not progressing, and the excitement that comes from finding something new is a long-distant memory.
If you talk to many artists during those times, they’ll tell you their creativity has “hit the wall.”
But speaking from experience and perspective, I can assure you this is not the case. What you’re experiencing is not a wall but a plateau. It feels as if you’ve come to a full stop because you’ve stopped experiencing that exhilarating upward “whoosh” of creativity. But you are now on a horizontal plane.
That’s an important distinction. You can move forward on a horizontal plane. It may not be as thrilling as a vertical “whoosh,” but you must move forward.
After all, this is where you learn about yourself as an artist. This is where you build speed. And muscle memory. This is where you master all the things that became apparent during your last explosion of creative energy.
Moving forward is the only way to get to the next “whoosh” of creativity. Trust me; the burst of artistic energy after a long plateau is a satisfying experience.
Don’t get frustrated about “hitting the wall.” See it for what it is — a preparation for the subsequent big explosion of creativity.
Here are some excellent strategies for getting your brain working again after you feel as if you’ve hit a wall:
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