Shipping rate increase
As we alerted you several months ago, The US Postal Service is raising its rates.
Here’s what you need to know.
The content you are trying to access is only available to members.
As we alerted you several months ago, The US Postal Service is raising its rates.
Here’s what you need to know.
The content you are trying to access is only available to members.
Patreon has launched a referral program.
It works like this: You refer creators to Patreon, and then both you and the creators get a bonus based on the number of patrons that the newcomers get in their first 30 days.
The content you are trying to access is only available to members.
It happens regularly. An artist is outraged because someone stole their design! And when I click over, I see the design in question is a mash-up between two licensed properties that this person couldn’t possibly have the rights to. In other words, they’re complaining that someone stole the design that they stole.
And I always see the same justifications:
It’s Fair Use (or parody)!
and
I’m not making any money (or very little) off this!
Wrong, and wrong.
So let’s take a moment to understand Intellectual Property a little better.
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With the first several Webcomics Weekly podcast hosted with one provider, and the rest hosted elsewhere, it has always been difficult to listen to all of the Webcomics Weekly episodes — until now. Thanks to my new intern from University of the Arts, Hannah Gregory, I’m able to offer Webcomics.com members the complete archive of Webcomics Weekly — all in one place.
Just click here — or go the the list of Categories in the right-hand column, and click Webcomics Weekly. Better yet, use this handy index to find the shows by topic, helpfulness, and more!
Soon, I will have a much more prominent link on the site.
While we’re at it, I created a playlist for Surviving Creativity. You’ll be able to play all new episodes — and all old ones — in one place.
You don’t need a subscription to read today’s post!
This is a re-post from the Webcomics.com archive. If you’ve ever been curious about the kind of information, tutorials and advice that you’ll get as part of your subscription to Webcomics.com, this is a good example.
If you’d like to join the site, you can get a 12-month subscription for $30 — or you can get a one-month Trial for $5 … with no obligation after your 30 days expire. For less than three bucks a month, you can get a steady flow of information, tutorials and advice targeted towards your webcomic business — plus a private forum to discuss issues with other professionally minded cartoonists.
I’ve see it in my Twitter feed every day for what seems like months. It’s a solicitation for comics artists to enter a contest that’s being run by an organization that’s breathlessly touting FREE comics on the Web(!)
And, right on cue, we have anxious cartoonists exalting this as the Next Big Thing. They’re frantically assembling their submissions and doubtlessly dreaming of the five-digit payday.
If it weren’t so damned pathetic, it would be funny.
Once again, many of us are thrust into the role of Jackie Gleason’s legendary character Ralph Kramden, whose get-rich-quick schemes provided comedy gold for The Honeymooners. And — more often than not — comedy gold is the only reward waiting at the end of the rainbow for cartoonists who keep falling for the same old come-ons time after time after time.
This has been going on since the beginning of webomics: Platinum Studios, Zuda, Tapastic, InkBlazers, LINE Webtoons, etc. They all had different approaches — and I’ll concede that some were arguably better than others — but they all had something in common. They all promised to deliver readers and money to cartoonists.
But have they? Has any of these ventures provided a livable income to a significant number creators for more than a year or two? If there is, I’m unaware of it. What I do see is a mass stampede of Ralph Kramdens running from one gimmick to the next. Who is making money on all of this? There seems to be an awful lot of venture capital being thrown around. But is it going into the pockets of creators?
Take InkBlazers (neé MangaMagazine) as a recent case study. They made this announcement a few weeks ago:
We have been trying to find a path for Inkblazers and unfortunately we have reached a point where we can no longer financially support the continuation of the site which cost us upwards of $65,000USD a month.
Why did InkBlazers fail? It doesn’t seem to be for a lack of funding. They seeded their company with a million dollars in 2012. Heck, just a few months ago, the Asia-Pacific Economic Cooperation was touting it as a success story! And the most recent annual report filed by Social Octopus Inc. (the company that owns Ink Blazers) looks awfully healthy, too.
So what happened?
I don’t honestly know. What I do know is that none of the above have delivered on their promises over the long haul. Will Tapastic fall in 2016? Will LINEtoons outlast them? It’s way too early to tell. But there’s a definite pattern, here. And it’s not particularly pleasant for the Ralph Kramdens among us.
Hey… if one of these organizations gives you ten dollars, that’s ten dollars you didn’t have, right?
I’ve written about the dangers of that mindset before. If you haven’t read it, it’s worth a look.
But let’s get down to brass tacks.
Here’s what you have to lose: Readers, mindspace, traction, SEO/PangeRank and — at the end of the day — money.
And it all boils down to the same concept: While you’re chasing after this contest… and then the next one… and then the one after that… what you’re not doing is concentrating on building your own business. Now, contrast the track records of the InkBlazers of the world with the track records of the people who have run their webcomics as their own small businesses.
Which method has elevated more creators to the status of full-time creative professionals?
Did Zuda? Did Ink Blazers? Did Platinum Studios?
