It’s July. Comic Con International is in three weeks. If you’re going, it’s time to triple check your prep, start getting ready to travel and brace yourself for the upcoming Nerd Prom.
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In the course of your work as a cartoonist, the chances are overwhelming that, sooner or later, you’re going to hear “Work For Hire.” It’s a very good idea to understand it.
A work made for hire is an exception to the general rule that the creator of the work has legal rights as the author of that work. Under a Work for Hire contract, the employer — not the creator — owns all of the rights to the work. In other words, a Work for Hire contract establishes the employer as the rightful creator of the work.
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Creative Commons is a licensing classification that allows creators to share some of their rights with others. Created by the Creative Commons nonprofit organization, it’s billed as “a simple, standardized way to grant copyright permissions to …creative work. The Creative Commons licenses enable people to easily change their copyright terms from the default of “all rights reserved” to “some rights reserved.”
There are six types of Creative Commons licenses.
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This is the last of a four-part Q&A session with Scott Kurtz.
Q) I have a totally different business model than webcomics in that I sell my cartoons to people for usage in presentations, newsletters, books, etc. Business is good, but of course I’d like to expand my reader/customer base. I don’t have recurring characters or story lines, so there’s not that sort of thing for readers to connect with. Any suggestions?
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This is the third of a four-part Q&A session with Scott Kurtz.
Q) Also I would like to hear some history of what you feel were the turning points in your career, those certain things that helped get your name out there more, and what gave you an artistic leap ahead; experiences that helped you become a better artist, and a better business person.
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This is the second of a four-part Q&A session with Scott Kurtz.
Q) When you’re writing strips that are part of a storyline, how do you balance keeping the storyline moving forward with keeping the strip accessible to a newcomer? How do you keep the jokes from falling flat unless you know the backstory?
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There has been an update to the Transcontinental discount. If you already have a preferred pricing deal in place with them, they will not be able to allow the additional 10% Webcomics.com discount on top of that. This is effective immediately.
We asked for questions for Scott Kurtz and you responded with queries that covered everything from Cintiq to Ted Rall.
There’s just way too much for one post, so this will be a four-part series.
Enjoy.
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I received a question earlier this week that seemed somewhat appropriate with Father’s Day approaching this weekend, so I wanted to take an opportunity to go into the subject in greater detail. Here was the question:
Is it doable for the father of a newborn to keep cartooning at night (3 strips a week) if he has a day job? (Wife’s due any day now.) And do you think that temporarily updating less frequently (less than 3/week) will hurt a comic’s readership long-term?
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With a little less than six weeks to go before Comic Con International, it’s time to get into gear. Here’s a quick checklist. Feel free to add to it.
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