Opportunity #1

Published writer seeking an up and coming comic book artist for a new detective series in the science fiction genre. Looking for a strong and detailed visual storyteller that has sequential experience. Commitment would be for 15-17 pages per month. The remaining pages (flashback pages) will be done by a well known Marvel/DC cover artist producing his first sequential pages. After completing 10 pages we will submit to the main independent publishers for green light. Once profitable the project will pay a page rate or percentage. Emails with sequential samples can be sent to mokeski@excite.com. This fall we will also be looking for a colorist and letterer. Samples and page rates can be sent to the address above as well.

One hour later I had 5 emails. Five hours later I had 25. By the next day I had close to 75 emails and gallery links to review. It was quite the process. So many different styles and techniques. I had in my mind what I wanted but that imagery is based on known talents that there would be no way we could afford. Luckily we had a lot of options. Unfortunately, we were a long way from where we needed to be.

I whittled the list down to twenty of so potentials. My criteria was based on a detail oriented style that veered towards photorealism. They also needed to show some sequentials. Pinups are great but we need to tell a story in the medium. If they could color their own work then that was a definitive plus. Once I had that list I sent them in parts to John for his review. It was great seeing his criteria. Real artists can spot things that we stick figure artists have no ideas about; anatomy, sizing etc. He could breakdown the talent line by line. He could also spot tracers.

Apparently it is common practice for artists to trace to develop their skills; unfortunately, some folks pass the originals off as theirs and do not note the differences. To me that makes no sense. You plagiarize to get a job but then if you can’t do the work to that standard you will get exposed and fired. Seems like a big waste of time.

Anyway, we got it down to five or so. I started to speak with them about the project and wanted to make sure they could commit to the requirements. That is one thing that every contact I have made mentions, hit your deadlines. Nothing kills an indy book quicker than missing deadlines. As a creator controlled piece you also deal with the issue of telling someone to prioritize your book when they will be receiving future royalties. It takes a special person to do that.

The first batch came and went. Two had to have upfront money despite the ad saying there was none. The other three were sketchy at best. So we were back to almost square one. We had a script and one artist on board but we needed another. However, despite the interest and my desire to get moving, one of the biggest mistakes someone can make is moving too quickly. If you send a submission and get green lit you need to have a team that can hit deadlines and produce product consistently. If your artist flakes then you have taken a step towards burning a bridge with a publisher, never a good step.

I was having to face the reality that I may not find someone who believes in this story strong enough to sacrifice pay for royalties. I may have to pay for the work upfront. A website named http://www.glasshousegraphics.com/ was recommended by a friend at Dynamite. They have a great website with a ton of sample work. Well known names coupled with fresh newcomers. David was great to work with. He must have thought I was an idiot with all the questions and lengthy emails but there was a method to the madness. Working with my wife I was trying to get a working budget assembled.

The business plan would take a tremendous beating going this route. Like every industry there is a big range between talents. Standard page rates are anywhere from $50/page to $200/page and much higher. Colorists range from $40 to $80 or so. Letterers come in around $10/page.

I note this because it took me a while to get pricing so if someone reads this and is assembling a budget this gives you something to look at. Of course, everyone is different. Plus, if they know you their price changes based on that relationship.

So based on my calculations I was going to end up paying close to $3,000 to get the book published…every month. Since you receive no royalties until a few months after publication we were looking at an outlay of close to $10,000 before any money starts to come in. My wife has been real supportive but I am sure she was sweating those conversations.

So I went back to DeviantART again in early September. The results were somewhat similar. A lot of pin-ups, traces and manga art. Nothing against manga but it is about as far from photorealism as you can get. From the emails there were a few that were interesting but nothing real spectacular. Then on September 10th that all changed.

Tim Lai, a Malaysian computer graphics designer sent a quick email with a link to his gallery. Once there I saw an artist with a very unique style and a demonstrated ability to change techniques. Then, I looked at his tryout work for the independent book “Darkness” and I knew this was the guy. Detailed, moody and unique, a perfect fit. However, we are a team so I needed John on the same page with me. If he says no, we keep looking. A decision like this has to be 100%. I sent him four or five other artist samples and asked him for his input. He liked Tim’s work the best.

I had been down this road before so I laid everything out to Tim and hoped for the best. No money upfront, must hit deadlines, you color your own work and then the three of us split the royalties. A lot of work before anyone receives any money, plus there is a chance if it does not sell that you will end up at zero regardless. A day later I received my response, he was in!

NOW, we were ready to start.

Next Time…The Process

Labels: christopher, Comic Book Publishing, hill, john, lai, primordium, tim, watson

 

Posted on Saturday, January 31, 2009 at 1:58 AM -

• Post a Comment