Worse yet. When these organizations go down the tubes, what happens to the creators who signed on to Live the Dream? Their primary source of income vanishes. They have little or no efficient way of directing the readers they did generate to a new URL. If they haven’t launched their own site, they lose SEO and PageRank. And if they have, I’ll argue that their SEO/PageRank has suffered from neglect. Will they convert on the mindshare they’ve earned among a certain audience? In other words, will their readers immediately seek them out in a new location? Or will those readers simply shrug — knocked out of their daily routine — and move on to something else?
What do you have to lose? How about TIME?
How about the time that you should have been spending building your own business — instead of yearning for the lottery-ticket solution?
How about the time you’re going to have to spend now — learning the skills you should have been learning gradually over the last several years?
Let’s face it. Losing money stinks. But you can make more money. Losing SEO is a bummer, but you can build that back up, too. Losing readers is heartbreaking, but the Internet is filled with new readers.
You know what you can’t recoup?
The one thing that you can’t get back.
Time.
Yoast SEO has long been a plug-in strongly endorsed by Webcomics.com. But a recent update has made it even more useful. Using its new social-media interface, you can fine-tune how your comic is presented when someone links to it on Twitter or Facebook.
Here’s a quick tutorial to help you use it wisely.
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This is the last installment in the current Hot Seat series. What’s a Hitch It / Ditch It critique? In short: I go to participants’ sites and list something they could improve (and offer my thoughts on how they could do that), and then I talk about something they’re doing well.
As always, this is only the beginning of the discussion. Members are encouraged to share their thoughts on the matter in the comments below.
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Note: The Patreon header template has been updated.
Patreon’s header image* gets sliced and diced more than Wolverine’s keyboard. It gets re-sized depending on the monitor-resolution of the person visiting your Patreon page, and it gets cropped ruthlessly when you post a link to your page from Facebook or Twitter.
How do you make one image that doesn’t result in an unrecognizable mess?
Although it may be impossible to build the perfect image, I’ve got a template that will help you create something that will at least anticipate the madness!
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Surviving Creativity — a podcast I record with Scott Kurtz and Toonhound Studios business manager, Cory Casoni — is back for our second season. We kicked off the new year tackling all sorts of issues.
We talk about celebrating New Years, celebrating women in comics — specifically in Angoulême, but also in Star Wars merchandise — fair page rates, and our predictions for 2016.
Cory brought up something I want to make sure to mention here. We’ve discussed FairPageRates.com on the site earlier, and during the podcast the three of us discuss its strengths and weaknesses as a resource. But to truly understand the data being presented on this site (and similar ones), you need to read the post by Katie Lane on Work Made For Hire. It does an excellent job of explaining why it’s not so easy to compare, for example, Oni Press to Image Comics, when we’re discussing page rates.
You don’t need a subscription to read today’s post!
This is a re-post from the Webcomics.com archive. If you’ve ever been curious about the kind of information, tutorials and advice that you’ll get as part of your subscription to Webcomics.com, this is a good example.
If you’d like to join the site, you can get a 12-month subscription for $30 — or you can get a one-month Trial for $5 … with no obligation after your 30 days expire. For less than three bucks a month, you can get a steady flow of information, tutorials and advice targeted towards your webcomic business — plus a private forum to discuss issues with other professionally minded cartoonists.
Here’s another helpful CSS coding tip from Philip M. Hofer (“Frumph”), creator of the popular Comics Easel WordPress plug-in.
Landing on a good hyperlink style is difficult. If you use the default style, you get a look that’s somewhat dated. On the other hand, if you stray too far from that, some readers might miss the links entirely!
However, with an easy copy-paste CSS code, you can get a unique, recognizable hyperlink style — and tweak it to fit the unique requirements of your Web site.
Here’s the code:
[css]
.entry a {
border-bottom: 1px solid #cbeefa;
-moz-box-shadow: inset 0 -4px 0 #cbeefa;
-webkit-box-shadow: inset 0 -4px 0 #cbeefa;
-khtml-box-shadow: inset 0 -4px 0 #cbeefa;
box-shadow: inset 0 -4px 0 #cbeefa;
color: inherit;
}
.entry a:hover {
color: #f00;
}
[/css]
If you’d like to see it in action, check out Frumph’s own site. Or Wired’s site.
That’s easy. Copy the code above and open your WordPress dashboard. Go down to Appearance -> Edit CSS.
Paste the code and click OK.
If you’re not familiar with how Edit CSS works, you owe it to yourself to check out this post from the Webcomics.com archive. It’s a part of the Jetpack plug-in that I strongly recommend.
The #cbeefa is the hex code for the color. Change that to whatever you’d like it to be.
You’ll notice that “boxshadow” is repeated three times:
• -moz-box-shadow
• -khtml-box-shadow
• -webkit-box-shadow
That’s done to ensure that the style will look correct in the different types of browsers (except Internet Explorer). Just use the same hex color value in each.
You can design a bunch of different looks for the underline, including increasing the width of the border and using a border-radius: CSS element to give it curved corners and such, but then your line-height: would have to be increased to fit the underline underneath the type.