Definitely! I'm mulling over going into comics myself, maybe converting a story I have in both novella and screenplay form into yet another medium - just need to confidence and knowhow and impetus to reach out to some artists. I've actually got the first chapter of said story going up on my new newsletter later today!
Learning the craft is the easy bit, I'd say. Networking is the usual way of reaching out to artists. Just find where they hang out and get talking to them. You both love the same things, so you'll find common ground. Just beware of why you're putting this version into a comic. Make sure it's worth your while and that you're (potentially) getting out of it what you're going to put in, in terms of time and (possibly) money. Wishing you the very best of luck, Harvey!
The idea of the big break is such a persistent one. I did have big breaks, but I can only see them in retrospect, and they were quite small at the time - a conversation on a bus with an editor that meant they would look at a spec short story. Saying 'yes' to an offer that did not seem that appealing. But they were the pivot moments, the big breaks, and they looked nothing like they 'should'.
Absolutely agree! You go into the field of writing having modelled your expectations on those who've come before you. I grew up reading (no doubt highly embroidered) accounts of how Michael Moorcock wrote all his best sword and sorcery novels in a single weekend while off his nut on LSD! How the heck is a fledgling writer supposed to measure up to that? That's why I resolutely believe it's incumbent on the previous generation to be as transparent as possible (without compromising the minimum levels of self-mythologising bullshit required to maintain a writing career). My first 'big break' was writing a film book (a heavyweight critical survey on fantasy movies). Took me over a year to write it - for free - and the royalties ever since would barely cover a steak dinner. I erroneously believed that every door would be open to me thereafter, that I'd be invited into this amazing Wonkaland of Eternal Freelance Gigs. But nobody gave a toss and I ended up writing movie reviews for lads mags instead. :D
Thanks for this Alec. Unfortunately the Future Shock submissions window seems permanently closed, and the TB contest seems unfair, forcing you to pitch live to a room full of peers. I'll be tabling this year anyway, so would probably be too busy to enter.
I saw on Instagram, I think, that the subs window was closed “for the foreseeable future”. Covid and home-working took its toll, I guess. Feels like the end of an era. And, yeah, having to perform on stage is certainly an added pressure for creators. It’s the story that counts still, though. Anyways. Good luck with your table!
It’s not a bad strategy, to be honest. The parameters for (potential) success have changed so drastically over the last ten years. Just done a Q&A with Manoghosts, who does these brilliant multimedia ghost stories, and he’s done great with crowdfunding his projects. Generated his own audience and didn’t need trad publishing at all. Completely depends on what your goal is. Are you in the game to get published? To get paid? Or just for the self-expression?
All true. For me, it's a hobby/side hustle. I love the creative process and would love for people to enjoy reading my work as much as I enjoy writing it. But, of course, getting something in the pages of the Prog or Meg would be a dream.
Thank you for sharing! I look forward to the other parts
You're very welcome, Harvey! And thanks so much for subscribing. Really hope you're getting something out of what I'm putting out here.
Definitely! I'm mulling over going into comics myself, maybe converting a story I have in both novella and screenplay form into yet another medium - just need to confidence and knowhow and impetus to reach out to some artists. I've actually got the first chapter of said story going up on my new newsletter later today!
Learning the craft is the easy bit, I'd say. Networking is the usual way of reaching out to artists. Just find where they hang out and get talking to them. You both love the same things, so you'll find common ground. Just beware of why you're putting this version into a comic. Make sure it's worth your while and that you're (potentially) getting out of it what you're going to put in, in terms of time and (possibly) money. Wishing you the very best of luck, Harvey!
Thank you so much! I'll bear all that in mind.
Thank you for the like and restack!
The idea of the big break is such a persistent one. I did have big breaks, but I can only see them in retrospect, and they were quite small at the time - a conversation on a bus with an editor that meant they would look at a spec short story. Saying 'yes' to an offer that did not seem that appealing. But they were the pivot moments, the big breaks, and they looked nothing like they 'should'.
Absolutely agree! You go into the field of writing having modelled your expectations on those who've come before you. I grew up reading (no doubt highly embroidered) accounts of how Michael Moorcock wrote all his best sword and sorcery novels in a single weekend while off his nut on LSD! How the heck is a fledgling writer supposed to measure up to that? That's why I resolutely believe it's incumbent on the previous generation to be as transparent as possible (without compromising the minimum levels of self-mythologising bullshit required to maintain a writing career). My first 'big break' was writing a film book (a heavyweight critical survey on fantasy movies). Took me over a year to write it - for free - and the royalties ever since would barely cover a steak dinner. I erroneously believed that every door would be open to me thereafter, that I'd be invited into this amazing Wonkaland of Eternal Freelance Gigs. But nobody gave a toss and I ended up writing movie reviews for lads mags instead. :D
That's the first time I heard Alan Moore and Douglas Adams in the same sentence.
His early stuff for 2000 AD is absolutely Adams-esque. Full of inventiveness and crazy cosmic ironies. Brilliant stuff, sadly overlooked.
Thanks for this Alec. Unfortunately the Future Shock submissions window seems permanently closed, and the TB contest seems unfair, forcing you to pitch live to a room full of peers. I'll be tabling this year anyway, so would probably be too busy to enter.
I saw on Instagram, I think, that the subs window was closed “for the foreseeable future”. Covid and home-working took its toll, I guess. Feels like the end of an era. And, yeah, having to perform on stage is certainly an added pressure for creators. It’s the story that counts still, though. Anyways. Good luck with your table!
I'll just have to go for the thousand followers instead 😆. Thanks.
It’s not a bad strategy, to be honest. The parameters for (potential) success have changed so drastically over the last ten years. Just done a Q&A with Manoghosts, who does these brilliant multimedia ghost stories, and he’s done great with crowdfunding his projects. Generated his own audience and didn’t need trad publishing at all. Completely depends on what your goal is. Are you in the game to get published? To get paid? Or just for the self-expression?
All true. For me, it's a hobby/side hustle. I love the creative process and would love for people to enjoy reading my work as much as I enjoy writing it. But, of course, getting something in the pages of the Prog or Meg would be a dream.
Thanks for sharing!
You're very welcome, John. Thanks for reading.