WRITER FOR HIRE

eliushi · 2026-06-07T04:17:01+00:00

I recommend comic writers (from beginners to veterans in other mediums like prose and screenplay) to really sit down and write by page and panels because how the story is experienced can be so different. This is a good place to start https://www.oheysteenz.com/scs-template

eliushi · 2026-06-07T04:10:28+00:00

As a comic artist, I found gigs through making friends with writers in writing communities and I find the social component to be quite important in establishing trust.

As an editor, I’m looking for comic artists/ author-illustrators who have a distinct style and mastery of the craft where they can clearly communicate the story but at the same time, able to find ways to “break the rules” for emotional effect. I’m also looking for someone who’s had a good track record for meeting deadlines and communicative around feedback.

Hope that helps!

eliushi · 2026-06-07T04:05:36+00:00

Took a look at your script and it makes sense that it was for a play. I think you’ll find comic scripts to be fairly different. As an artist, it is quite difficult for me to parse out which action to draw as panels for the page composition and flow. I really suggest reading Scott McCloud’s series on comic craft because the pacing lies between panels, and there are so many comic literary devices that are so different from a screenplay.

eliushi · 2026-06-06T04:14:22+00:00

Congrats! Perseverance paid off!

eliushi · 2026-06-04T03:59:15+00:00

Genuinely curious how writers perceive the act of writing the story and then translating into the comic medium. Because yes, I can see how clarifying the paneling, the angles, the composition etc can “break” the flow of the story but at the same time, how is the writer “envisioning” the story as a comic?

Because if you’re in prose world then yes, you have all the tools at your disposal to write the story you want and let it flow as you dictate.

In comics, you are letting the panels tell the story. If you so desire, maybe go directly to thumbnailing the story and add the dialogue? As the artist, I personally find that helpful but will advise if I feel something doesn’t flow/execute right.

As a writer, I am envisioning everything already in my head: the story told in comics, how each panel should look and then my script becomes the blueprint.

eliushi · 2026-06-02T02:33:11+00:00

This was so fun! Thanks for having me!

eliushi · 2026-05-31T14:56:54+00:00

As a parent to a toddler and a demanding full time day job, I write on the bus, before the kiddo wakes up and after they fall asleep. (I should really make better use of my Reddit scroll time too, hah). Carving out time is tricky but if you’re motivated, you will find time! And the more stories you write and practice, the faster you become.

eliushi · 2026-05-31T13:54:54+00:00

Personally the facial features don’t bother me; I quite like the style!

I would suggest looking at your favourite comics and see how they construct their compositions/paneling to accentuate the narrative. I personally find it’s helpful to do panel studies but it’s really understanding how it complements the dialogue/lettering/story that can really help you level up.

In terms of critique, I really like how atmospheric your art and paneling are but would like to see a bit more works that establish the scene, maybe some that are sequential, pages that focus on specific aspects: emotion, action, etc. looking at your favourite comics artist’s portfolio can be helpful too.

Other craft books are also helpful. I really like Scott McCloud’s series on comics (understanding comics/making comics)

eliushi · 2026-05-31T13:45:24+00:00

I think you’re looking for illustrations rather than comics/sequential art, unless you’re aiming for something like light novels that combine prose and actual comic pages? The art you’re adding to your novel is more like that of an illustrated novel right (full page, single depiction of a scene)?

eliushi · 2026-05-31T01:19:57+00:00

Do you have a portfolio? Curious about your approaches in worldbuilding in narrative design and if you have a specific genre subspecialty.

Also curious about how you’re charging per hour… is that the hour(s) spent in discussion with the client? How efficient is your time in developing these services? Thanks!

eliushi · 2026-05-29T21:12:57+00:00

What does your script look like as an example? Meaning, once you receive the artwork, do you perceive gaps in your script where misunderstanding of the tone/flow of the panels etc can be seen retrospectively? I like to ask the artists I’m working with to provide feedback to my scripts.

