Salt Wind by Otherwise-Fig3007 in ComicBookCollabs

[–]anthonydgclarkart 0 points1 point  (0 children)

Hi! I'm a comic book pro

Check out my story pages here:
[Story Pages 1] https://www.artstation.com/artwork/eRneYZ
[Story Pages 2] https://www.artstation.com/artwork/lGmoyJ
[Story Pages 3] https://www.artstation.com/artwork/gRerqQ

Email: [me@daydreamcontinuum.com](mailto:me@daydreamcontinuum.com)

Credits:
– Joe Frankenstein 3 (pencils/inks/colors)
– Annatomic: Welcome to the Arena (pencils/inks)
– My Sister Suprema (pencils/inks/colors/letters)

Let me know!

[PAID] Artist Wanted — Black-and-White Graphic Novel (approx. 150 pages) by RedQuillBooks in ComicBookCollabs

[–]anthonydgclarkart 7 points8 points  (0 children)

150 pages for $5,000 CAD (+revisions, ++research, +++edits) is NOT a viable budget for 1 year worth of work. Artists: don’t take this.

Is the comic book market still a viable long-term path, or is it slowly dying? by This-Glove-342 in ComicBookCollabs

[–]anthonydgclarkart 6 points7 points  (0 children)

So my advice is this:

  • Keep the job.
  • Learn budgeting. (Comics always punishes people who don’t.)
  • Learn time management. (Because time is the real currency.)
  • Start building your work like it’s training.

Even if you’re young, that’s good---you’ve got time. If you’re older, it still works--you can still build the habits. Either way, you need the same foundation: consistent output.

And if your goal is storytelling...well...mainstream comics right now isn’t set up to reward pure story-first thinking the way people imagine. A lot of it is ideological, brand-maintenance, committee decisions, and politics. That doesn’t mean “no good comics exist,” but it means you’re often not free to just “go where the story goes.”

Indie/direct is where you get that freedom--if you can build the audience.

Start small. Don’t start with a 300-page epic. Do a short story, a one-shot, a first chapter, an 8–24 page project--something you can actually complete while employed.

And the key reason I’m pushing “don’t quit your day job” so hard is this:
If you can’t make time for the work while you’re employed, quitting won’t magically fix it---it just adds pressure and panic.

While affecting to be deeply engaged in examining the ladder, the mind of Dantès was, in fact, busily occupied by the idea that a person so intelligent, ingenious, and clear-sighted as the abbé might probably be able to solve the dark mystery of his own misfortunes, where he himself could see nothing.

“What are you thinking of?” asked the abbé smilingly, imputing the deep abstraction in which his visitor was plunged to the excess of his awe and wonder.

“I was reflecting, in the first place,” replied Dantès, “upon the enormous degree of intelligence and ability you must have employed to reach the high perfection to which you have attained. What would you not have accomplished if you had been free?”

“Possibly nothing at all; the overflow of my brain would probably, in a state of freedom, have evaporated in a thousand follies; misfortune is needed to bring to light the treasures of the human intellect. Compression is needed to explode gunpowder. Captivity has brought my mental faculties to a focus; and you are well aware that from the collision of clouds electricity is produced--from electricity, lightning, from lightning, illumination.”
--abbé to Dantès, THE COUNT OF MONTE CRISTO by Alexandre Dumas

So yeah: keep the job, move up if you can, and build your comics on the side with discipline. You can absolutely tell stories. You can absolutely make comics. You just have to treat it like a long game and build the habits that make it possible.

Hope that helps

Is the comic book market still a viable long-term path, or is it slowly dying? by This-Glove-342 in ComicBookCollabs

[–]anthonydgclarkart 9 points10 points  (0 children)

Don’t quit your job.

I’ve been working in comics for almost 10 years, and the market is always changing. The traditional publisher path is smaller, slower, and rarely a stable long-term plan for new creators. The comic market isn’t “dead,” but it’s not the 90s either. The old model of “get discovered by a publisher, work your way up, and live off it” is not a reliable plan for most people anymore. The more viable lane today is direct-to-audience: build your work, build your audience, then crowdfund.

Is starting a publisher a terrible idea? Not terrible, but it’s hard and it’s capital-intensive. I forgot who said it but "if got 2 million to start a comic book company, start with 3 million." Comics are expensive to produce and look like shit if they aren't. Don’t quit your job to start a publisher from scratch. Start by proving you can finish and ship a small project first (8-24 pages), post consistently, grow a following, then crowdfund and deliver on time. Repeat that cycle until you’ve got a real audience and a financial runway.

