If you have a copy of my book, “The Webcomics Handbook,” you can find a discussion of my Cascading Brainstorming technique on pages 52 and 53. The pages look like this…
Here’s a step-by-step tutorial on how this process works.
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Communicating a long URL is one of the most frustrating parts of promoting a Kickstarter. Sure, you’re provided a truncated version. But have you ever tried to point podcast listeners to http://kck.st/2HQTXbr? Luckily, there’s a better way.
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Cartoonists Brad Guigar and Dave Kellett dig into the many ways we react to humor — from full-on belly laughs to the silent internal “that was good” response. After that the way, they tackle some big (and surprisingly relatable) topics:
Summary
In this episode of Comic Lab, hosts Dave Kellett and Brad Guigar dive into the nature of humor in comics, prompted by a listener’s question about whether funny comics truly elicit laughter or if they are simply enjoyable. Brad and Dave explore the subjective nature of humor, sharing their own experiences with laughter and recognition of craft in comedy. Next, they delve into the ongoing journey of building and maintaining an audience in the ever-evolving landscape of comics. They emphasize that there is no such thing as a ‘built audience.’ Audience engagement is a continuous process that requires constant effort and adaptation. Drawing on the metaphor of the Ship of Theseus, they discuss how creators must regularly replace and update their strategies to keep their audience engaged, acknowledging that audience members may leave for various reasons, including life changes or simply forgetting about the content.
The conversation also touches on the emotional toll of negative feedback, particularly on platforms like Reddit, where creators often face harsh criticism. Brad and Dave share personal anecdotes about dealing with trolls and the importance of focusing on the positive aspects of audience engagement. They conclude by reinforcing the idea that the creative journey is ongoing, and that every creator must continually learn and adapt to thrive in the industry.
Takeaways
In a Webcomics.con Poll, we asked: “If I could hire one person to help my webcomics business, it would be a(n)…” The results weren’t particularly surprising. The top response (27%) was “Business Manager.” But here’s the real question…
A business manager would certainly make some very stringent requests on you. Including:
I often say on the ComicLab podcast: ”It’s hard to drive towards an art style that you want. Usually, it’s something you see in the rearview mirror.”
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Get out your calendar and start circling dates. It’s time to do a little webcomics planning.
The content you are trying to access is only available to members.An online publisher has become the center of some genuinely alarming stories. Brad and Dave break down five hard lessons comic creators can learn when a publisher shows signs of instability, mismanagement, or collapse.
Today’s Show
Summary
Cartoonists Brad Guigar and Dave Kellett explore the importance of owning and controlling one’s career in the comic industry. They discuss the need for business acumen among cartoonists and the risks of signing contracts. The conversation emphasizes the value of learning from mistakes in self-publishing, the power of transparency among creators, and the benefits of submitting work for awards. Ultimately, they stress that the goal is not independence at all costs, but informed consent in business relationships.
Takeaways
Every year, I hear from cartoonists who say, “This is the year I finally start my webcomic.” And every year, I also see a lot of people make the same avoidable mistakes — mistakes that slow them down, burn them out, or scare them away before they’ve even really begun.
So let’s talk about how to start a webcomic the right way in 2026 — based on decades of experience, thousands of conversations with creators, and a front-row seat to what actually works (and what absolutely doesn’t).
This isn’t theory. This is field-tested advice.
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Many cartoonists are familiar with Wally Wood’s indelible contribution to comics theory: The 22 Panels That Always Work!
After I wrote the first in my three-part series on publishing collectives, I received a question that deserves a much longer answer than I’d be able to do in the comments section.
Q.: Do you think that [publishing] collectives focused on a certain theme or aesthetic orientation are more effective than collectives that might not have that shared theme or orientation, but are collectives of cartoonists who want the autonomy with the motivation to also promote each other? (Not knocking collectives like that – just wondering what makes for an effective collective and what your views are.)
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