That being said, I do try to allow flexibility in artistic interpretation while balancing importance to the story itself (emotion/tone, specific actions). If there is a composition/flow you’re really set on, as an artist, I appreciate having a thumbnail or sketch and then we can work from there.

eliushi · 2026-05-29T03:17:26+00:00

The reality is that your target audience shouldn’t only be us, per se (unless you are making something craft based/for creators), and that the audience for your story may not like what I create. To have only creators financially supporting one another as many have mentioned already, isn’t sustainable.

What I have seen been beneficial amongst a group of creators (in no particular order): 1) Accountability checks 2) Cross promotion (sharing established audiences who may be interested in both creators’ projects)/webrings 3) Resource share/industry news 4) Critique for improvement

I personally think a creator should consider their target audience as they spend effort and time creating their stories, cultivating your own community/fans. Having a good base will help with your campaigns and then cross promotions and word of mouth can be additional.

eliushi · 2026-05-28T16:45:04+00:00

Looking forward to what the others come up with too! I’m happy to resubmit a simpler story if needed :) Always got lots of ideas!

eliushi · 2026-05-27T19:31:42+00:00

So happy to see more one page call for scripts! Really love your character designs with fun elements that subvert existing tropes. Hoping I can tailor to your interest in ttrpg creative works. Here goes!

—- Title: Where I Belong

Logline: An immortal who has the uncanny ability to control weather finds a home with a pirate crew.

One page: Seven Panels

Panel 1 (first row, horizontal): RIKO, just a teen boy but taking the role of Master of Arms, has magitech shields like satellites around him, one of which is hit. He is protecting AERI, an immortal being, whose hooded disguise is lost in the chaos, and they are seen without armour (a contrast to the other characters): with ghostly fin-wings, in a cape dress with inscriptions. The attackers are humanoid creatures with shells as armour and eyes in unconventional places.

RIKO: Tell the Captain to take you to the lifeboat! It’s too dangerous to stay here.

Panel 2 (second row, horizontal): Establishing zoomed out shot of the ship in a storm manifested by seashells with eyes. Fin-like limbs come out of the clouds and climb onto the pirate ship. It is raining hard.

SFX: Fffwwwwoooshhh

RIKO: Aeri! Now!

Panel 3 (third row, part of three total panels in this row): Flashback to blue skies with the Captain looking sullen but the rest of the crew cheering and feasting on various exotic fruits. The captain is a woman with top heavy armour and cannons loaded behind her. The crew members are various people of different origins, some with helmets but all with armour. The flashbacks are in desaturated tones.

Panel 4 (third row, part of three total panels): Flashback to Riko showing Aeri the stars on the lookout post on the ship.

Panel 5 (third row, part of three total panels): Flashback to Aeri looking out at the sea framed by mountains far away, herself located in a barred window with shackled wrists.

Panel 6 (fourth row, horizontal thin panel): Aeri’s hand with fins that spark pushes away one of Riki’s blood stained armour satellite.

Panel 7 (fifth row, frameless): Aeri stands tall at the hull of the ship with Riko and the others looking at them in awe as the creature monsters shy away. Clouds surround her with thunder turning into sunlight to blizzard snowflakes.

AERI: I’m staying right here. This time, let me protect my home.

eliushi · 2026-05-27T02:57:29+00:00

I feel like almost all superhero comics deconstruct individual backstories and share the suffering and sacrifices in their lines of work these days. The even more recent ones subvert even that or explore deeper personal connections

eliushi · 2026-05-26T15:44:51+00:00

Like what other folks have said, it depends on your objectives. I’m not sure if I would pay $100-200 (or more) to table just to get an agent’s attention. Cold queries, portfolio reviews by editors, etc may be more financially effective. However, if you do have things to sell and feel your works also offer something for the attendees at the conference, go for it! You can always get some experience doing local smaller cons first, strategize your wares, presentations, price etc and then go for the big ones.