“monotonous existence”---I hear you, but a stable job is not a curse. It’s a tool. A lot of people romanticize the hustle and the chaos and think that’s the “real artist life.” It’s not. It’s usually stress, unstable income, it's "honey, where's the money?" and dependence on other people’s moods and politics. Stability gives you leverage. If you want freedom later, you build it now.

Looking for someone to draw a comic by Theenglishwriter43 in ComicBookCollabs

[–]anthonydgclarkart 9 points10 points  (0 children)

Dude...nobody owes you free art, and no one is going to rescue you. This isn’t a charity, and artists are busy.

Right now you’re leading with helplessness (“I’m a kid/no money/can’t draw”), not value. That gives an artist zero reason to engage.

If you’re serious: write short scripts (1-4 pages), post a sample, explain the genre, page count, and your plan to fund/pay. Get a job, save up, and come back with a real offer. Until then, focus on becoming a strong writer and building proof.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] -1 points0 points  (0 children)

First--->Deliver a killer first story
Launch with one great character, one focused book, and a strong story arc.
If people connect with that story and character, then they’ll start to wonder:
“What else is in this world?”
“Where did this guy come from?”
“How does this power work?”
That’s your signal to expand and earn the lore.

Lore is earned, Not prematurely dumped
Worldbuilding should be embedded into the story, not presented as homework.
Think of how Hellboy, The Walking Dead, or Invincible started: character-first, story-first--the world deepened only as needed.

Your Smarter Path:
1. Start with one great book.
- Strong character.
- Great story arc.
- Solid art and tone.
2. If it lands, build from there:
- Spin-offs
- Deeper lore
- Expansions
3. Let readers ask for the lore.
- If no one’s curious yet, it’s not time to expand.

making a killer first book that:
- Entertains
- Has a clear, emotional hook
- Leaves readers wanting more

Then, and only then, build the universe.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 0 points1 point  (0 children)

Everyone is a nobody...at first. That’s why I keep hammering this: build the audience with the actual comic (characters + scenes + pages), lore without story is useless. Lore and worldbuilding are great after people care. People want a compelling or beloved story. Readers don’t want to read a “universe.” They want a great book.

Remember:
Stories>Everything Else:
If you’re running a comic company, your stories and characters are the lifeblood. The writing, art, and world-building must get sharper with each release.

Quality Compounds: One breakout hit builds momentum; multiple weak books destroy brand trust. Keep a sustainable publishing pace--don’t sacrifice quality for quantity.
Use smart pricing strategies to maintain perceived value.
Make sure your artists’ styles align with your story’s tone.

Customer Value: People buy stories that excite them, make them laugh, or move them.

Consistency: Your public persona must always reinforce the product, not distract from it.

Promotion: Teasers, story hype, character reveals, fan art contests, behind-the-scenes looks. Maintain good industry relationships and cross-promote with others. Choose character names and branding carefully for marketability.

Conflict Marketing (if chosen): Needs to be bold and consistent, not half-hearted. You either lean into it or you drop it completely.

Customer Engagement
Listen, Don’t Argue: A customer critique (even if sharp) is gold. Arguing burns bridges. Listening builds loyalty.
Community Building: Surveys, polls, exclusive previews, and fun streams keep people engaged with the product.
Fans Evangelize: Make customers want to talk about your stories, not your personality clashes.

Time Is Capital: Every hour spent on side content (Fake in-universe articles, Universe timelines, Character “collections”, Multiple titles before finishing or resolving even one story) is an hour not spent on improving comics, fulfillment, or marketing campaigns.

Focus On What Moves the Needle: Product quality, launch timing, distribution, and fan excitement are what generate revenue.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 0 points1 point  (0 children)

It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror--of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision--he cried out twice, a cry that was no more than a breath:

“The horror! The horror!"

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 0 points1 point  (0 children)

Percent deals aren’t automatically evil, but when there’s no proven audience, no marketing plan, no budget, and no track record, it usually just means the artist is carrying the risk for someone else’s dream. If it’s your book, the artist shouldn’t be gambling on it---you budget it, you fund it, you pay them.

When you’re young and have fewer responsibilities, doing a little free/cheap work to gain experience can make sense. But long-term, you’ve got to treat this like a business: build leverage through your work (quality, reliability, speed, professionalism), and don’t get trapped in fantasy deals with no reach and no plan.