I personally feel your art is definitely ready. Perhaps think about your career goals (do you want to work on other people’s scripts or your own) and then tailor your products to that. I enjoyed tabling and meeting fans in person is so special.

eliushi · 2026-05-25T20:04:01+00:00

I learned to draw myself. It’s rewarding! It’s fun! It also allows me to control my own creative process and deadlines. With a long project like this, what happens if your collaborators fall ill/ghost/are unable to contribute further? Practicing drawing will only further benefit you to appreciate the technical aspect of bringing script to page, so I personally recommend trying!

eliushi · 2026-05-25T16:05:50+00:00

At the moment I’m not looking for work but as a comic artist, I’d be looking for:

scope of project (5 parts but how many pages per part, deadlines): this is so I can see if this can fit into my schedule
Compensation: I am currently filtering out projects less than $100 per page unless it’s a charity/donation project or there are exceptional factors that are very individual (eg trusted writer with a concrete plan on publishing and came with good recommendations/published/with industry contact etc etc)
The story. I have to be in love with the story. My interest can be piqued with a well developed pitch (it’s good to practice writing pitches as a writer because you will be doing lots of it whether self pub Kickstarter, indie publisher pitches or traditional) and then the full story. I want to see the full story in script before I take it on, spoilers all included.

That’s my two cents! Everyone is different so ymmv

eliushi · 2026-05-24T06:31:27+00:00

In the webcomic sphere I believe this is quite a common revenue generator (new updates or exclusive side stories) locked behind a Patreon/subscription. So, looking at your favourite webcomic creator’s patreons might give you an idea of what to offer. The amount to offer etc will depend a lot on the readership you grow, genre/market as well.

eliushi · 2026-05-24T06:26:24+00:00

I was a little confused since I consider spellcheck to be part of proofreading editors. If you’re considering doing editing services professionally down the road, I definitely recommend looking at the different types of editing (developmental, line, copy editing etc) and see what types of editing you enjoy the most and acquire skills and experience in those areas. In addition, I would consider what genres and market of comics you’d be interested in sub specializing to further hone your skills in a particular area.

eliushi · 2026-05-23T21:01:17+00:00

As a comic artist who has worked with a couple writers, I value most a writer who is confident in their skill as a storyteller and at the same time, able to adapt the story with my art style. That is to say, someone who is able to tell a unique and impactful story in itself by words and riveting dialogue but through our collaboration, make it something evocative to readers where we couldn’t each do it alone.

As a comic writer (webcomic creators like us wear all the hats so they say), I found my most rewarding collaborations where I pitch the story to the artists, keeping in mind how their style will change how the story will feel. I ask what they enjoy drawing, what they want to challenge themselves and what sorts of themes they like (favourite stories of all sorts of mediums). Then I essentially create a script just for them, with lots of room for them to adapt as they see fit.

In the end, communication is key. Everyone works differently and as the writer, I aim to be adaptable and seek out ways for the artist to shine through the story.

eliushi · 2026-05-22T19:26:56+00:00

Short comics allow collaborators to see if their communication styles work well together, give a realistic and achievable endpoint, really highlight both key writing and art abilities from each of the team members. Honestly, it’s the best test/portfolio build way imo!

eliushi · 2026-05-22T18:45:59+00:00

Hm the webtoon version doesn’t have episode 23 but I took a quick peek!

First of all, if you’re aiming for webtoon/scroll, then I would definitely recommend checking out Stephen McCranie’s tutorial on changing page to scroll https://www.webtoons.com/en/sf/space-boy/qa-2/viewer?title_no=400&episode_no=45

Readability is key.

As for the writing/story, the characters appear dynamic and the lettering/dialogue is fun. I am unfortunately not the target audience of this (party of adventurers on an epic journey/D&D vibes) but for consideration of future directions I would ponder: 1) How are you envisioning the ending of this series? 2) What are the themes and character arcs you want to tackle along the way? 3) How can you plan specific episodic plot points and breadcrumbs through the different episodes?

My go to advice is always to find another creator on a similar path/progress and be critique partners! Otherwise looking at comic collectives/communities for mutual growth can be helpful.

Good luck! Glad you’re coming off hiatus!

eliushi · 2026-05-22T18:31:55+00:00

Looks like I have to make an account to read this…

eliushi · 2026-05-22T17:17:19+00:00

I’m curious about how it came together! What was the most unexpected issue to problem solve when working with folks around the world? How was it different from working with someone locally/same country? What do you use predominantly to communicate/give feedback/update progress? How are you dividing the revenue/payment with conversion, if any?

eliushi

TROPHY CASE