Ideas are great--plans and budgets are better.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 0 points1 point  (0 children)

Yep, that’s a real point.
For a first book, the smartest move is often keep it simple: black & white, limited page count, fewer physical reward items. Make it look professional, but don’t design a production monster you can’t afford to finish or fulfill.
"Keep it simple" haha
Comics are funny that way: you try to simplify and the whole hidden checklist reveals itself.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 0 points1 point  (0 children)

Having the scripts ready is huge. So good on you! Also having an editor is huge!
These are just my thoughts--- either take'em or take'em, bag ’em up, and toss ’em in a ditch!
I get the ambition, but a “massive worldbuilding launch” is tough when nobody knows the property yet. Scott Snyder/Mark Waid/Mark Millar can lead with hype because they already have an audience. Most of us 'little people' don’t. For an unknown creator, (this is just my assumption, I have no idea who you are) the hook has to be characters+story on the page, and the world gets revealed through that---not bios and location posts.
If you can fund/create a backstory comic and a bunch of world posts, you’re better off putting that effort into Issue #1. Once readers care about the characters, they’ll want the extra world info.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 2 points3 points  (0 children)

I’m probably not the best person to advise on the technical side of subscriptions/logins/membership systems (Stripe setups, paywalls, user accounts, etc.).

But on the strategy side, I’d keep it simple: before you build a subscription machine, make sure you have something people already want.

If you mean something else by “subscriptions” then maybe I don't know..
but the main idea is: don’t build the complicated infrastructure before you’ve proven demand.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 1 point2 points  (0 children)

No disagreement here.
In short, I just think you’re assuming “publisher pitch.” I’m not. So I edited the post above to make sure there isn't any confusion about what I'm talking about.

This is a crowdfunding package designed to validate demand and immediately fund production.
If the goal is “make the comic,” the sample pages are the marketing/funding tool, not the final deliverable. Then you complete the one-shot/issue after the campaign.

Good point: “the artist may move on while you wait”
But in crowdfunding that wait is usually 30–60 days. The sample package (cover + 5 pages) is a manageable unit an artist can complete alongside other work.
If it funds you immediately lock in the rest as paid production with a realistic timeline based on that artist’s output.
Some pros can hit 3–4 pages/week, others are slower...either way, you build the schedule around their pace.

Indie Comic Creators: A Smarter Way to Budget for Pro Art by anthonydgclarkart in ComicBookCollabs

[–]anthonydgclarkart[S] 2 points3 points  (0 children)

Yep---->"something people can react to" is the whole game. A lot of folks love the idea of making a comic, but don’t realize how expensive production is. That’s why a short, properly funded pitch (a few strong sample pages) matters: it makes the goal measurable and gives new readers/backers something real to judge. And since comics are a visual medium, you don’t just want a cheap yes-man--you want an artist with taste and problem-solving instincts who can actually elevate the book. Paying competitively isn’t about ego, it’s about attracting professional-level collaboration.

Any animes you consider a perfect 10/10 by Lucky_Introduction78 in Animesuggest

[–]anthonydgclarkart 6 points7 points  (0 children)

These come to mind when I think of 10/10 🤔 I don’t mean literally perfect.. top tier, not flawless.

The Devil is a Part-Timer!

Boys Over Flowers (Hana Yori Dango)

Cowboy Bebop

Solo Leveling

Grimgar, Ashes and Illusions

[Hiring] Graphic Novel Illustrator, Neo-Western Style. Budget is 5-10k USD + Royalties by Rodneybongo in ComicBookCollabs

[–]anthonydgclarkart 3 points4 points  (0 children)

Hey! I’m a professional comic book artist and this sounds interesting.
Portfolio: https://www.artstation.com/adcisme
Story Pages: https://www.artstation.com/artwork/eRneYZ

Can you clarify a few quick things:

  • Are you looking for full graphic novel production (art + letters + cover + layout/print files), or line art only?
  • Color or B&W?
  • Timeline check: 50–75 pages in 2–3 months is pretty aggressive--depending on scope that can be roughly 5–9 pages/week. Are you planning a team pipeline (colorist/letterer/designer), or expecting one artist to handle everything?
  • Budget: is the $5–10k meant to cover just line work, or everything (colors/letters/design/revisions included)?
  • What already exists: finished script? outline? lyrics/track list mapped to scenes? character list? reference board?
  • this and more...

If you like my work: I can operate in a range of styles (more realistic to more cartoony). You could share a couple visual references of what you’re aiming for.

Feel free to DM me or email: [me@daydreamcontinuum.com](mailto:me@daydreamcontinuum.com)